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professional training to open a creative space within which
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the disciplines can rethink themselves, a space of specula-
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tion, experimentation, and analysis that allows the field to detour away from its default settings in order to find new
), ,, (-/ (.' (.- (/( (/0 (0- (00 )(, Education is all about settings, new forms of professional, scholarly, technical, and trust. The best teachers embrace the future by trusting the ethical practice. student, supporting the growth of something that cannot be
The heart of this open-ended laboratory is the design
seen yet, an emergent sensibility that cannot be judged by studios. All the overlapping and interacting programs at the contemporary standards. A school dedicated to the unique school — Architecture, Urban Design, Historic Preservation, life and impact of the thoughtful architect must foster a way Urban Planning, and Real Estate Development — teach design of thinking that draws on everything that is known in order and are united in their commitment to the global evolution to jump into the unknown, trusting the formulations of the of the 21st century city. Every semester, the school launches next generation that by definition defy the logic of the present. more than 35 explorative studio projects that head off in difEducation becomes a form of optimism that gives our field a ferent directions before reporting back their findings in juries, future by trusting the students to see, think, and do things exhibitions, and publications that stimulate an intense debate we cannot.
and trigger a new round of experiments. With a biodiversity
This kind of optimism is crucial at a school like the GSAPP of continually evolving research trajectories, the school operat Columbia. The students arrive in New York City from around ates as a multi-disciplinary think tank, an intelligent organism 55 different countries armed with an endless thirst for experi- thinking its way through the uncertain future of the discipline mentation. It is not enough for us to give each of them exper- and the global society it serves. tise in the current state-of-the-art in architecture so that they
As in any other architecture school, the real work is done
can decisively assert themselves around the world by produc- in the middle of the night. Avery Hall, the school’s neo-clasing remarkable buildings, plans, and policies. We also have to sical home since 1912 — with its starkly defined symmetrical give them the capacity to change the field itself, to completely proportions communicating to the world the old belief that redefine the state-of-the-art. More than simply training archi- the secret of architectural quality is known, universal, and tects how to design brilliantly, we redesign the figure of the endlessly repeatable — now acts as the late night incubator architect. Columbia’s leadership role is to act as a laboratory of a diversity of possible futures. At its base is Avery Library, for testing new ideas about the possible roles of designers in the most celebrated architectural collection in the world, a a global society. The goal is not a certain kind of architecture remarkable container of everything architects have been but a certain evolution in architectural intelligence.
thinking about in the past, neatly gathered within the tradi-
Architecture is a set of endlessly absorbing questions for tional quiet space of a well organized archive. Up above are our society rather than a set of clearly defined objects with the dense and chaotic studio spaces bristling with electronics particular effects. Architects are public intellectuals, crafting and new ideas. Somewhere between the carefully catalogued forms that allow others to see the world differently and per- past and the buzz of the as yet unclassifiable future, the dishaps to live differently. The real gift of the best architects is to cipline evolves while everyone else sleeps. Having been conproduce a kind of hesitation in the routines of contemporary tinuously radiated by an overwhelming array of classes and life, an opening in which new potentials are offered — new pat- waves of visiting speakers, symposia, workshops, exhibitions, terns, rhythms, moods, sensations, pleasures, connections, and debates, the students artfully rework the expectations of and perceptions. The architect’s buildings are placed in the their discipline. city like the books of a thoughtful novelist might be placed in
The pervasive atmosphere at GSAPP, the magic in the air
a newsstand in a railway station, embedding the possibility from the espresso bar to the pin-up walls to the front steps to of a rewarding detour amongst all the routines, a seemingly the back corner of the big lecture hall, is the feeling of being minor detour that might ultimately change the meaning of on the cutting edge, straddling the moving border between the everything else. The architect crafts an invitation to think and known and the unknown in our field. It is hopefully an open, act differently.
questioning atmosphere in which students are able to do work
GSAPP likewise cultivates an invitation for all the disci- that teaches their teachers. In the end, a school’s most preplines devoted to the built environment to think differently. cious gift is its generosity towards the thoughts that the next Its unique mission is to move beyond the highest level of generation has yet to have.
hard and produce such accomplished work. The work book,
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organized alphabetically by the person or people respon-
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sible for each image, provides the opportunity to understand each individual’s work, sometimes from a variety of different
, ()- (,* (,+ (.( Now in the fifth year of its tradition of classes, as a cohesive effort that is driven by that individual’s constant change, Abstract again re-shuffles the GSAPP in motivations, interests, and talents. an effort to show the multiplicity of positions along with the
Expanding on last year’s encyclopedic index of classes,
unexpected moments of clarity in the array of activity that studios, and projects by key word, this year’s indices provide defines the school. This year, we worked with the notion that at a glance an introduction to the people that make up the the core of any academic institution — what makes a school school, the issues with which they are currently engaged, great — is not its size, location, or age, but rather the people and the ways they understand and define architecture. that flow through it, the work they produce within its walls, Through a combination of the thematic organization of the and the conversations and ideas they exchange that bring it indices, the departmental or programmatic organization of to life. This issue of Abstract focuses on people — students, the text book, and the organization by author of the work teachers, researchers, critics, historians, academics, practi- book, we hoped to show what goes on at the school in a more tioners, lecturers, administrators, visitors — and the myriad comprehensive way. things they do to enrich the life of the school.
Thanks to editorial assistants, Katie Shima and Brian
The book is divided into three graphic parts: portraits, Brush, and to photographers, Mark Bearak and Jong Seo Kim. text, and work. The portrait book presents some of the faces It has once again been a joy to work with Stefan Sagmeister, we see around the school — lecturers, jurors, critics, and Joe Shouldice, and Richard The with assistance from Daniel students. The text book revisits in a more traditional struc- Harding at Sagmeister Inc., who continue to surprise us with ture the programs, courses, studios, and research that occur their fresh ideas and ambitious graphic sensibility. Special at the school. These texts are what inspire and provoke the thanks to Dean Mark Wigley for his clarity of vision and his excitement and dedication among the students to work so unceasing efforts to push the school beyond itself.
lights of its times, a proposition about our state and what we
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ought to do about it — an opportunity we force upon ourselves
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every time we build to see ourselves at our best and at our worst and then to try to adjust and do better. Please note, first,
0 This year we suffered a great loss with the passing of our the basic critical truth about the paradigm, that it is indeed dear colleague Paul Byard. There are so many beautiful the way we all first seriously react to architecture: how are we words that could be said — and have been said — to help us doing? Then at the critical core of that reaction is the crucial remember and treasure all the things that were so special commitment to improvement, the fundamental irreducible about Paul, but all would fall short in the end, and it is in the optimism of our enterprise. How can we do better? We don’t falling short that we understand the depth of our loss.
do architecture to make things worse. We make architecture
I only want to say here that basically Paul was in love in the passionate conviction that we have something to teach, with buildings — deeply, sweetly, passionately, and elo- our way is the way to go. You grab the observer like the Ancient quently in love. And at the heart of this unending affection Mariner, saying, listen, dammit, this is what you have to know if was a resolute, even militant commitment to the idea of the you want to do better! And then you hold him for just as long as public good. Paul championed the very highest aspirations you can and until your next colleague takes him ever so gently of our discipline. For this, and so much more, we all loved away, saying, no, no, mine is the far better way to go. Paul and will always love him.
This thesis — the view of architecture as a civic paradigm
Architects are united by a naïve yet irrepressible opti- about human improvement from which we all willy-nilly armism: the thought that even the smallest change to the built chitects and amateurs and ordinary citizens, powerfully and environment creates the possibility of a better society. This critically learn — this thesis is what’s in it for all of us, say is why Paul was so important to so many romantic victims I, in architecture. This is the public interest in architectural of architecture.
meaning that ideally gives architecture its claim on all of us
We are united in celebration of a beautiful and impor- as human beings and gives it the remarkable legal power I tant voice. A voice that we were so lucky to hear for so long. have specially tried to help us to remember and exploit. It is A voice that was so absurdly eloquent that we will never stop the common goal of all of us serving new and old architecture hearing it.
— and at least the core of my insistence over these years that
The following is an address Paul made at the faculty in the School architecture and historic preservation are all in meeting in May. It was his way — dignified and hopeful — of it together. At our ends of the Hall, that is, we work on two saying “good-bye” to us.
questions about the civic paradigm that grade seamlessly into each other. We look at new architecture to see what’s proposed
I am for my part in these days coming to the end of an extraor- now and how much we could be doing to do better now. What dinary opportunity for which I am grateful to you all, to bring to wonderful possibilities we have! At the same time, we look at a climax at least fifty years of thinking about architecture and old architecture as it ages into the past to see what we used what it does for each of us.
to think we should do to do better. When we look back, we
As of course one learns only at the very end, this percep- can sometimes see a certain comforting sameness. We can tion about architecture has been central to what I have been dwell on sameness when we want to feel smug. But the real practicing in the world as an architect and teaching here as revelation across time is in difference, in all that’s changed, in your colleague for the last thirty-five years and in the last all we need to do to keep on changing. Good heavens, we say, eight or so as Director of the Historic Preservation Program. we used to do THAT? The perception about architecture is, if you will, a meta-thesis
Again, we are all in it together here in the service of our
about architecture, a theory behind the theories offered to help art and I very much hope we stay that way. These are not good us understand what in fact we are all serving together when times for any of our ideals. On the other hand it does seem to we serve architecture here. It will ideally be expressed in the me a reason to believe we are not foolish in our optimism, that book “WHY SAVE THIS BUILDING: The Public Interest in Archi- I should be right now even now among you this noon, bringing tectural Meaning” which I remain optimistic will be published at last out of a lifetime yet another idea about architecture that next year by Norton.
you might not have thought of before and that might in the end
The thesis is simple. It sees architecture as a civic para- lift us all just a little further along. digm. It sees each new building as an argument for itself by the
Thank you!
high level of resolution in terms of materials details, ulti-
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mately responding to demographics, social needs, and po-
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litical realities. While the studio sites are within metropolitan New York, the studio is equally based on a renewed analysis
( (+ (.0 (/. (// (0' (00 )'* The three-semester Core Studio of the history of housing policies both in New York and in sequence develops a capacity to work with skill and inven- the United States. Students are asked to bring the analytical tion at all levels of architectural design. Studio methods vary expertise of the first two semesters to these issues and to with each of the design critics, but there is a common desire create a project that addresses a full spectrum of concerns to re-think architectural and urban problems at each phase from the immediate detail to the larger urban and political of developing a project. Explorations include new organiza- consequences of design. tions of building processes, new systems of manufacturing and construction, and new considerations of use and programming. In recent years the programming aspects of the studio have become a focus of invention, and this year both Core 1 and 2 focused on complex, program-intensive projects
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The Core Studios are taught by a group of faculty who DXib IXbXkXejbp# Pfj_`bf JXkf# >Xc`X Jfcfdfef]] collectively guide each of the twenty studio sections that col- " DXib NXj`lkX# \kbmb\l lectively constitute the three semesters of the Core Studio LMN=BH *% ?:EE +))0 sequence. Each semester, the Core Studios are coordinated by an individual faculty member who leads the group of six )- )0 -. ()( ()* (*) (+- (+0 (,, (,- (,/ (-' (-( (., (.- or seven design studios.
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Students and faculty work within emergent forms of /+/ /.. /.0 /0* /0+ 0-) 0-. 0-/ 0.) 0.+ 0., (''0 ('() (')/ contemporary and historic New York urban life. Looking to ('++ ('+- ('// ('0( (((* (((. ((.0 ((/' ((/) ((// ((0. ()(- sites in the city, the studios seek to understand the texture ()+* ()-) (*'- (*(/ (*)- (**) (*** Line, plane, surface, and public nature of their work, and to respond to the com- and volume are mathematically bonded and interrelated. plexity and diversity of New York constituencies. Employing In architecture, the geometrical properties of the line are an array of both local and global data sets, analysing historic associated with columns and beams, the plane with walls urban form, and projecting the potentials of new program- and floors, and surface and volume with the resultant space. ming and redevelopment issues that are re-shaping the Many significant works of architecture provide examples that city, the studios also aggressively coordinate work with new allow us to understand the mathematical relations of these means of fabrication, tectonics, and structure. Each faculty elements in new ways. member offers a unique form of exploring these issues as a
The brief of the studio was threefold. First, melting ice
network of design potentials that are understood to be sus- was documented in several iterative drawings. Second, stutaining, but also re-defining the role of the architect.
dents designed a sleeping pod for climatologists, who work
As a whole, the Core is coordinated to give parallel 36-hour shifts, to take naps while working. Finally, students structure to the studios. The first two semesters consider designed an outpost building for Columbia University to the conceptual implications of architectural space as a house an atmospheric research lab, with domestic quarters form of speculative research. Core 1 and Core 2 consist of for two rotating lab principals. The focus of the research was a semester-long project divided into distinct phases and the existence and trajectory of particles in water and air. This exercises that fold into the development of an architectural lab was to take regular samples of high altitude air using air proposal for an urban site. With each phase of the project, balloons and deep water samples, to register the chemical emphasis is placed on synthetic design processes that rigor- composition of them. The site was on Pine Island, in Long ously address issues of site and program on both conceptual Island Sound. and practical levels. The third and final semester of the Core Studio sequence is focused on the design of urban housing. Students work in teams of two and carry each project to a :K<ABM><MNK>
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0' -** -+' -+( ((.. (*(- Starting with the imperative to -. (,/ -/, ()(, ()(. (+() (+,( Materials and their methdesign a spatial fabric from within by synthesizing material ods of building are increasingly multiplying as our inherand information infrastructures, the studio explored rich ent notions of material significance and signification are resonances between highly informed intricate fields and increasingly challenged. This studio challenged the opportheir capacity for retexturing existing forms of connectivity. tunities and limits of the material and immaterial nature of Departing from modernist conceptions of movement through architectural production. Building begins with a dialogue of space, this version of spatial fabric exhibits its own behav- construction strategies between experience, interpretation, ioral tendencies resonating with pervasive challenges of the and translation into program, structure, and representation. contemporary milieu. The capacity to compose spatial fabric Modes of material experimentation are utilized as a vehicle within emphatically complex conditions of probabilistic pro- through which to articulate and clarify the students’ concepgramming is the alternative to the logics of low-resolution tual position and strategies. These strategies for making are bubble diagrams. Within a context of curatorial practice and discovered through a constant variable. As an idea William evolution of drawing, a deep multivalent interface grown Richard Lethaby puts forward: “…the building interest: the from such composure drifts through poly-scalar fabric delight in experimental construction, is the adventure into the thresholds housing a multitude of drawing expressions and unknown… This adventure into the constructional unknown is ways of navigating them.
done by using an elegant technology.” As a Janosian condi-
Initiating the process by learning from algorithmic tion, it reconciles the art of thinking with constructing. The logics found in plant growth, which exhibit non-linear dif- first “step” is devoted to the conjuring of “idea” as a visceral ferentiation and redundancy as alternatives to the more intersection between the “eye of the mind” and the body of deterministic optimization models found in typical building building possibilities. structures, students set up generative machines via algorithmic protocols and parametric fine-tuning, articulating D^el^r <Zfi[^ee&=heeZ`aZg% >e^hghkZ >g\a^oZ% MZerZ the behavior of discrete agents. This action-packed compo- DZaZg^% =^[[b^ Ebg% :eeblhg IZmkb\d% Gb\he^ L^^d^er% sure delivers expressions at different orders of scale. Design Chharng` L^h% C^llb\Z K^g^^ MZee^r% >kb\ Ml^% >oZg PZmml is extended to the whole design ecology: designing tools (via scripting), connecting to and informing modes of production by understanding constraints as positive input for design, and re-casting the designer’s role from the one who controls
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from the top to the one who engages the participates in prac- :_Xic\j <c[i\[# \kbmb\ tice of design search. The increasing ability to trans-code LMN=BH +% LIKBG@ +))1 between different layers of this ecology through information increases the potential to receive from and adapt to the WHAT IS THE FIT BETWEEN STRUCTURE AND SPACE? “host” conditions.
(+' /+* /++ ('.. ('./ (((+ (((, “Zero weight and infinite span;” the structural engineer Robert Le Ricolais could
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space is a much more raucous exchange among subject, city, material, and purpose. The contemporary museum, with its mix of functions, variety of required spans (and seeming imperative of unique sculptural expression), is a site contested between structure and space. Sometimes structure asserts its geometric and conceptual perfection (think of
the space frame, the long span truss, the geodesic dome). were investigated; making, re-making, and re-making again Space is the remainder, left over and “universal”, evicting established the basis of architectural language developed impurities of program or site. Other times, architecture’s by each student. specificity carries the negotiation, and structure is simply
Through the proposed process of editing and refining
called in to figure things out. Here, space retains its perfec- these ideas, the realized work represented here attempts tion, and structure must distort. A project for the Drawing to harness the power, beauty, and richness of the site enCenter could explore what exists between structural order meshed with the vision of The Drawing Center, in hopes and spatial contingency (and vice-versa), and re-program of providing an edifying public epicenter within the city of structure and its performance norms in relation to space: New York. span vs. weight vs. fabrication vs. cost vs. a moving eye perceiving a series of art works over an interval of time, in a Cng ah <ah% :ggb^ <hhf[l% Kh[bg ?bms`^kZe]&@k^^g% :b]Zg continuum of scale from body to city.
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drawings in contemporary practice shift back and forth between classical forms of representation and an unfolding
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of new material relations. This unstable position of the image and architect is by now recognized as fundamental to archi-
Drawing is line weight
tecture’s productive imagination. It proposes that the excess
Drawing is inscription and prescription
of one moment becomes the material of another moment’s
Drawing is making, re-making, and re-making again
image. In the studio, architectural drawing both supports and resists direct instrumentality; the studio produces a steady
Each mark and symbol contains cultural and physical attri- flow of excess and develops the alternative analytical means butes that are elemental to program and space; the graphic of seeing this excess as already internal to architecture — it technique becomes the crucial liaison between these ele- attempts to provide the situation for an architect’s engagements and the physical realm. A combination of traditional techniques and digital
ment with and estrangement from drawing practices. In the studio, the line is converted from a strictly divi-
translation define the terms and limitations for the multiple sional and vectoral mark on a plane surface to a mobile and methods and opportunities for display within the public flexural steel wire in dynamic relation to others and prior realm. The limitlessness of drawing and therefore the lim- to a surface. Surfaces are made of lines assembling and itlessness of display go far beyond the scale of paper and shifting in responsive fields. Each person becomes expert the screen; like drawing they are the innovation via the au- in a particular form of the lines’ assembly, organization, and thor’s “hand”.
performance in an array of building, drawing, and occupa-
The new home of The Drawing Center lies across the tion. Each works with the movement of the line to building boundaries of Chinatown, SoHo, and Little Italy. The influ- as an always re-negotiated act. ences surrounding the site are vastly diverse, culturally and
This drawing provokes a discussion with the Drawing
economically. The impact of each constituency was individu- Center where the themes of the drawing’s performance ally considered through the notion of public space (program in and of the world were constant. The project mined the “X”) through which the studio’s proposals considered the several sites of drawing: one specifically architectural and ideas of threshold, skin, and section. These components concerned with how drawing performs in the architectural :K<ABM><MNK>
imagination between idea and building; another embedded in within and against critical and conceptual fields — we jourthe institution’s practices of exhibition, and finally the draw- neyed toward the development of extraordinary spatial ing as a site and product of a specific artist’s performance.
proposition. To transcend what we knew, we sought ways to facilitate inspiration and exploration. Audacious investi-
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ephemeral as firefly wings — emerging from and informing
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ideas robust with substance and conviction. In a modified dynamic of the often uncanny Surrealist exercise of the exquisite corpse, the adjoining of discrete imaginations yielded utterly unexpected opportunities. We
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maintained confidence — despite endless reasons for doubt
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sociations and prospects which were awakened when multi-
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ple, seemingly contradictory, potentials were pursued. Work
— open and receptive to interrogating strange and fluid as-
produced in this province provided a mirror to society — not a (+0 (.- (0, )() -(( .'' .') (')* ('). ('*+ Delineate: “To pure reflection, but rather a distorted twist — avidly dissectshow by drawing or description, portray.” That certainly could ing and re-structuring realities, and enabling us to project a be one concise definition of architecture. Show and tell. The task: develop a spatial portrayal — the spatial
kaleidoscope of complex spatial promise. Our strong-minded pioneering was steeped in liminal
delineations of culture, context, and commerce of the mu- frontiers. The subtlety of this condition demanded calibraseum as an architectural type. The Drawing Center, one tion and judgment, modulating unpredictable terrain beof the most engaged arts organizations in New York City, tween the perception of the known and the ethereality of having been drawn into the melodrama of Ground Zero potential. Grappling with the partial and uneven geographies as one of its two sole cultural institutions, and then sub- of poetic imagination, we embarked on a sometimes ardusequently rejected for refusing to sign the equivalent of a ous, sometimes wild journey, pursuing the consequence of Patriot pledge of allegiance not to exhibit any art that might our intellectual, visual, and visceral passions. be politically critical, is planning to move and expand its current Soho operation.
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These are matters of portrayal of space and site, of CZkhebfhoZ% ;hkb DZg`% =Z R^hg Dbf% Ah Drng` E^^% F^`Zg tectonic characters delineating programmatic exchanges Erg\a% Knma FZg]e% Ne Rhg` Fhhg% =Zgbe GZ`r along the borders of inside and outside. Architecture as the performance of delineation. Architecture in the act of showing and telling. CZ\h[ ;^grb% R^ng^n <aZg`% E^gZ ?Zg% F^ebllZ M' @he]fZg%
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('0 (0' (0. //' //( ('+/ (',( ()+, (**' This core studio explored how the act of delineation produces a state of
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“between-ness” or differentiation, a condition resulting from
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acts of drawing. Drawing forms a repetitive action whereby
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the condensation of marks and gestures opens new figurations upon a page or within a screen. But one might contend
((/ (.) (.- (/' (00 )'/ /)* /+' 0+- ('-' ((/* ((/. In the ter- that drawing is also a process of extraction that moves or ritory of our search, abstraction commingled with both real- projects the specific characteristics of something into anothism and idealism. Through expansive, intricate, and rapid er state. The studio operated in three dimensions (model and iterative material experimentation — episodic searches construction), which afforded the opportunity for material
exploration at every stage of a project’s development. These The Decade-Long Federal Implementation of a New material investigations, which included the existing condi- Urbanist Prototype tions of the site, provided a kind of resistance and elicited In the United States alternatives to market-based housing — intelligence in the process of developing concepts and forms. i.e., public or social housing — have rarely found firm ground. The project for the Drawing Center evolved through iterative Housing is primarily a product of private markets, save for large stages and relied upon the development of techniques of concentrations of federal public housing in the northeast and fabrication, both analog and digital. The intellectual ground- in Chicago and Detroit. In New York City almost 400,000 people ing of the studio was mined through lectures, discussions, live in public housing (8% of the city’s rental apartments are and readings; these group debates allowed each student NYCHA units), and today there is not a serious, or even minor, to craft his/her own position relative to the agenda of the backlash against public housing in the city; New York has been studio. Architecture is by its very nature a site of human a model of success for public housing. But New York is a rare exchange and the creation of a social act. Therefore, every- circumstance in the United States; there has been a steady thing over the course of the semester was contextualized march in most cities towards reducing the role and presence of within a social sphere of practices, ideas, and events.
public housing.
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ing as a prototype, addressing unique sites and political his-
The 2007 Housing Studio at Columbia examined housDphg% >ebsZ[^ma EZlZm^k% GZhfb H\dh% CnebZg IZg\hZlm% <Zi tories in New York City but also along a vector from a site in IkZl\a% EZnkZ Lm^]fZg% AZr^l LaZbk% Fb\aZ^e PZe\a
the Bronx; to Armonk, New York (Westchester County) and to Bridgeport, Connecticut (Fairfield County). The work was primarily focused not only on the production of new prototypes for housing but also on the re-invention of the term
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itself: what is a prototype, how can it be deployed today, and how does site affect prototype?
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( (+ (.0 (/. (// (0' (00 )'* In the United States the number
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of housing starts are a key indicator of the country’s eco- D`Z_X\c 9\cc# \kbmb\% pbma N`cc`Xd 8iY`ql nomic health. As a commodity, housing is understood to LMN=BH ,% ?:EE +))0 produce value on behalf of investors at its point of sale, but it also produces long and short-term forms of value in how ( (+ (.0 (/. (// (0' (00 )'* (''- ('*0 ('+* ((,/ (+)* (+)+ it is financed and how the debt associated with its purchase Re-Imagine these four sites; project a future housing site is secured and traded. Housing in the United States is a critical financial instru-
and develop a prototype that can survive there. Location 1 1937: The New York City Housing Authority
ment that is simultaneously laden with countless narratives emerges as the largest Public Housing Authority at the dawn of private life, domestic rituals, and everyday life. The degree of federal housing funding. Anticipating a great new stream to which these narratives can be jointly addressed has domi- of federal monies, the city, and in particular Robert Moses, nated the production of housing design; that is, housing has position New York to receive more of this new funding than managed its financial risk in large part by managing the nar- any other city. ratives of its visual and social roles. To this end it is possible
Location 2 1967–75: New York is called the “Ungovern-
to say that housing has suffered a deep lack of technological able City” and its mayor, John Lindsay, is characterized as innovation as the financial risk associated with its production presiding over the fall of the city. In this turmoil housing is and financing has been assuaged by its semiotic and linguis- not only called a “crisis” but it is also often called a “right,” tic appeal and its pandering to memory. Despite the outward setting a stage for a battle that has never been far from the appearances and figural qualities of housing design, few center of any NYC Mayor’s agenda. architectural programs are as saturated by deeply rooted
Location 3 1983: Post Modern Classicism manages to
forms of political, economic, and social thought — indeed “sample” the film of the destruction of Pruitt Igoe — the political and social ideologies — as housing. :K<ABM><MNK>
troubled public housing block in St. Louis. The author of the
book — here un-named — a genius at riffing the conditions and hence cities — housing prototypes. What kind of city do of the moment — signals that modern architecture is not so you want to inhabit? much the cause of Pruitt Igoe’s ills but that it can be “killed” nonetheless. A broad and troubling message is given: mod- FZkeh ;khpg $ >fber Chaglhg% E^nrn <a^g $ =Zgb^e IZrg^% ern architecture and its prototypes are discredited if not out- Rng Lnd <ahb $ L^ Rhhg IZkd% @k^mZ AZgl^g $ Drng` CZ^ Dbf right destroyed because the opportunity to do so emerged. In Europe the closing of the door on modern architecture is not so conclusive. Location 4 1987: New Urbanism reverts to a simulacrum
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of the past “town” plan — managing the real time fear and 8[X KfccX# >`lj\gg\ C`^eXef " K_fdXj [\ DfeZ_Xlo# \kbmb\l paranoia of a society that realizes it has not been “home” in LMN=BH ,% ?:EE +))0 some time. It gains a greater hold on the imagination of government and developers and becomes the significant force “When your house contains such a complex of piping, flues, in development.
ducts, wires, inlets, outlets, ovens, sinks, refuse disposers, hi-fi reverberators, antennae, conduits, freezers, heaters —
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when it contains so many services that the hardware could
C^__k^r Fbee^mm $ HebobZ KZfhl% :rZeZ Khl^g $ FbkbZf PZk] stand up by itself without any assistance from the house, why have a house to hold it up? When the cost of all this tackle is half of the total outlay (or more, as it often is), what is the house doing except concealing your mechanical pudenda
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— Reyner Banham, “A Home is not a House”, 1965
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/0 0+ ((+ (/* )'' -)' -)) -)* ('(* ('(+ ('(, The goals of this .) (.0 (00 )'* --, 0(( 0(, 0(- ())* ())+ Using actual data studio were: to radicalize and instrumentalize the relationship to produce meaningful results, students designed proto- between the mechanical and the social, the infrastructural types for housing that tested the city. Inverting the studio and the architectural; to deploy the technological artifacts of imperative to work on a built object/prototype that might infrastructure to interrogate architecture; to use the social or adjust itself to a future site, this studio’s work involved cre- operational qualities of architecture to complicate and corrupt ating a set of urban parameters for a prototypical Housing+. seemingly neutral or purely functional infrastructure. Housing+ implies beginning with the premise that cities are
Students obsessively and meticulously researched six
not constructed of built objects alone, but of networks of infrastructural systems (HVAC, power, water, parking, comnetworks that inscribe multiple kinds of spaces, near and munication technology, waste management) and the ways far, material and immaterial, political and social, public in which they mediate, operationally and spatially, between and private, institutional and non-institutional, formal and the apartment, the building, and the city. The conception, informal. Housing + projects are design environments, not construction, and corruption of these systems at urban and design objects.
domestic, public and intimate scales, led to a new under-
If Superblocks stand in for typical modernist examples standing of housing and the relationship between housing of urban transformation and HOPE VI stands in for typical hardware and software, between social-political constituenpost-modern urban transformation, what kind of city might cies and service-mechanical components. our prototypes predict? Students tested the city with housing prototypes in an attempt to be provocative and cause a ripple Hmbl ;^kdbg $ Fb\aZ^e <ZoZg]^k% :ggZ FZk Z ;h`Z] mmbk $ effect on a resultant map of the city. All architectural proj- KZbgZ Eb Dbf% Fb\a^ee^ <aZg` $ Arng be Ha% Lm^o^g @Zk\bZ ects and descriptions inscribe data. In fact some drawings $ <a^kre Phg`% C^^&Ar^ Dbf $ L^ma F\=hp^ee% $ Chg` L^h and maps are produced and generated with data alone. Con- Dbf $ Lng` Rhg` E^^ ventions of mapping, urban analysis, and architectural description were reformulated over the course of the semester to produce alternate and refreshed land-uses, landscapes
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, +( ()- (,* (,+ (.( -*( -*- ('.' ('.* (*() (*(, Buildings ., (.* ,0- ..( ..* ..+ ('*) ('*, Whether subsidized by are always prototypes. Unlike other comparative objects governments or produced through speculative develop(cars, airplanes, industrial products, furniture, ipods, etc), ment, housing requires that the architectural object medibuildings are always unique. This is both an exhilarating and ate between the needs of individuals and the logic of groups. challenging reality: exhilarating in that as architects, we are It involves intelligence at urban and architectural scales always innovating, always designing something new, and simultaneously, and thus the design of housing always challenging in that the development associated with refining entails having a vision for future city life as well as for varian object through multiple prototypes that allow the actual ous modes of private life. Housing operates according to object to be perfect is simply not how buildings are built. different logics at different scales: cultural trends, idiosynComponents of buildings, on the other hand, can be devel- crasies of the domestic space, financial and social power, oped through prototyping that assures a high degree of reso- legislation, technological development, and the larger life lution and refinement. The network of coordination associat- of the city, all determine (often in an uneven way) aspects ed with the assembly of components that comprise a building of housing. Therefore the studio began with researching the is where prototyping becomes logistically impractical.
systems that regulate the very conditions of the possibility
It is exactly this limit of (physical) prototyping that is of housing today, both globally and in the US. addressed, and partially overcome, with recent design man-
Our task in the studio was to engage in a type of projec-
agement software that creates virtual prototypes capable of tive coordination of these forces. Throughout the semester, coordinating entire buildings before they become actual. The we concentrated on developing an intellectual and political design of Boeing’s 777 passenger jet was a benchmark for attitude towards the city and the role of architecture in it. The virtual prototyping as it marked the first time that a jet of this extent to which we were able to articulate this position inevicomplexity was fully designed without a physical prototype. tably produced implications for our ability to imagine housOver 10,000 engineers in 26 countries collectively worked on ing. We not only tried to anticipate the future of the American a single computer model that became the instructions for city, but also imagined how architecture might change the production. This also serves as a benchmark for architec- status quo; how architecture — through its formal intelliture as this type of integrated design process is just begin- gence, its programmatic figuration, its material propensity ning to emerge as the model for building production. It also and construction, or its visual instigations — could affect questions whether digital prototyping effectively eliminates daily operations of individuals and groups. the need for physical prototyping and if not (which seems to be the case with the recent resurgent interest in fabrication ;kbZg :\de^r $ PbeebZf Kh^]b`^k&Kh[bg^mm^% <akblmhia^k among architects) then what is the relationship between the ;Zke^r $ Mkhr Ma^kkb^g% :Zkhg =Zobl $ LaZkb_ DaZec^% AbggZ two? There are important issues surrounding this develop- DZihhk $ Cb Rhhg Ha% LaZkhg Dbf $ =Zgb^e Kns^n% LaZkhg^ ment that were central to our research into redefining pro- Ibhgmdhpldb $ =ZaebZ Kh[^kml totype for architecture. ;kb`^mm^ ;hk]^kl $ ?hkk^lm C^ll^^% ;kbZg ;knla $ Rhg` Cn E^^% ;k^mm =hk_fZg $ ;^gcZfbg K^b\a% Ikbl\beeZ ?kZl^k $
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((/ (.) (.- (/' (00 )'/ ,*/ ,+' ,+) ./* ()0) ()0+ Housing occupies a spatial and perceptual territory where the domestic and the urban, the intimate and the collective intertwine. Believing that a single optimizing logic would be inadequate :K<ABM><MNK>
to address the complexity of urban housing prototypes, pliant strategies and tactics of organization were developed to
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negotiate individual domestic terrains, orchestrate aggrega- CXli`\ ?Xnb`ejfe# ]bk^\mhk tions and collective intersections, and choreograph networks of exchange across urban landscapes and social fields. -( (/' (0' )') This final three-semester sequence of Strategies were tested across uneven environmental and Advanced Studios in the architecture program builds upon social pressures — recalibrating noise, waste, wind, horizon, the Core Studio sequence but also diverges from it in signifisurface, porosity, density, concept, and metaphysics.
cant ways. Beginning in the fourth semester, the Advanced
Through iterative and meticulous exploration, resil- Studios share a common imperative in addressing the design ient and responsive tools and performative systems were of a building to house a small or medium-scale institution, developed and designed. Investigations oscillated through with an emphasis on experimentation. Each studio, however, analytical, immaterial, and material regimes in the develop- focuses on a different institution and site while exploring ment of conceptual drivers that propel innovation at every unique means of redefining and inventing the role of public scale. Projects engaged relations among domestic rituals, and/or private institutions and their relevance for urban life; the territories in which they are enacted, and the urban in- through critical analysis of existing institutional programs frastructures and social organizations they imply.
and the invention of new programs, the individual studios
The field of our work included the magic of the real re-appraise and re-define the potentials of an urban instituand the potent possibility of the not yet imagined. Harness- tion. This year, the various studios’ programs ranged from an ing the power of potentially prototypical design strate- urban agri-center sited in Brooklyn to mixed-use twin skygies and ensembles of techniques, each team negotiated scrapers in Dubai to a space hotel in low earth orbit. Despite the complexity and banality, the density and dynamic inde- the speculative nature of the projects, each studio took on terminacy of aggregated domestic practices within the urban an ambitious analysis of form, structure, and typology as terrain. Redefining horizons of aspiration, discrete systemic well as environmental impact and emergent technologies; logics were cross-pollinated in response to both prosaic and students working on the space-hotel, for example, worked exceptional circumstance, revealing latent possibilities in in- closely with NASA space station architects in realistic and spired constructions of new realities, and imprinting new meaningful ways. The fourth semester studios are always landscapes of relevant social contestation.
very specific in nature, directed by each faculty member, but they share the exploratory nature that is key to the school.
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The Advanced Studios extend the students’ capacity for
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more independent and investigative thinking about architec-
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ture. A wide range of topics and projects are offered each semester, and critics present studio projects that relate to their specific areas of research and expertise. Students take on specialized individual design trajectories in Studios 5 and
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6 with sites and programs often dispersed globally. In the fi-
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nal semester, studios travel to sites that support their studio
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research topic. Travel is supported by GSAPP funding in the form of Kinne Travel Grants.
/ .+/ /(, /(. ((*. ((+) ()-0 ().( (When) does the prototypical set the highest standard?
The fifth and sixth semesters of the Master of Architecture program are combined with the final two semesters of the Advanced Architecture Design program, Master
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of Science. Eighteen studios are offered for students in
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both programs, and each is led by either a full time faculty
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member at Columbia or a visiting professor, often in teams
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that combine professional expertise. Studios address new realms of urban development, focusing on environmental remediation, energy use, water, irrigation, transportation, and infrastructure, and the potential impact and effect of
major urban transformations worldwide. Certain students requirements of a large project currently under development also develop close associations with GSAPP Research Labs, in the city. using these as a way to evolve and test their ideas in an environment that extends beyond the bounds of the school.
Over the course of the semester, we had an informed, critical, and open-ended discussion about the future of opti-
The complexity of conceptual issues, programs, and mization and the future of architecture. sites builds upon the basic skills gained in the Core Studio and summer AAD sequence. Students are exposed to a Hmbl ;^kdbg% ;kb`^mm^ ;hk]^kl% FZkeh ;khpg% ;kbZg ;knla% greater number of studio critics and consultants and must SZ\aZkr <he[^km% Ikbl\beeZ ?kZl^k% =Zgb^e IZrg^% LaZkhg^ assume responsibility for structuring their goals. Students Ibhgmdhpldb% PbeebZf Kh^]b`^k&Kh[bg^mm^% DZmb^ LabfZ% from the M.Arch. and AAD programs often work together FZma^p LmZn]m% Mkhr Ma^kkb^g in these studios, and the diversity of backgrounds, experiences, and specialties they bring forges a collective energy each year that affects the studio production. The Advanced Studio sequence fosters an experimental
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design culture sensitive to the many different roles played ?\ieXe ;`Xq 8cfejf# \kbmb\ by architects in contemporary society. The Advanced Studios LMN=BH -% LIKBG@ +))1 seek a new threshold definition for these roles; this innovation relies on the energy and contribution of the students to .' ((- (/, -,( .,+ .,/ (')) (*', (*'/ In a milieu of genome create a new benchmark with each graduating class.
mapping, terabyte-scale personal media management, nano-scale medicine, and private space tourism, the majority of Americans still believe in Creationism over Evolution. America is not just a religious country, it is a country of reli-
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giosity. Everything — shoes, cars, soda pops, diet regimens,
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twining of personal redemption and self-realization is deep
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in the local character.
operating system preferences — is not just marketed; it is evangelized. Here (perhaps especially in California) the inter-
One reason America is good at designing new spiritual 0) (.( (.+ (0+ (0- )') .+, .+- ().) ().* (*'0 (*(' (*(+ (**0 products is because it is so good at creating the demand for Optimization is calling. As new software allows architects them. In this studio we designed a new Mega-church for an to model and measure the performance of buildings — in evangelical, charismatic Protestant Christian congregation relation to environmental systems, structure, and flows of in downtown LA. Students carefully studied Gothic religious air and water — we face a sea of promising and highly rel- architecture (among the most beautiful spaces ever created) evant numbers.
to consider their success in marrying the social, spiritual,
But now what? How do we improve the numbers? When political, and sensual into a single design. The studio imdo we stop tuning them? How do we negotiate between com- mersed itself in local Mega churches to directly empathize peting objectives? Which aspects of architecture should be with the needs of this varied, complex client base. optimized in the first place?
The contemporary Mega church is sometimes an op-
This is the territory of Proof Two. In this studio about opti- portunistic adaptive re-use, taking over basketball arenas, mization and testing, we aimed to create architecture through warehouses, even parking lots as needed, and always inherthe design of experiments rather than the design of solutions. iting some of the atmosphere of these. As forms, they have Yet while we employed serious tools of engineering and scale but often insufficient sacrality; they don’t achieve the computer science, we did not limit our studies to numbers. We same resolution of political and sensual grandeur of cathealso valued positions about culture and program that were dif- drals of the past. Part of this studio’s task was to give a more ficult to quantify.
official, more contemporary, more fantastic form to these
We applied our research to the design of twin towers in emergent political bodies. Dubai, addressing issues of tall buildings and energy, as well as
The studio proposed to re-examine the possibilities of form generation as an autonomous entity. In the context of
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these conditions, the studio focused on the generation and production of mutant micro-behaviors that would accumulate to create species from systems.
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.) (.0 (00 )'* -0* -0+ (''/ ((-) ((-* The studio examined the pathways, institutions, and built products of the informal global trade in money. How is the movement of money manifested, and in what forms, in urban centers worldwide?
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Taking New York as a laboratory for experiments with this
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tools to understand the flexible forms and institutions that
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emerge with informal patterns of global migration.
phenomenon, the studio used visual, analytic, and design
Rather than accepting the common presumption that /* /(+ /)( ('(. (')0 ()(' ()() The studio proposed an the West or the developed world establishes institutions that investigation of laterality in the design of a creative wing for dominate the developing world, documented and responded the Sense of Smell Institute (SOSI) at the Fashion Institute to the reverse trend, in which the developing world estabof Technology (FIT). “Since its inception, the Sense of Smell lishes new patterns in its host cities, dollar by dollar, person Institute has explored new olfactory frontiers and supported by person. The result is a massive, still growing, dynamic innovative research projects that integrated the study of global network of physical and communication spaces. Arolfaction with current issues in developmental, perceptual, chitects need to learn how to recognize and how to deploy social and cognitive psychology, anthropology, neurosci- the spatial definition of these patterns: what do they look like ence and related disciplines” (Sense of Smell Institute, now? How are they transforming the city? What might they mission statement).
look like in the future?
The studio constructed an intensive environment for research of emergent technologies and their reciprocal re- :ggZ FZk Z ;h`Z] mmbk% Fb\aZ^e <ZoZg]^k% >`[^km <an% lation with the material conditions of constructing architec- LaZkb_ DaZec^% =Zgb^e Db]]% C^^&Ar^ Dbf% C^__k^r Fbee^mm% turally. Sensation provides a means of exploring the inter- :rZeZ Khl^g section between emergent technologies and design through a logic of bodily intuition. In displacing, amplifying, and recircuiting the sensory limits of the body to the spaces and objects that surround it, they provide an extended field for
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critically rethinking the relation between the technological C`e[p Ifp# \kbmb\ and the material. Non-coincidence in the relations between LMN=BH -% LIKBG@ +))1 phenomena, sensation, and cognitive perception were examined to critically re-examine the legacies of phenomenology ,. )', .0, .0. 0-* 0-+ The concept of World Heritage and Gestalt.
defined by the United Nations Educational, Scientific and Cultural Organization (UNESCO) is exceptional in its uni-
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versal application. Natural and cultural sites considered of
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outstanding value to humanity are so designated and pro-
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tected. Environments encompassing significant biodiversity, archeological sites, and those evidencing acts of extraordinary human achievement are deemed resources belonging to all peoples of the world regardless of the territory in which they are located. This studio investigated the effects of climate change on thirteen UNESCO World Heritage sites on the African
continent. Students sought to grasp the vast geological Lng` Rhg` E^^% L^ma F\=hp^ee% E^Za F^blm^kebg% Cb Rhhg Ha% and evolutionary time scales of these environments and to ;^gcZfbg K^b\a% <akblmbZg Knn]% EZnk^g\^ LZkkZsbg% understand the diverse but interrelated phenomena from FbkbZf PZk] which these sites took form. An alternative energy source available within each site was identified and the program of tourism adopted as a means of intervention.
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-/ (*- (.* (''+ ('', ((+. ((,( ()') ()'0 The studio operated through an opportunistic exploitation of limits, examining the manner in which constraints can provide the catalyst for architectural invention.
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to rethink received architectural and urban formats
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based on emergent socio-spatial conditions and new perfor-
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mative criteria, engaging specific programmatic, environ-
More specifically, the studio examined the potential
mental, and physical imperatives to catalyze the architec(*) (.- (// ('-/ ('.( ('.) ((++ ()-, ()// ()/0 ()0, One tural imagination. of the most provocative images of space exploration from the
The focus of these investigations was the emerging
19th to the end of the 20th century has been that of a space concepts of urban agriculture as a social and environmenstation floating above the Earth to serve as a way station to tal practice and as a catalyst for re-organizing the relationthe universe. The visionary images for the space station as ships between productive landscapes, buildings, and cities. they appeared in art, literature, and film greatly inspired the While engaging the broad cultural and spatial implications imagination of scientists to probe the limitless territories of surrounding the production, marketing, and consumption of the outer atmosphere and the eventual implementation of our food in urban environments, the project entailed the design present-day and future galactic outposts. From early science of a highly specific architectural entity — a hybrid institufiction projections it has been understood that once rocket pro- tion combining aspects of community center, information pulsion could overcome Earth’s gravity and reach orbit, travel- clearing house, marketplace, and horticultural laboratory. ers would be “halfway to anywhere” they might want to go. Conjoining engineered landscape and programmatic space, From such a mythical concept one can imagine a hotel floating the project acted as a demonstration site for urban agriculin the LEO (low Earth orbit) serving as a transit point between tural processes. destinations on Earth, the moon, our galaxy, and beyond.
While its full potential and effects are yet to be evaluated,
Based on current strong indications that ventures of the significance of the urban agriculture movement for the making new and competitive environments in LEO are eco- studio resides in its capacity to dislodge imbedded concepts nomically feasible and with a market growth analogous to of the constructed and the natural, provoking new spatial, commercial air transport in the very near future, the studio social, and programmatic possibilities. The studio asked how problem proposed architectural scenarios and artifacts for urban agronomic practices might sponsor more imaginative LEO tourist environments. The broader research compo- and sustainable built formations that synthesize the agrarnent of the studio also investigated the known effects of ian and the metropolitan — wherein city and productive landtraveling and life in space with the essential elements: scape are seen as contiguous and interrelated systems. space food, space suits, space medicine, space exercise, etc. that informed the individual projects in order to offer ;kbZg :\de^r% SZ\aZkr :]^kl% Rng Lnd <ahb% Fb\aZ^e <ahp a total design package that accommodates a burgeoning :Zkhg =Zobl% Lm^o^g @Zk\bZ% Cbg Phh A^h% PbeebZf D^fi^k% industry of space tourism.
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dispersed as series of climatic/sensorial inserts within
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the existing city fabric. Within this framework the studio
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expanded material explorations at various scales including 1:1 prototype fabrication and generative design via advanced
-+ (-* (-/ (-0 (.. (/, (0( )') The Master of Science degree modes of scripting. in Advanced Architectural Design is a three-term program consisting of summer, autumn, and spring terms.
High-resolution and highly articulated yet adaptable spatial tissue will release a series of micro-climatic conditions
The objective of the program is to provide outstanding in the city; new atmospheres. This internal ecology will nest young professionals who hold a B.Arch. or M.Arch. degree itself as an opportunity for participatory occupancy by its usthe opportunity to enter into an intensive, postgraduate study ers. Students worked with the idea of production of space via that encourages critical thought in the context of design interaction of its inhabitants within the highly informed spatial speculation. Overall, the program emphasizes an experi- fabric. Drawing upon the material intelligence and non-linear mental approach to architectural design and research, rig- behavior of complex fabrics, the studio questioned normative orously grounded in multiple, complex realities. Specifically, notions of hierarchical tectonics, instead encouraging the dethe program seeks to: 1) engage students in a worldly under- velopment of networked or woven infrastructural ones. standing of architecture that responds to the challenges and
Immense by way of their algorithmic origin, these sys-
possibilities of global urbanization by exploring the city in tems are able to support probabilistic and improvisational all its forms; 2) articulate architecture as a cultural practice programmatic patterns. As a means of addressing a more that combines reflective thought, design experimentation, conventional understanding of architectural program, that and ethical responsibilities in an interdisciplinary milieu; 3) which fixes and regulates, the studio considered instead logics produce architectural objects that reflect an open, critical of programming, those which are provisional and interacengagement with new and existing technologies.
tive in nature and thus invested in processes of autonomy
The advanced studios frequently utilize New York City and invention. as a design “laboratory” — a global city that presents both
Simultaneously being an interface for unstable program-
unique challenges and unique opportunities. The required matic occurrences, one experiences a creeping perception summer lecture course, “Metropolis and After,” explores ar- of variations within the fabric itself. In its “genetic” memory chitecture’s historical and contemporary role with respect to it is carrying potency for mesonic events. They reverberate changing notions of the city, while the accompanying sum- through space as intricate and interlaced fabric imprints. In mer elective courses are conceived as seminars in “strategic words of Brian Eno: the future will be like a perfume… thinking.” These are all designed to offer students a range of approaches to working with complex cultural and tech- IanmmbiZg :lpZdhhe% >lma^k <an% GhkbZdb AZgZhdZ% CnebZ nological issues. The program as a whole has long been a Ahbgl% Lb]]aZkma CZ]aZo% F^bk Eh[Zmhg <hkhgZ% :]Zf site for young architects from around the globe to test new F^k\b^k% B`gZ\bh Gb^mh% @^hk`^ JnZbo^k% Bkf`Zk] K^bm^k% ideas and confront changes that affect architecture and cit- <^lZk MZkZg\hg&A^kZl% >]fng] Rn ies worldwide.
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0), 0)- ((*) ((*+ ()(/ ())' With the anticipated growth of 0' ().- (*)+ This studio sought to rethink the fabric of space Manhattan in the next decade the studio set out by workand its resolution in the context of algorithmic infrastruc- ing through spatialised conceptions of making something ture and increased data populations applied to correspond- “a little larger”. The artificially constructed category of “not ing emerging modes of production. On a global scale, the necessarily spatial” served as the frame to the two driving studio worked on a proposal for ecology of micro-gardens concepts: the idea of something like a thick digital drawing
pad that necessitates more than one person interacting with emerged such that the breadth of projects developed through it at the same time and the idea of intensifying the architec- the rest of the semester proved to be wide and diverse. ture on a site with a limited spatial boundary. This intensifi-
Further, this studio took the stance that fabrication is
cation was not seen in terms of making physically larger or an operational state of mind. In other words, the intent was saturating experience, but rather constructing precise math- to simply add the Fabrication Lab’s machines to an existing ematical formulations, whose invented logics became the arsenal of tools through which one can work towards the dematerial of construction of the thick drawing pad — enabling velopment and clarification of a project — to think through. a drawing that constantly evolves and changes in and of itself Navigating between traditional definitions of both “models” — a drawing where there is no need of (re)presentation, but and “prototypes”, and operating under the premise that any in which things happen sometimes by themselves, always “at particular construct physically generated through the Fabthe same time” and with absolute immediacy.
rication Lab should strive to demarcate a particular moment
Multi-platforms — of “drawing/painting/image making of clarity with respect to a project’s overall thrust, ideas into architecture, and back again” — allowed the discourse to (rather than machine capabilities) generated production. be taken away from contemporary use of “teamwork” or “collaboration”, and more towards the strategic relation of “more :ghg] :knglfbma% :fZg]Z ;khhdbgl% <'C' <a^g% =pZrg^ than one” and “more of the same.” This was a questioning of =Zg\r% DkblmcZg =hgZe]lhg% MbZg @Zh% Lm^iaZgb^ Alb^% not only how “new onto existing” can be thought about differ- <a^g`&Ebg` Ebg% Rhb\abkh Fbsngh% =bfbmkZ MlZ\ak^ebZ% ently — outside of spatial or spatialised relations — but also >e^_ma^kbZ MsZgZdb% <aba RZg` the specific ways in which to construct thought processes that actively critique contemporary language of the generative, the evolutionary, growth, the parametric, etc.
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()( (,- (// ./' ./( (''' (''. (*+- (+.' What do hippies and hunters have in common? One might think that pacifist, vegetarian, long-haired idealists are at odds with people who track and hunt animals and then stuff them
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for display. However, a shared interest in nature preserves
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and off-the-grid land use is creating unlikely alliances.
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Environmentalists like the Sierra Club and hunters’ advocates like Trout Unlimited have started to work together to
+( .-. .-/ .0' .0) (+(. (+(0 This studio provided an open call preserve wilderness and wildlife from encroaching housing for preemptive, architectural action towards specific, pro- developments and industrial land use practices. Could this ductive, beneficial, and constructive ends. Studio operations signal a broader alliance between political movements? systematically prompted productive explorations through For decades conservatives have accused environmentalists various collaborative modes. Immediately, the studio was of being anti-development, but this emerging cooperation divided up into four groups, or collaborative clusters. Each promises to frame the debate about sustainable land use in participant developed an initial stance into a proto-project, a very different light. then handed the developed stance off to another individual
Within this changing economic and political context,
within that specific collaborative cluster. Upon exchange, the wilderness is being reinvented. Wilderness promises a studio participant who just inherited another’s proto-project place for escape, leisure, personal reflection, utopian extook full, albeit temporary, ownership of that idea, and devel- perimentation, sublime awe, the challenge of the hunt, and oped the project within a given timeframe. This exchange the threat of attack and exposure. To uphold this promise, occurred four times, until the project fell back into the origi- land must be constantly tended, reconstructed, regulated, nator’s hands. Through this high-performance engine, ideas, sold, and made profitable. What remains to be seen is how techniques, strategies, and additional collaborative modes emerging partnerships between government and business :K<ABM><MNK>
will construct new definitions of wilderness, impact public same time, huge leaps in technologies of landscape analyrights and access, and affect depleted natural resources sis and representation have further expanded the edges of and global climate change. The focus of this studio was the the discipline. Today, landscape is integrally tied not only to construction of wilderness amidst the contemporary context the urban realm, but also to the complex infrastructure of of environmental crisis, market-oriented land development, mobile networks and geo-spatial information systems (GIS, and government regulation.
GPS, remote sensing, satellite imagery, Google geo-tagging) that pervades our interaction with and representation
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of “environment.” In investigating this contemporary condition, this studio
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urban landscape form and the representation of nature. The
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challenge of this studio was to invent hybrid architectural, landscape, datascape, and urban patterns, reclaiming a 251-acre contaminated site on the New Jersey shore as a new “public park.” In addition to interpreting the notion of
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park, students investigated and designed a “visitors’ center”
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relative to new interactive mapping technologies and exist-
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ing social networks that link to lower Manhattan, the Statue
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of Liberty, Ellis Island, and other nearby tourist landmarks. Students were asked to design and choreograph the inter-
(+* .*( 0/, (()/ ((+, The studio investigated issues of face — both physical and virtual — between visitor and naexcessive urban and architectural strategies in an extreme ture and to challenge traditional constructs and boundaries climate, extreme economic and political context, and in an of interaction between the two. environment of extreme and excessive implementation of American style popular culture, as can be witnessed and is FZkbZ :kkZlZm^% :e^cZg]kh :kmb`Zl% :]Zf ?kb^l^% :lae^r currently in the making in cities like Dubai and Abu Dhabi.
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Students examined the architectural strategies preva- LZg]arZ GZb]n CZgZk]aZg% =Zgb^e MZe^lgbd lent in contemporary urban development and excessive architectural fantasies in places like the United Arab Emirates, and developed architectural and urban strategies of their own that critically responded to those conditions of (economic) en-
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vironment, (architectural) culture and (body) politics. X-S City: DXib IXbXkXejbp# \kbmb\ Abu Dhabi Capital Gardens is a utopia settling into reality.
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you like your urbia? Sub- or Super-? In- or Ex-? Is it good
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hi-rise, bad suburbia? Or is it good suburbia, bad hi-rise?
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The sprawl, say in South Korea, of the ubiquitous hi-rise tower communities or low-rise suburban spread? How can we take the typologies of Suburbia and Superurbia, of Ex-urbia or In-urbia, and develop new to-
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pologies of exterior and interior — sub-surface and super-
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depth, super-surface and sub-depth — in designing new
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apartment towers in Shingal and a new low-rise suburban development in Yangji. This performance of insides
)( /-. ()*. (*). (*)0 For many designers across a range and outsides, of social surface and depth, were explored of disciplines and scales, landscape has emerged as a through the topologies of interior and exterior life — the model for thinking about contemporary urbanism. At the domestic drama and domestic comedy of life in houses
and life in apartments. Thus, these spatial topologies are generate complex forms and surfaces, and they control the consequently psychological topologies, social topologies, fabrication and assembly of building components. But their and political topologies.
scope and limits are still relatively unknown. This is the territory of Proof, a collaborative, open-ended research studio
LaZh =^g`% EZnkZ @hgsZe^s% DZma^kbg^ A^\d% Fb\aZ^e
that explored new ground through the process of testing.
DZÍZbghgb% @hegZs KbZsb Dah^b% Chl^ I^k^s&@kb__h Objn^bkZ%
We learned by testing, and we tested by prototyping and by
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drawing on the scientific method. We sought valid results by
MlncbmZ% Ob\mhkbZ R^^% Fb\a^Ze Rhng`
iteratively generating hypotheses, designing experiments, conducting controlled tests, and analyzing the results. We sought verifiable results by documenting and sharing our experiments publicly. More specifically, we used advanced
*-- @HK@>HNL =>F:G=L RHNK BFF>=B:M> :MM>GMBHG
computational methods (genetic algorithms) and multi-
;Xm`[ KlieYlcc# \kbmb\
procedures of testing through computer simulation (compu-
::= LMN=BH% LNFF>K +))0
tational fluid dynamics) and testing through physical proto-
objective optimization software (modeFrontier), as well as
types (digital fabrication and tow tank deployments). / /+. /+0 ())- ()*) (+(/ (+)' ISSUES: ARCHITECTURE &
Although we employed serious engineering and com-
PHILANTHROPY, CELEBRITY, BEAUTY, LUXURY +
puter science tools, we did not limit our studies to num-
Carbon Footprint ‘Deep Compatibility’
bers. We applied our techniques toward efficiency and form,
Ecological ‘Sustainability’... In Every Way
while also applying them toward complex issues of culture,
Site: Astor Place_nyc
infrastructure, and program that are difficult to quantify.
Then: Cooper/Carnegie/Hewitt/Mellon
Throughout the process, we generated informed, critical, and
Now: Brad/Angelina/George/Al/Bill/Leo/Julia
open-ended discussion about the future of architecture.
Program: Hotel (50 Suites) Price: $2500 — 8000 Per Night
FbeZg =Ze^% Chk]Zg =b\dbglhg% Lb]]aZkma CZ]aZo% Labg
Restaurant/Lounge/Cocktail Bar/Smoking Room
Dhhd DZg`% FZkmbg <aZ] D^eeh``% MZh Ebn% :]Zf F^k\b^k%
Pool/Private Dining Room (50 - 150 Person)
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Screening Room — Auditorium
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GORGEOUS... in every way L^ma :]Zfl% Rhngcng` =h% Bg^l ?^kgZg]^s LZ^gs ]^ LZg Chk`^ I^k^bkZ% KbmZ LZbdZeb% @bZggb L^bg_^e]% Fhgb\Z Mk^ch%
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I^]kh% Lm^_ZgbZ ?e^\d% L^ Cng` Ha% :km^fbl IZiZ]Zmhn%
pbma DXib :fcc`ej " Kfil ?Xj\^XnX LMN=BH .% ?:EE +))0
*-. IKHH?3 IKHMHMRIBG@ >G>K@R% ><HLRLM>F% >OHENMBHG:KR <HFINMBG@% :G= :FIAB;BHNL :K<ABM><MNK>
/' ()+ (/* ()+) ()++ ()-' ()-( (+*) (+** Urban Think Tank’s
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demolishing the problem areas of the city.
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S.L.U.M LAB has embraced the idea of teaching a studio that develops a strategy of “urban retrofitting” rather than Today one sees small medical centers, gyms, community kitchens, and other small projects that create a sense
0) (.( (.+ (0+ (0- )') .-* .-+ 0/) 0/* ('/0 ('0) Algorithms, of pride and well being within the cities’ poorest areas, and combined with the ever-expanding computational power of have a positive impact on the reduction of fear and crime. machines, promise a new language for a new phase of fine- The S.L.U.M condition, which we have coined as a Sustaintuned and unexpected architecture. They drive optimiza- able Living Urban Model is ad-hoc, complex, and extremely tion of building structure and environmental systems, they contingent. We are working to compliment the programmatic :K<ABM><MNK>
and social infrastructure of the slum with computational Centers within the host countries of origin where migrant analysis tools that can survey and categorize the physical groups can be processed and receive one-year guest workers condition of the SLUM itself. We are also trying to propose visas. Building upon the reality of this situation, the studio a set of tools that facilitate both analysis (de-contextualizing project proposed for the ATBAT-Afrique Site in Casablanca and re-contextualizing) and the potential build-out of “slum- was a joint Spanish-Moroccan Refuge/Reception Center for technology”. We are trying to think of a technology transfer African Migrants enroute to EU Countries via Spain. both in AND out of the slum. The short-term goal was to use the studio collaboration to author a platform for these =pZrg^ =Zg\r% GZmZeb^ =^ En\Z% MbZg @Zh% LZkbmZ @ngZkZmgZ% thoughts, tools, and methodologies. The studio goal is to EZnkZ E^^% >oZg`^ebZ FZkhneb% F^`Zg F^r^kl% LZg]arZ produce an association of architects, thinkers, students, and GZb]n CZgZk]aZg% Cneb^ I^g`% <akblmhia^k La^ee^r% =bfbmkZ builders that specialize in this “technology transfer” in all MlZ\ak^ebZ% Qbg PZg` forms of products, analysis, building structures, and modes of exchange. :gZ En\bZ <Zgh Obee^`Zl% IeZmhg BllZbZl% Rnkb FbrZfhmh%
*-1 MA> @EH;:E ;K:BG3 NGBO>KL:E <HFINM:MBHG
@erd^kbZ Ihgmbdhihnehn% AZkbIkbrZ KZg`ZkZcZg% =Zob] Lbg%
BXic :_l# \kbmb\
Fhgb\Z Mk^ch% Mhfhghkb MlncbmZ% :ffk OZg]Ze% :e^qZg]kZ
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Ohn`bZ% >]fng] Rn 0, /.) /.* (')' The Architecture Of Possible Worlds Proto Cells — Proto Organs — Proto Beings / Proto Nets — Proto Neurons — Proto Bundles / Proto Types — Proto
*-0 K>OBOBG@ MA> ?NMNK>3 FHKH<<:G K>LIHGL>L Structures — Proto Strings / Proto Bots — Proto Genes — Proto Species / Proto Space — Proto Worlds — Proto Life MH @EH;:E =BLIE:<>F>GM GXlc 9pXi[ " :iX`^ Bfepb# \kbmb\l
> Compression < | < Decompression > / The Artificial
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Worlds Of Protoarchitecture
0 (*, 0', 0'- ('-* ('-+ (+(( For most of its history Morocco C^lnl =hgZbk^ @Zk\bZ ]^ eZ FhkZ% :]Zf ?k^bl^% GhkbZdb has been a destination as well as a transit point for migra- AZgZhdZ% CnebZ Ahbgl% =hkZ D^ee^% Drng` Lb\ Dbf% B`gZ\bh tion streams of both political and economic refugees in both Gb^mh% AZgnr IZkd% Bkf`Zk] K^bm^k directions. Casablanca in particular has absorbed rural Arab populations and European ex-patriots alike, shaping its cosmopolitan character. Dramatic increases in population created opportunities for French planners and architects to shape Northern African cities such as Rabat, Tangiers,
*.( LI><B:MBHG3 >OHEOBG@ FNM:MBHG H? :>LMA>MB<L
Algiers, and in particular Casablanca, where inventive new ?\ieXe ;`Xq 8cfejf# \kbmb\% pbma IfY\ik D\qhl`k` housing solutions such as ATBAT-Afrique were executed in LMN=BH .% ?:EE +))0 the post war era of the early 1950’s. With the acceptance of Spain into the European Union .' ((- (/, 0(0 0)* ('/* ('/+ (+,0 (+-' How boring has in 1986, and Morocco being granted Associate EU status ten perfection become? Evidence of this lies in the fact that years later in 1996, Morocco became the port of departure our design obsessions are based on an appreciation for the of choice for Sub-Saharan Africans seeking an easy route perversity of mutant form. Image-forms are the product of to Europe via Spain. Since 2003 under the open door policy speed up and slow down, slice and blend, fuse and separate of the new Spanish Socialist Government, immigration to — repetitions of scenic rhythms learned from a lifetime of Spain has reached a level of nearly 600,000 persons per year. being awed by cinematic affects. Micro-techniques for combRecently, Spain has begun to exert more control over the ing the thresholds of the horrific-becoming-beautiful and flood of immigrants via treaty agreements with Morocco and the beautiful-becoming-horrific (grotesque) have imprinted other states to moderate the flow of Africans to southern themselves as visual-temporal cues on my own design Spain. The new Spanish policy is to set up Migrant Reception retina. The importance of multiplicity has finally opened the
door for mutation as a permanent state of the present. This with potential prototyping capabilities using specific prodis where the true transformation is happening. We are sub- ucts and processes. New prototype recreational programs verting the logic of perfection: what used to be about mas- were proposed for the floating projects, and students were tering the result of a non-perfect process is now about the asked to create arguments and present evidence for their production of monstrosity and the grotesque through the viability at the site, co-existing with the regeneration of the mathematical perfection of an evolving mechanism.
water’s edge at Liberty State Park. These programs and pub-
In the context of these conditions, the studio focused on lic infrastructure require off-site fabrication and are ideally the generation and production of mutant micro-behaviors suited to pre-fabrication techniques, as they would float, that accumulate to create species from systems. The stu- cantilever, or span the cove inlet. dio investigated perforations, nip tuck, bo-tox, fat, follicles,
The studio worked towards full scale mock-ups, draw-
hairs, and the subsequent deformations, evolving into an ings and the production of a fabrication scenario — utilizing investigation of exotic aesthetic isomorphism. The studio a technique and material relationship — positioned within explored the predominant effect of this “isomorphism” be- the architectural project. ing the aggregation of diverse forms of design intelligence into an almost universal condition of image production. F^af^m ;hsZmeb% M^kkb <abZh% @^hk`bZ >p^g&<Zfi^g% :eb Perhaps some might see this as a triumph of superficiality ?ZkboZk LZ]kb% FZkd @k^^g% =^[hkZa @khll[^k`% Cb Rhng` over depth, but it’s certainly also an intensification of the Dbf% R^Z ApZ Dbf% :obd FZbmkZ% ;kbZg FZggbg`&Libg]m% conjectural and fictive logics of design. We see this as a real Kb\aZk] Fhhk^% Chk`^ I^k^bkZ% F^`Zg Ikrhk and complex demand that global network culture makes on producers of architectural content.
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*.* KNG:P:R3 *, P>>DL% *) <A:EE>G@>L% 0!*)" P:RL MH <HGLB=>K :K<ABM><MNK> IKH=N<MBHG'
MZkZg\hg&A^kZl% Lb] Pb\ab^gdn^k
PfcXe[\ ;Xe`\cj# \kbmb\
:fbkahll^bg :ebZfbkb% :gZ <hgmk^kZl LhlZ% FZkmbg A^gg%
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++ (.0 ,.) ,.- -,. -,0 (()' (()( The runAway project studio
*.) ?EH:MBG@ :K<ABM><MNK>3 :G BGO>LMB@:MBHG BGMH G>P F:M>KB:EL% G>P ?:;KB<:MBHG M><AGBJN>L :G= G>P IKH@K:FFBG@ ?HK MA> C>KL>R <BMR P:M>K?KHGM
reformats the process of architectural production in order
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programs. Each week a design challenge was reviewed and
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a new challenge issued. Each challenge required students
to broadcast architectural products. It is based on a competition format with a series of design challenges evoking the limits of architecture and combines aesthetic and social
to generate and commit to an architectural response in this -( (/' (0' )') .(. /0( /0) 0') ()), ()). The New Jersey limited time frame. Each challenge was client- or contextwaterfront is undergoing a significant transformation from a driven. Over the course of the semester, each student proderelict industrial working coastline into a cultural and rec- duced ten projects and a final studio catalogue. reational amenity for the established and newly developed adjacent residential and commercial communities. There is a :ghg] :]kbZg :knglfbma% >kbg ;^Znik^% :fZg]Z ;khhdbgl% public desire to link these two waterfront initiatives with new CZg^ >lmkZ]Z% :lae^r AZgkZaZg% IkZ^ Ehkob]aZrZ% L^ Cng` Ha programs that negotiate between the ecological and urban pedestrian landscapes. The studio addressed the potential of rapid prototyping techniques to develop both economically and environmentally viable full-scale architecture. Through research and exploration of emerging fabrication techniques with new materials and their application to new architectural form, students developed proposals for an architectural project :K<ABM><MNK>
*.+ <EBF:TQV K_fdXj C\\j\i# \kbmb\% pbma <m\c`e\ Al\i^\ej
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EXTREME ENVIRONMENTS (+* (*'* (*'. (++* (++, On Friday, August 31, 2007 the NASA -, ('(/ ('*- ((,- ((,. (+-. Building for our physical necesInstitute for Advanced Concepts closed its doors forever. sities is still often the main driving construction factor for the This think tank for science-based far-out concepts financed development of cities. Nevertheless, today a few cities are research such as: un-manned self-replicating lunar facto- asking radically different questions which have more to do ries, the space elevator, algorithmic based architectures with how much the virtual world is operating rather than the for self-healing spacecraft, shape-shifting spacesuits, and physical world. How do we satisfy the pleasure of the mind, system architectures for self-sustaining lunar colonies.
“unlimited” capital, or our intention to exist as an idea, a
On August 5, 2007 a Russian-manned submersible went place, or a brand? to the artic seabed to plant a Russian flag, triggering a race
Those subjects are usually relegated to an afterthought
for land grabbing and a new territorial war between neigh- in most city planning, but not in a place like Dubai. Geopoboring nations. The flag was placed on a continental shelf litical investment and brilliant marketing have allowed the that the Russian government claims connects Siberia to the small city of Dubai to become one of the major metropolitan North Pole. Under international law, no country can hold ter- players in the architectural world. Fantasy and marketing ritory in the North Pole or the surrounding Artic Ocean.
have become a way to attract capital, generating a city not
Two years ago, it took one hour for a 3000-year-old, based on “demand” or “necessity” but on the satisfaction of 2 billion ton, 10-story ice island to break off the Canadian the materialization of a “virtual environment.” ice shelf. The drifting island poses a threat to the shipping
We cannot consider anymore our reality without a con-
and gas industries of Alaska, where it is expected to hit. The dition of the mental — or labeled differently the virtual — asice island, slightly larger than Manhattan, is stable, and has sociated with the usual physical materiality. Reality is always been explored many times since it was discovered to have a combination of both, but in places where the virtual is so calved, or broken away from the coast.
powerful that it almost entirely generates the physical mate-
Extreme environments are becoming everyday occur- rialization, architecture imagination is seriously needed. rences, and their extremities traverse the political, ecological, and atmospherical. The extreme environment is one in ChaggZ <k^llb\Z ;kZsb^k% <abg` Rb <ahn% C^ggb_^k <ang`% which all architects will soon have to operate.
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What will new technologies bring to bear in extreme en- Dbarh Dbf% <kblmbg^ E^OZll^k% Cn]r Eh% :g]k^l Fb^k&r&M^kZg% vironments? How will biological life be sustained? How can Lm^iaZgr LZgmbZ`h L^ee^l% Enhrb Rbg existing ecologies be preserved by our invasive presence? What can architecture contribute to the already existing utopian speculations of life in extreme environments? >lma^k <an% FZlZghkb ?ndnhdZ% C^ggb_^k Ik^lmhg% ;k^m
*.- >@@ <BMR F>>ML GHM GHM3 MA> <BMR BL : AHNL>% MA> AHNL> BL : <BMR
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) .*- .*. ('-) ()/+ ()0. ()0/ This studio built on the previous 13 studios into Not Not Architecture: an absolute positive, more architecture than Architecture = -1/X. We examined three ongoing re-definitions in the expanding field of architecture: Architecture, Not Architecture, and Not Not Architecture juxtaposed to the Merzbau of Egg City. This was done through the production of a building every two weeks
on a site in Manhattan in, around, or elsewhere in counter- metal, glass, and plastics that normally get sent to a landpoint echo to the Hudson Rail Yards.
fill together with the rest of the waste flow passing through
The Hudson Rail Yards act as a point of reference in the borough. the double zero map of not not in Double Zero City, a hole in the hole, a void in the void. The buildings were to be Pub- GZmaZgb^e <Zkm^k% MZbang` M^kkr <a^g% MZm EZf% BZg P^bll% lic Houses of any program, size, and site the student chose KZr PbeebZfl% Mhf Pn% <aba RZg` made by drawing, painting, modeling, photographing, and/ or projecting by hand and machine. We also studied a parallel investigation into Packed Form via the Packed Book and the Packed House. Each stu-
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dent made an analysis of a seminal packed house with its =iXe f`j IfZ_\ " DXiZ =fie\j# \kbmb\l packed book, or texts, forming paradigms for built manifes- LMN=BH .% ?:EE +))0 toes. This began with Wittgenstein’s House for his sister in Vienna, included Chareau’s Maison de Verre in Paris, Ponti’s ((( (./ -() -0. 0*. 0*0 ())( (*+' I’ve heard about somePlanchart House in Caracas, Venturi’s mother’s house in thing called (n)certainties (biotopes) 2.0 that builds up only Philadelphia, Eisenman’s House VI in Cornwall, Hejduk’s through multiple, heterogeneous, and contradictory sceWallhouse II in Groningen, and ended with Arakawa and narios — something that rejects even the idea of a possible Gins’ Bioscleave House II in East Hampton. The studio dictum still stands: Sneeze, Blink, Build it!
prediction about its form of growth or future typology. It’s something shapeless grafted onto existing tissue, something that needs no vanishing point to justify itself but
<'C' <a^g% MbZ`h ;Zkkhl% Phhlng` <ahb% Rhngcng` =h% >ng
instead welcomes a quivering existence immersed in a real-
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time vibratory state — here and now.
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Tangled, intertwined, it seems to be a city, or rather a fragment of a city. Its inhabitants are immunized because they are both vectors and protectors of this complexity. The multiplicity
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of its interwoven experiences and forms is matched by the apparent simplicity of its mechanisms. The urban form no longer depends on the arbitrary de-
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cisions or control over its emergence exercised by a few,
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but rather the ensemble of its individual contingencies. It simultaneously subsumes premises, consequences, and the
,- )'+ .'/ ('+, (+,/ (+-( This studio explored redevelop- ensemble of induced perturbations in a ceaseless interacment of the Oak Point industrial waterfront in the Hunts Point tion. Its laws are consubstantial with the place itself, with neighborhood of the South Bronx. The program investigated no work of memory. a new generation of “industry” in New York City, related to
Many different stimuli have contributed to the emer-
the transformation from a biotic-based economy to a resto- gence of (n)certainties (biotopes) 2.0 and they are continually ration-based economy and from renewable to remediated reloaded. Its existence is inextricably linked to the end of resources, using as a base line a feasibility study for an eco- the grand narratives, the objective recognition of climatic industrial park at Oak Point developed by Sustainable South changes, a suspicion of all morality (even ecological), the Bronx (SSBX) and the Greenworker Cooperative. This investi- vibration of social phenomena, and the urgent need to renew gation was coordinated with the goals of the NYC2030 Plan as the democratic mechanisms. Fiction is its reality principle: developed by the Mayor’s Office of Long-Term Planning and What you have before your eyes conforms to the truth of the Sustainability. Oak Point is one of the largest undeveloped urban condition of (n)certainties (biotopes) 2.0. parcels of land in all of New York City. The studio questioned
The world is terrifying when it’s intelligible, when it
current plans to build a new jail on the site, instead advo- clings to some semblance of predictability, when it seeks cating for an industrial recycling facility that would siphon to preserve a false coherence. In (n)certainties (biotopes) off reusable building construction materials such as scrap 2.0 it is what is not there that defines it, that guarantees :K<ABM><MNK>
its readability, its social and territorial fragility and its DhglmZgmbghl :ebobsZmhl% FZk`Zk^m :g]k^pl% =^gbs B]be indetermination.
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LnsZg ;Z[ZZ% FZkd ;^ZkZd% Chag <^khg^% AZkkblhg ;eZbk% Drn L^hg Ahg`% ;^gcZfbg Ahp^ee% IZmkb\d HÍ<hgghk% :km^fbl IZiZ]Zmhn% FZmma^p K' IZner% Chk]Zg MkZ\am^g[^k`% Dbkd MkZ\r% >e^_ma^kbZ MsZgZdb
*.1 LBG@NE:K K>I>MBMBHG 9\ieXi[ KjZ_ld`# \kbmb\% pbma ;fd`e`Z C\fe^ " GXlcX Kfd`jXb` LMN=BH .% ?:EE +))0
*.0 EN=PB@ PBMM@>GLM>BGÍL E:G@N:@> @:F> :L +. (+/ (-/ /,* /.- 0'+ 0-0 ((-0 ((.' Our studios all begin : A>NKBLMB< =>OB<> P\_l[X JX]iXe# \kbmb\% pbma I`ZXi[f 8i\`Xj
with a theorem or hypothesis that we then try to explore and
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demonstrate. The first of the series of studios addressed the notion of “concept-form.” The second one tested the idea
(,) (('/ ((() ((** ((*0 ((+' (**( The 75 pages of Tractatus of “topo-types.” In this third installment, we investigated a Logico-Philosophicus made Wittgenstein famous and, at highly architectural particularity: “repetition.” the same time, effectively misunderstood. Soon after, he
We started with the hypothesis that there is no architec-
designed a house for his sister in Vienna (1926) that marked ture without repetition: with its rows of windows, columns, a revision in his thinking. Language was no longer under- bricks, steps, etc, architecture inevitably is the art of orgastood as a perfect mirror of reality but capable of what he nizing repetition. described as a “language game”. These notions were elabo-
More than any other art, architecture depends on the
rated in 30,000 manuscript pages he wrote before his death nearly endless accumulation of similar elements. We would in 1951. Two years after his death, the Blue and Brown books like to argue that contrary to popular belief, the more repetiand Logical Investigation were published. Unfinished work tion there is, the better the architecture becomes. based on his notes, it is without technical terminology and
Far from being boring, repetition is exciting and chal-
provides an insight into the construction of reality. There are lenging and can lead to new discoveries, provided that you of course many examples of “Language Game”.
exceed a certain threshold. In other words, we suggest that
Raymond Queneau and the mathematician Francois Le quantitative excess is actually qualitative. Lionnais created Oulipo (OUvroir de LItterature POtentielle).
Yet all good architecture is often singular. This means
George Perec and Italo Calvino were members. This group that it cannot be endlessly reproduced or repeated. For exbelieved that literature is the outcome of linguistic devices ample, imitating the repetitive curtain wall pattern designed such as numerical speculations, laboratories for invention, by Mies van der Rohe will not necessarily be good archiinasmuch as they construct rather than describe. New reali- tecture, while its original was. Hence our claim: the best ties are proposed. Indeed, it is in this spirit we would like to architecture is often the demonstration of both singularity explore the possibility of this project.
and repetition, or singular repetition. We will therefore argue
In 1938 with Austria taken over by the Nazis, Wittgen- in favor of “one-of-a-kind” repetitions. stein traveled to Berlin to secure the so-called Aryan papers for his two sisters who refused to leave Vienna. He obtained LaZh =^g`% C^llb\Z =h[dbg% :fr ?bge^r% GZf[b @Zk]g^k% these papers against 1.7 tons of gold, which presented at the EZnkZ @hgs e^s ?b^kkh% :g]k^Z Chaglhg% =hg`&Lnd E^^% time 10% of the Austrian gold reserve. What we proposed for B`gZ\bh FZeehe% Rhb\abkh Fbsngh% KbmZ LZbdZeb% Chl^ia Ob]b\a% our program was to imagine that Deutsche Bank decided to :eeblhg P^bglm^bg pay back this enormous sum. The family decided to create a foundation dedicated to Wittgenstein Philosophical Investigation and the students were invited to envision program, site, and project.
and archive — received ideas prevalent over the past decade,
*/( G>MPHKD <NEMNK>
both in the professional and academic realms, in order to
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ultimately open up otherwise precluded possibilities for
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architectural design and architectural theory. To that end, it focuses on design strategies and conceptual formulations,
(*. ..) .., (+-/ (+.( (+.+ Since the Renaissance, architec- particularly in terms of the means of representation and the ture has responded to new socio-cultural eras with utopian lexicon through which they are respectively articulated. This and dystopian schemes. Such fantasies have not only served project takes as precedent Gustave Flaubert’s unfinished to advance the discipline, but have also been a means by which project, Le dictionnaire des idées reçues. Just as the latter, it architecture can research, analyze, and investigate society.
sets out to detect and collect received ideas and provide defi-
It is our contention that we are living in a new era nitions — or, rather, a user’s manual — so as to render them defined by the network. During the last fifteen years, the self-evident and thereby undermine their perpetuation. Yet Internet has joined us together and gone wireless; comput- as opposed to the latter, it also seeks to use that collection ing has become mobile while applications are increasingly as a repository — or, rather, a dissecting table — for the network-based; the mobile phone has become the world’s formulation of new architectural devices. most successful gadget; virtually any form of publication has become available to virtually everyone. But these technologi- L^ma :]Zfl% LZaZk ;Z`aZbb% Ldr^ ;^Z\a% Bg^l ?^kgZg]^s cal changes are only part of a broader shift in society. If in LZ^gs ]^ LZg I^]kh% C^ggb_^k ?e^fbg`% IZoebgZ @Zgm\a^oZ% Fordist modernity the individual was located in a hierarchical ChgZmaZg @hgsZe^s% Cngdhh DZg`% En\bZ I^k^s Fhk^gh% MZkrg system and if in post-Fordism the fragmented individual was K^ag% DZma^kbg^ L\hmm% >bkbgb MlZ\ak^ebZ% Cb^ng RZg` in a system of flexible production and consumption, today we conceive of ourselves as networked individuals, assembled out of flows of people and things. By and large, architecture has failed to deliver visionary proposals for this moment. This studio set out to remedy that
*/* LI:<>(MBF> IK>LLNK>XK><HG?B@NKBG@ =HF>LMB<BMR
situation. Students responded to our contemporary situation DXY\c F% N`cjfe# \kbmb\ by studying an aspect of network culture in depth and produc- LMN=BH .% ?:EE +))0 ing schemes based on an exacerbation of that condition that could be utopian, dystopian, or both utopian and dystopian.
('0 (0' (0. ,.* ,.. 0*- 0+( ('/( ('/, Borrowing a cue from
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of the modern city based on event and appropriation, the
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studio adopted their tactic of temporal/spatial drift to move
D^k^lm^msb% FZkbZ FbeZgl =^e ;hl\a% Fb\a^Ze Rhng`
through the geography of the home. New digital technolo-
the Situationists, who conceived of a new psychogeography
gies — mobile phones, laptops, the internet, iPods, smart homes — have created a new spatial/temporal matrix, a new space/time pressure. These transformations mate-
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rialize as the spatialization of time, a preoccupation of
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experimental filmmakers like Tarkovsky, and more relevant
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to architects, the temporalization of space. This studio examined how these technologies impact the making
(,, (/( (0- )() )(+ /+- /,' (+-, (+-- This studio was the and inhabitation of the domestic sphere. We considered second installment in a decade-long project whose aim is to how new domestic activities such as tele-commuting, for examine received ideas in contemporary architecture cul- example, create unexpected “situations,” events within the ture; that is, formerly novel ideas which, due to recurrent house, rendering archaic the spheres of the “master beduse, have been depleted of their original intensity, and which room,” “family room,” “garage,” and “kitchen.” Instead of ultimately forestall thought as they perpetuate. This ongo- assigning static functions and compartmentalizing spaces, ing series of design studios and theory seminars proposes we looked for “patterns of regular doings” or “situations” to disclose, define, and date — and in the long run classify within the house, as well as considered how domestic :K<ABM><MNK>
activities such as telecommunication have shifted private C^ggb_^k <ang`% LZfn^e @k^gZ]^k% Cngdhh DZg`% MZkrg K^ag% activities into the public sphere. We used digital video :eeblhg P^bglm^bg% >]fng] Rn and animation to analyze and produce new modalities of time in architecture: interactivity-body/material/technology; mediaspace-virtual space/time; haptic sensing-perception
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of intensities, durations, and modulations.
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/' ()+ (/* -++ -+- .+( .+* ('/) ('/- The context is
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orientation of what makes up today’s cities in the global south.
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In a sense, the announcement of a global south is premature
Paraisopolis, a 70,000 inhabitant city that is less a place or even an alignment of places than a condition and perhaps an
as even now events are unfolding in real time towards ever ( (+ (.0 (/. (// (0' (00 )'* .*0 .++ /00 0.. (+,- (+.) accelerating global and local conditions. As the studio title This studio explored the possible relationships between implies, Urban Think Tank focuses on the culture of architecenergy and data management in hybrid cars and intercon- ture in Latin America, and the studio semester was particunected this with houses to examine energy management larly oriented as a kind of advanced post-housing studio. in relation to wider systems in urbanism and building. This
The U-TT studio is an attempt to develop complex so-
was carried out by transcribing and re-writing the Eames cial and architectural strategies that transgress with distinct House and the Toyota Prius as newly linked instruments, ambitions in the urban reality. From systematic propositions seeking new prototypes for energy management in archi- of public housing to the construction of public spaces that tecture. The focus was on how these implications impact find no time for incubating in the traditional practice, U-TT local urban design and enable new forms of building. The negotiates legal and illegal zones, as a reminder of the perwork examined two moments in our recent history during vasive control to which designers are all subject. The Suswhich architecture and design were cast against and within tainable Living Urban Model proposes that architects work the public imagination of innovation in computing and tech- as connectors between the two opposite forces of top down nological efficiency. Imagined as overtly benign — concepts planning and bottom-up initiatives to make them interact of efficiency in building systems were leveraged against powerfully and productively. this imagination.
The students worked with politicians, policy makers,
Architecture programs have traditionally posed design community groups, global corporations, and international studios at levels that seek to show building technologies professionals. The studio believes that the opposition of “leand refinement in building systems and technology. How- gal” and “peripheral” urban areas, the rich and the marginaever, studios even at their most advanced usually operate lised, are equally constitutive, and therefore a new model at a level where the proadvances require a deep level of of city visioning must be implemented for developing cities. skill and knowledge, suggesting that innovation would oc- Thus the studio work makes an argument to deliberately cur at a more technically sophisticated level — later in the shift away from the mono-functional housing type to a stratdevelopment process. It’s critical that an architect incor- egy of using hybridity to resolve the tensions between conporate high-level technical knowledge immediately at the ceptual polarities of wealth/poverty and public/private. outset of a design endeavor. This studio ups the ante on what is possible in studio and sets the stage for later work ChaggZ <k^llb\Z ;kZsb^k% >lma^k <an% MbZg @Zh% <a^g`&Ebg` to explore this more fully or to change course and instead Ebg% >oZg`^ebZ FZkhneb% Qbg PZg`% Ob\mhkbZ R^^ focus on a wider range of social or cultural goals while having a deep technical content to the skill set.
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- ,* -') -'+ ./. .0( (((0 In 2010 Brasilia turns 50, reminding 0, 0)( 0)) 0). 0)/ Reality can be thought of in one of two us of its founder President Kubitschek’s famous campaign terms: the discrete or the continuous. Attempts to bridge the promise to achieve 50 years of development in 5. In the last two invariably result in all kinds of conundrums filled with 50 years, the world’s 5th largest country has evolved, yet paradoxes and undecidability. As Badiou has argued conits capital city remains frozen in time. How can we update vincingly, it is necessary to subtract the idea of God from the Brasilia without spoiling it? Students designed new annexes concept of the infinite since only then is it possible to render to the ministries, overlaying an alternate future for Brasilia’s effective Nietzsche’s pronouncement of the death of God. architecture upon the 1960 master plan. Each project consid- The modern secularization of the infinite as a mathematical ered how the locus of power and monument at the scale of concept has profound implications in dealing with the nature a city could be transformed through their specific architec- of thought and the world including architecture. tural interventions, based on three paradoxes:
The gap between the finite and the infinite has come to
Government ministry functions are decentralizing — an symbolize what Lacan once suggested in a different context unanticipated phenomenon in 1957 when Brazil established as a hole in knowledge that resists absolute penetration by its new center. The opportunity to occupy the void left behind thought. These concepts may seem too abstract and far reby the departing bureaucrats allowed the students to rein- moved from normal day to day existence since the history vent the ministry annexes — buildings originally designed of architecture is essentially defined by the deployment of to absorb the now placeless back-of-house functions — as discrete forms and shapes. Only with the development of buildings with an updated political and social agenda. “Back” topology in the early 20th century have architects, such as became the new “Front”.
Frederick Keisler, began to think in terms of topology in the
Brasilia’s master plan is protected by UNESCO, yet its design of architectural form. individual buildings are generally not protected, so long as
The project for the studio was to design a formal build-
replacements forever conform to volumetric dimensions es- ing structure that incorporated elements of the discrete and tablished by Lucio Costa. Our second paradox was to design the continuous as part of its morphology. Emphasis was on buildings that would resonate with the two Brasilia’s: that of the generative development of architectural form as opour time and the one that is superimposed.
posed to interactive sculpting of three-dimensional shapes
Unlike its European counterpart, Brazilian Modern ar- be they biomorphic or otherwise. Although no programmatic chitecture was almost exclusively produced with concrete, function is given, each project had to manifest itself as a deriving from it the seemingly opposing qualities of monu- proposition of architecture and the question of formal relamentality, plastic expression, permanence, and gravitational tions have to be solved in relation to this proposition. freedom. Our third paradox therefore was to use this traditionally heavy and massive material in an innovative way.
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MbZ`h ;Zkkhl% FZkd ;^ZkZd% :e^cZg]kh ]^ <Zlmkh FZssZkh% C^llb\Z =h[dbg% C^lnl =hgZbk^ @Zk\bZ ]^ eZ FhkZ% ;^gcZfbg Ahp^ee% BebZgZ D^k^lm^msb% IkZ^ Ehkob]aZrZ% :]Zf F^k\b^k% :km^fbl IZiZ]Zmhn% >e^_ma^kbZ MsZgZdb% Mhf Pn
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(( (.- 0() 0(* 0(+ ('*' ('** (*)' (*), For the past three years, this ongoing series of studios has developed ideas about the pairing of emerging fabrication techniques with pro-
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grammatic identity. The outcome is documented in the book hunger, the achievement of primary education, and the comConstructive Practices due out in the spring of 2008.
bat against disease. Of the eight, two goals were set aside to
The studio developed incrementally with the first proj- ensure environmental sustainability and to promote global ects being skin systems, the second developing volumetric partnership for equitable development. depth, and the third fully three dimensional systems. In
This studio investigated the role of the UN as protector-
each studio, the best projects anticipated the next sequence ate of an increasingly significant and rapidly shifting territory. of development.
In laying claim to a UN Regional Outpost for the Arctic Circle
The proposal for this studio was to use these as a basis students were asked to define strategies and techniques to and link it to investigations in light from earlier studios. In bring global awareness to the issues at hand. contrast to the earlier light investigations which were visual
Our research ranged from the history of the region, its
and experiential, this studio combined the visual/formal with people, cultures, resources, and wildlife to the history of the the systemic performance of light as an energy source. The UN, its structure, goals, and potential intentions related to goal was to expand (co-opt) the individual/experiential to the controversial topics of global warming, global developencompass the collective/sustainable. Light is received by ment, and the preservation of resources. We interrogated architecture to create both physical and psychological en- non-traditional methods of inhabiting and utilizing extreme ergy. The studio used as a springboard the most developed of transitional environments from which students were expectthe last studio projects, returning to the manageability of the ed to develop responsive architectural proposals. skin when starting an entirely new mode of investigation. The studio merged ideas of skin, structure, sunlight, IanmmbiZg :lpZdhhe% :fZg]Z ;khhdbgl% GZmZeb^ =^ En\Z% and systemic order, into the fabrication of an architectural CZg^ >lmkZ]Z% @^hk`bZ >p^g&<Zfi^g% FZkd @k^^g% LZkbmZ surface. The surface was constructed out of a mitigated du- @ngZkZmgZ% Lm^iaZgb^ Alb^% Dbarh Dbf% Kb\aZk] Fhhk^% FZkbZ ality that merges the logical and physical approach with the MbebZdhl% Rn&<ang R^a emotional and perceptual approach combining experiential data with analytic data. FZkbZ :kkZlZm^% ChlanZ =kZi^k% :lae^r AZgkZaZg%
*/1 <HHE :B=# O +') É <KBLBL >MAB<L
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('' ,0, (()- ((). ()+- ()+/ ()/. The intersection of CRISIS and POWER provided the material, social, and environmen-
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tal context and defined the critical milieu in which the studio
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worked. CRISIS was taken as an opportunity for architectural
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invention in areas where architectural design is rarely a priority. Each student identified a setting that was demonstra-
+* /0. 0'/ ((-, ((.) (*+( (*+) The effects of global warming bly in a state of CRISIS — there are many... The focus of the are simultaneously a threat to and a promise for one of the studio was on the SECOND STAGE OF RECOVERY after the last un-claimed territories on our planet: the Arctic Circle. immediate CRISIS had passed and with it the first stage of The Arctic Circle sits within a temporal boundary set by the intense individual, collective, NGO, and Governmental activsummer and winter solstice, during which time this region ity. “FOLLOW THROUGH” is inevitably difficult, extremely experiences 24 hours of sunlight and 24 hours of darkness problematic and in many cases enlarges rather than diminrespectively. With the melting of the “ice cap”, this vast ishes the CRISIS. The studio addressed this predicament and wilderness, also home to 4 million people comprised of 10 designed small-scale infrastructures and developed stratedistinct ethnic groups, holds an unknown amount of natural gies for their implementation and use, monitoring, feedback, resources to be exploited. At the turn of the year 2000, the United Nations es-
and the assessment of their value in use. To achieve this we worked in the disciplinary hinterland
tablished a set of eight Millennia Development Goals, the where architecture as a relational practice meets architeccurrent focus being the eradication of extreme poverty and ture as an autonomous intellectual discipline. We believed
that in this hinterland there is a place for design and re- design studio addressed the potential for new systems of search that shares some of the qualities that Michel Serres energy production to be leveraged against the large scale identified as a “North-West Passage” — a place with re- development of new public space currently being enacted markable environmental attributes, promising rich rewards on Public Lands in Nevada. for the integrated thinking that remains unexploited and is vital for the architecture of the near future.
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* COOL AID: Architecture as Agent, the Architect as Activist <akblmhia^k La^ee^r — because it’s worth it. LnsZg ;Z[ZZ% LZaZk ;Z`aZbb% C^ggb_^k ?e^fbg`% Lb]]aZkma CZ]aZo% :obd FZbmkZ% C^ggb_^k Ik^lmhg% ChgZmaZg Knlafhk^% :ggb^ L\a^^e
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*0( EBOBGÍ BG MA> ?NMNK>#3 <EHLBG@ MA> EHHI% ()' (/- )(- .** 0,( (('0 ((*- ((,* ((,+ ((,, (*++ The >G>K@R :G= MA> =>O>EHIF>GM H? IN;EB< E:G=L intention of this studio was to take advantage of the impendCXli`\ ?Xnb`ejfe# \kbmb\% pbma IlZ_`bX Df[`
ing demand for great amounts of public housing to mobilize
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such program for the transformation of the city.
-( (/' (0' )') .'- .'. 0*' 0*) 0*+ 0*/ Las Vegas is using Design Techniques up its energy and water sources at an alarming rate. In fact, The real “subject matters” of the studio were the design the Southern Nevada Water Authority predicts that in the techniques, and the studio developed three parallel lines of absence of remedial action, there will be no water for hun- work corresponding to three scales of reflection converging dreds of thousands of Las Vegas Valley residents in just three in contemporary practice: years. In contrast, according to the Energy Department of
1) the investigation of a collective dwelling unit pertinent
California, a 100-mile-square area of Nevada, if equipped for our time; with solar devices, could supply the U.S. with all the power it
2) the invention of new types of “infrastructural” mixed
needs. Given this, here are some questions this studio’s proj- buildings, in which housing is a non-excluding protagonist, ects posed: Is it possible for architecture and engineering to capable of repositioning the center of gravity of contempointervene in this crash course to disaster? Could the design rary urban peripheries, revising its absent personality and and assembly of smart environmental systems, which both its deficit of environmental quality; produce and conserve energy and resources, be turned loose
3) the fine tuning of design instruments applicable in
in the desert wilderness? Could new programs for occupy- the new scenarios generated by convulsive urban growth: a ing this wilderness be charged with the additional task of “design project” for the participation of architecture in the producing energy and conserving water and other resources transformation of the city and for the production of alterand be put to work to serve both as public space and new natives to the purely speculative development and all the renewable resources?
banality and inefficiency associated with it.
An extreme example of urbanism and suburbanism, Las Vegas is one of the fastest growing cities in the Situation? US today. Las Vegas is a resort, not an ordinary city, and The site of the studio was a really big abandoned plot in the it offers a way to study the compelling phenomenon of the southeast of Madrid, used until recently as a factory of reinpopulist, sprawling, post-industrialist, car-oriented urban forced concrete pipes. The work was intended to be simulculture. Because of its history of rampant and unrestrained taneously pragmatic and experimental. The initial conditions growth, and particularly its very recent shift into a kind of were presented as opportunities more than necessities. mega-scale building, it is experiencing tremendous infra- What was at stake was not to solve problems or to develop structural pressures. Using Las Vegas as the test site, this a therapeutic attitude, but instead the mobilization of the :K<ABM><MNK>
energy that, no matter what will be deployed to build this and the equivalent of hundreds of million more in lease and place, would be for the production of a new reality, unexpect- tax incentives, all bundled together with central government ed and impossible to achieve through conventional methods blessings and support. For this new context in which feasiof planning and development.
bility is not a function of cost, our two proposals acknowledged the desire that architects produce eye-catching work
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that has popular appeal, while attempting to define for our-
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selves a meaningful reason for being. For this incompre-
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2 Manhattans — we imposed the constraint of certainty to focus the ambition for urban development to a limited area and focal point.
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(+) (/. /,0 /-, //* //+ ((-+ ANARCHITECTURE 2…The studio studied an important historical exhibition that questioned what architecture is…”ANarchitecture, 1974” was an exhibition co-curated by Gordon Matta Clark and the
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ANarchitecture Group: Jene Heighstein, Suzi Harris, Richard A\]]i\p Af_ejfe# \kbmb\ Nonas, Laurie Anderson, and Bernard Kirshenbum. The LMN=BH /% LIKBG@ +))1 original exhibition twisted and redefined architecture. A hole in the ground that led to an underground area became archi- PROJECT: tecture, a pile of trash became architecture…Jene Heighstien )- (.- (00 )') )'/ .'( .'+ /,( /,) ('+. (',+ With an ever said “to relate it to the human interaction was the key”. The expanding economy, and a transition towards capitalism, hole didn’t have to be big enough to get into — but if you could the Chinese population with disposable income is increasput your mind into it, it became architecture.”
ing at an astonishing pace. In addition, many Chinese — mostly those working at state-owned enterprises-retire at
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very early ages to make way for their young replacements.
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When this is considered with the fact that the Chinese are
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living longer lives, it is easy to project that there will soon be
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sprouting new cities throughout China accommodating the ever increasing need for leisure. What opportunities will this demand yield to reinvent notions of leisure? How is leisure defined in a culture where “conspicuous consumption” has
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not, until most recently, existed? What kind of new leisure
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cities and architectures will this produce? The project for
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the studio was to develop a prototypical resort hotel for 21st century China.
+0 (.' -*, -*. -+* .-, .-- .-0 Projects like Saemangeum require us to formulate a new reason to justify our design FZk`Zk^m :g]k^pl% <'C' <a^g% Rhngcng` =h% Bg^l ?^kgZg]^s proposals. With this project type, the design service we pro- LZ^gs ]^ LZg I^]kh% MZm EZf% ;k^m JnZ`ebZkZ% =Zgb^ee^ KZ]^e% vide can’t be legitimized based on an argument of “economy >bkbgb MlZ\ak^ebZ of means,” the efficient use of materials, or any other one that values the sensible expenditure of money. This project, which will likely be realized, is now relatively common: there are billions of dollars of available investment capital
we “think” we are? How to construct an idea, an image, a
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brand, a place?
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cities. Rational economical decision based on demand and
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supply generates an expected product. Nevertheless, today
Building for our physical necessities used to be the main driving construction factor for the development of
cities like Dubai are asking radically different questions that . (/+ )'( /., /./ 0(/ 0)' 0)+ 0** The Library, the Archive, have more to do with the virtual and the visual world, which is the technical solution we humans have deployed to solve produces a physical world, almost as a by product. the challenge of amnesia; a technique that intends to keep
Geopolitical investment and brilliant marketing have
the supposed beast inside each of us at bay. Yet given our allowed the small city of Dubai to become recently one of contemporary global, political and technological situation, it the major metropolitan players in the architectural world. is impossible to consider the “Library” as an institution with- Fantasy and marketing have become a way to attract capiout acknowledging that an absolute redefinition of power is tal, generating a city not based on “demand” or “necessity” taking place.
(there is absolutely no local population need) but on the sat-
If information in many ways equals power, and if isfaction of the materialization of a “virtual environment.” awareness and intelligence are ever more modulated by the
In Dubai, every construction has a name, a story, a mar-
emerging infrastructure of free and wireless Net, then the keting manager, an assigned lifestyle, a “virtuality”. And this Library must radically reconfigure itself as a new institution if virtuality in every way codifies and generates its physicalit hopes to survive. In fact, there is little hope for the library as ity. In fact entire new neighborhoods are based on a single a conventional bastion of power and law. By the time today’s “word” that’s marketable, sellable, and associated with a full policy makers realize the extent of the technological revo- range of “virtual” life style connotations. lution, distributed networks and information reservoirs will
We cannot consider anymore our present reality without
have self-deployed to such an extent that the traditional form the condition of the mental — or labeled differently, the virof the library will be extinct. The spatial relationships that tual — associated with the usual physical materiality. Realhave defined the transfer of knowledge in the city, in the li- ity is always a combination of both. Nevertheless, in places brary as an institution, will also have suffered a sea change. where the virtual is so powerful that it almost entirely genToday’s surveillance culture insists that global safety erates the physical materialization, architecture strategies depends on an all seeing eye, a total pervasion of information need to be re-assessed. visibility. Much theorized by thinkers like Virilio, we engaged this idea of an extended visibility and the erasure of space, in Drng`lb\ Dbf% =hg`&Lnd E^^% MZh Ebn% F^`Zg F^r^kl% Rnkb the consideration of how we can design a library that might FbrZfhmh% AZgnr IZkd% Chk]Zg MkZ\am^g[^k` function adequately as a filter, bulwark or conversely an accelerator in this coming new age of control. :eb ?ZkboZk LZ]kb% GZf[b @Zk]g^k% DZma^kbg^ A^\d% CnebZ
*0/ EHM&>D FHGH@K:IA LMN=BH
Ahbgl% Rhb\abkh Fbsngh% B`gZ\bh Gb^mh% Bkf`Zk] K^bm^k%
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pbma K_fdXj [\ DfeZ_Xlo LMN=BH /% LIKBG@ +))1
/0 0+ ((+ (/* )'' (',0 (+(' (+(* (+(+ (+(, (+). No architect
*0. ;NBE=BG@ OBKMN:E K>:EBMB>L É =N;:B LMN=BH BBB
is complete without a Monograph. A monograph is your personal visual manifesto.
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A monograph is not a portfolio.
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A portfolio is comprehensive; a monograph is deliberately incomplete.
-, ('(0 (')( ('), (**. (**/ (*+* How do we satisfy the A portfolio is objective; a monograph is subjective. pleasure of the mind? How should we offer a space for who A portfolio explains; a monograph mystifies. :K<ABM><MNK>
A portfolio speeds through; a monograph hesitates.
in monumental form. To design a bank today is to engage this
A portfolio is stable; a monograph is unstable.
tradition at a moment dominated by finance capital, when “all
A portfolio is graphic. A monograph is therapeutic.
that is solid” may seem long ago to have “melted into air.” This studio therefore asked:
This is the studio where you finally make your monograph. It is going to be a dirty, papery studio. There will be no pin-ups, no powerpoint, no projections.
What does money represent, today? For whom and to whom? How? Why? What does a bank represent, today? For whom and to
Everything you do: drawings, renderings, models, research, whom? How? Why? will be presented as part of your in-progress monograph.
What does the architecture of a bank represent? For
If it’s not part of the book, it doesn’t exist.
whom and to whom? How? Why?
1. Your Self
and to whom? How? Why?
What does architecture (as such) represent? For whom Every hero must have a story. Every story must have a book. You will invent this hero. You will become this character.
What should architecture represent? For whom and to whom? How? Why? To address these questions, each student was asked to
Through a process of highly experimental and intuitive steps, design a regional headquarters for the newly formed Banco you will synthesize self, story, and book.
del Sur (Banco dol Sul, or Bank of the South) in São Paulo,
You will document your own vision.
Brazil. The Banco del Sur was set up by eight Latin Ameri-
2. Your Home
can countries as an alternative to the World Bank and the
Every building must have a book.
International Monetary Fund (IMF), as a lending source for
Every book must have a building.
development projects.
You will invent this building. You will develop this architecture. :e^cZg]kh :kmb`Zl% Ldr^ ;^Z\a% M^kkb <abZh% FbeZg =Ze^% Through a process of highly conceptual and intuitive steps, =^[hkZa @khll[^k`% FZkmbg <aZ] D^eeh``% F^`Zg Ikrhk% you will synthesize home, building, and book.
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You will design your own house.
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Your monograph will be You. You will be well on your way to finally existing as an architect.
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*01 PBE= AHKL>L(>=N<:M>= F>G3 <EN; ABIIH=KHF>
Fb\Za Khn_Z% Dbkd MkZ\r% Fhgb\Z Mk^ch% Mhfhghkb MlncbmZ%
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)0 (-' 0/- 0/. 0// ()*, ()*/ ()+( Located in the center of the Buenos Aires metropolis, Palermo is the fastest growing and
*00 MABGD M:GD +'+3 FHG>R
hippest area of BA. The National Hippodrome is next to the
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bunker styled 1970’s American Embassy located in Palermo.
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The Hippodrome, like the stallion is at once a symbol of a faded aristocratic past and a possible new image of brave
-+ (-* (-/ (-0 (.. (/, (/0 (0( )') 0'( 0/( 0/+ 0/0 (+-* national identity. (+-+ This studio dealt with the question of meaning and of
With 12 Million inhabitants, the metropolitan area of
representation, with reference to an object that is, strictly Buenos Aires has an added constant influx of international speaking, meaningless: Money.
tourism. This tourism creates a new desire for “exotic” en-
The circulation of money depends on any number of tertainment, which young local “impresarios” such as Alan material infrastructures, each with their specific set of pro- Faena have quickly capitalized on, creating new neighbortocols and techniques. Among these are banks, which have hoods, hotels, entertainment venues, and night clubs that long been objects of architectural representation, often take advantage of narratives such as Tango, Asado, or Polo.
Our studio approached the paradoxical search for “local tourist attractions” and re-invested the Hippodrome with new
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spectacle technologies to capitalize on international visitor 8ek_fep N\Yjk\i# ]bk^\mhk ship. As a program, we proposed Club Hippodrome, a mix of G_`cc`g 8eqXcfe\# Zllh\bZm^ ]bk^\mhk the old program with something new. The Hippodrome has mutated as a form of entertainment since Greek and Roman )' (.+ The Building Technologies curriculum is based on chariot times and can transform once again to embrace newer the belief that architects benefit from having a basic knowlforms of enjoyment, a new house of fun, day or night.
edge of technical systems, not only as utilitarian ends in themselves, but also as a means to help develop a build-
L^ma :]Zfl% Labg Dhhd DZg`% Cn]r Eh% Chl^ I^k^s&@kb__h
ing’s spaces, forms, and expression. The six-course required
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sequence begins by outlining the environmental conditions to which habitable spaces respond, and describing the physical determinants of technical building systems. Next, individual building systems — including structure, building
*1( MA> =B<MBHG:KR H? K><>BO>= B=>:L
enclosure, environmental conditioning, and information
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management — are explored in depth. For each system
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studied, various design strategies, materials, fabrication techniques, and didactic built works are explored. Field
(,, (/( (0- )() )(+ /(- ((*/ ((+( ())/ ())0 ()** This studio trips, laboratory demonstrations, and short design probwas the third installment in a decade-long project the aim lems are used to augment in-class study. As both a qualitaof which is to examine received ideas in contemporary archi- tive and a basic quantitative understanding of elementary tecture culture; that is, formerly novel ideas which, due to systems are mastered, the curriculum shifts its focus onto recurrent use, have been depleted of their original intensity, increasingly complex systems serving entire buildings. and which ultimately forestall thought as they perpetuate. The sequence’s last two courses (Building Systems 1 and This ongoing series of design studios and theory seminars 2) develop an understanding of how technical-utilitarian proposes to disclose, define, and date — and in the long run systems are resolved, integrated with other systems, and classify and archive — received ideas prevalent over the past inform a building’s spaces and formal expression — first decade, both in the professional and academic realms, in through in-depth case studies of entire buildings, and then order to ultimately open up otherwise precluded possibilities by the preliminary design of an industrial-loft block. In both for architectural design and architectural theory. To that end, courses, students work in teams with structural, mechaniit focuses on design strategies and conceptual formulations, cal, and building-envelope experts. particularly in terms of the means of representation and the
Throughout the Building Technologies sequence, stu-
lexicon through which they are respectively articulated. This dents are encouraged to apply their growing knowledge project takes as precedent Gustave Flaubert’s unfinished to design problems posed in studio. Occasionally, studios project, Le dictionnaire des idées reçues. Just as the latter, it focusing on various aspects of the relationship between sets out to detect and collect received ideas and provide defi- technology and spatial and formal design are offered for nitions — or, rather, a user’s manual — so as to render them third-year students. The goals of the Building Technologies self-evident and thereby undermine their perpetuation. Yet electives are threefold: to explore the potential of technoas opposed to the latter, it also seeks to use that collection logical systems to impact design; to understand historical as a repository — or, rather, a dissecting table — for the relationships among technology, philosophy, politics, and formulation of new architectural devices.
architecture; and to take advantage of New York’s professional practitioners working with the technological “state
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of the art.” The diversity of views regarding architectural
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technology represented by the school’s design and tech-
Chaglhg% MaZgZllbl FZgbl% IZmkb\d HÍ<hgghk% Chk`^ I^k^bkZ% nology faculty is reflected in, and thereby strengthens, the >ebsZ[^ma L^gghmm% :e^qZg]kbZ Ohn`bZ% KZr PbeebZfl
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elective offerings
wall construction techniques, within the context of struc-
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tural behavior. Architectural, technological, and fabrication
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constraints are considered in conjunction with the exterior
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forces acting upon the enclosure systems. The class builds on a series of exercises, culminating in a three-week final
The overall goal of this introductory course is to establish project. In the final design problem, students design a façade a definition for structural design, distinguishing between assembly and represent it in detailed construction drawstructural and architectural design and identifying specific ings, before attempting to construct a full-scale mock-up. structural systems and components. The course familiar- Primary design criteria included control of water infiltration, izes students with graphics and statics of structural analysis heat loss/heat gain, constructability, formal expression, and and design, the performance and applications of structural the relationship of exterior envelope to building structure. materials, and preliminary design using axially and transversely loaded structural elements. Throughout the course, developing a qualitative understanding and mastering basic quantitative skills are stressed. All structural systems and
*1- >G<EHLNK>L :G= >GOBKHGF>GML +
components studied are presented in the context of contem- =`feX :flj`ej# bglmkn\mhk porary architecture. Whenever possible, examples of built ;NBE=BG@ M><AGHEH@B>L% ?:EE +))0 work serve to introduce a topic. ,0+ -+0 /-/ In this course, students are asked to design and analyze a variety of elements associated with the conditioning of inhabited space. Luminares, furniture, and enclosures
*1+ LMKN<MNK>L +
are all studied in relation to their visual, acoustical, and ther-
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mal impact, as well as the ecological consequences of their
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manufacture and maintenance.
This course built on Structures 1, with a focus on the design methods for different types of components and systems. Topics included gravity and lateral systems, beams and
*1. ;NBE=BG@ LRLM>FL *
frames, trusses, and concrete and steel design. For each 8ek_fep N\Yjk\i " 8ik_li A% ?`YYj# bglmkn\mhkl topic, the principles of structural mechanics were exam- ;NBE=BG@ M><AGHEH@B>L% LIKBG@ +))1 ined, the governing code requirements were discussed, and simplified methods of design were presented so as to focus ,*+ ,*, ,*- ,0/ -'' ./+ (')+ (')- Building Systems 1 builds attention on the underlying design principles. Connections upon the discussion of basic structural systems begun in between components in wood, steel, and reinforced concrete Structures 2. Structural systems designed to ensure satiswere illustrated, and their qualitative design characteris- factory performance of an entire building in the face of gravity tics were examined. Construction techniques and size limi- and horizontal (wind and earthquake) loads are presented tations were outlined. The course emphasized qualitative for both framed or walled systems and non-framed systems. understanding and basic quantitative skills.
Wood, steel, concrete, and masonry structural systems are compared. The course culminates in a building analysis project, in which groups of students document the materials, construction methods, and performance of a post WWII
*1, >G<EHLNK>L :G= >GOBKHGF>GML *
American project. Qualitative understanding and basic quan-
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titative skills are stressed throughout the course.
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-'* (',' (',- (',. The study of exterior building envelope systems is introduced, in this course, by an overview of environmental forces, followed by a study of exterior
The class was partially funded by industry partner Lu-
*1/ ;NBE=BG@ LRLM>FL +
tron, who provided support, materials, and advisement to
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the faculty and students so that the research of the seminar
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could be deployed in a constructed experiment.
,/, ,// -'0 -+/ -,' .(0 .)( 0.* 0./ ((), ((*' The nineweek problem is to design and detail a multi-story industrial loft block. Students are asked to focus primarily on the
*11 ?:;KB<:MBG@ MA> F:M>KB:E
building’s technical utilitarian systems — including struc- CXli`\ ?Xnb`ejfe " G_`cc`g 8eqXcfe\# bglmkn\mhkl ture, enclosure, and environmental conditioning — and to ;NBE=BG@ M><AGHEH@B>L% LIKBG@ +))1 integrate their resolution into the building’s formal expression and spatial definition.
)' -( (.+ (/' (0' )') ((.+ ((., ((.- (++. (++0 The constant development of new materials and fabrication techniques changes the ways in which architects and designers think about standardization and construction. Since many digitally
*10 :=O:G<>= MHIB<L BG :K<ABM><MNK> M><AGHEH@B>L
driven fabrication techniques have short-circuited traditional
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integrate processes from the design idea through fabrication
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and installation. The focus of this course was to research and
production systems, architects have the ability to completely
explore emerging materials and fabrication techniques and )' (.+ 00- 00/ ('., ('.- ('.0 This course was part of a apply them to architectural program and form. new series of seminars in the building technology sequence
Materials cannot be separated from their physical prop-
designed to engage current trends and ideas in the realm of erties and performance, and fabrication methods have inherarchitectural science and their relationship to contemporary ent limitations. New technologies are often born out of the design and theory. Intended to be a technical exploration combination or hybridization of two or more existing materifocusing on the research and development of team projects als or processes. Through investigation and re-combination towards a functioning prototype, the course included lectures of products and processes, students are asked to propose and discussions, topical experiments, individual work, and and develop new composite materials and technologies. visits with guest professors, lecturers, and industry advisors.
The course is comprised of individual and team re-
Contemporary architectural studio work often engages search, student presentations, and design problems to the idea of dynamic space. Yet in many implementations, formulate architectural applications for new materials and the method involves technically difficult or aesthetically op- processes. The seminar also included presentations by, and pressive schemes to activate the architecture. This class discussions with, a number of guests who are thinkers and proposed that the control of lighting through the use of ma- innovators in fabrication and new materials technology. The terials, devices, and controls could modify the program and final assignment involved the production of a fabrication spatial aesthetics of architecture and offer new versions of scenario — utilizing a technique and material relationship dynamic space.
— positioned within an architectural project.
Students focused on the innovative use of materials that allow the general and selective transmission of various forms of light (glass, water, acrylics, fabrics, papers, gasses, and so on). Students also investigated systemic
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programming of mechanical and computational devices and DXib :fcc`ej " Kfil ?Xj\^XnX# bglmkn\mhkl luminaries to induce the dynamic activation of space and ;NBE=BG@ M><AGHEH@B>L% ?:EE +))0 architecture for a stated design goal. Experiments in class looked at the interactions between various light sources (/* .'* 0+0 (()* (()+ ((+* (+*. The continued advance (incandescent, fluorescent, LED, laser, etc.) and advanced of BIM, scripted processes, and computational design materials, as well as the use of mechanical and computa- has opened new territories of work for architects. These tional controls. :K<ABM><MNK>
opportunities reside not only in digital techniques for the
fashioning and deployment of material, but also for the detail drawings and outline specifications for a unique, custom description and communication of these material relation- curtain wall design that they defend in a final formal review. ships. The class attempted to operate within a series of digital and physical migrations: between different software and geometric platforms, between design and documentation, and between extensive properties (weight, size, form)
+(* :K<ABM><MNK:E =:REB@AMBG@
and intensive performances. Focusing on a digital workflow ;Xm`[jfe Efii`j# bglmkn\mhk that could deliver true innovation in building systems, the ;NBE=BG@ M><AGHEH@B>L% LIKBG@ +))1 work of the class was supplemented through the facilities of the Avery Fabrication and Carlton Laboratories to develop “Natural light is the only light that makes architecture proof-of-concept prototypes. To this end, the class present- Architecture…” —Louis Kahn ed a framework for robust prototyping, using a plurality of software to encourage students’ proposals through mul- -*' -*) .0* .0+ ()(+ This course focused on daylight as tiple stages of design, prototyping, and simulation. Projects a prime generator and articulator of architectural space. were encouraged to move towards a multi-modal operation Students explored the basic means by which daylight interin both materiality and scales of production. Pluralism was acts with both the environment and the building, the exterior seen as a framework in which a manifold of software, mate- methods for the architectural mitigation and manipulation rials, and manufacturing processes could be brought into a of this interaction, and the various perimeter (lightshelves) productive nexus.
and core daylighting strategies (atria) that affect the building skin as well as various advanced daylighting systems and technologies. Students developed a working knowledge of the Sun Angle Calculator, used for solar angle calculations
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and the design of shading devices, as well as a familiarity
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with the BRE Daylight Protractors, used for the calculation
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of illuminance in simple spaces. While this was a technical course, it explored daylighting technology and strategies as
)* /(/ /(0 /0, ((-- ((-/ ()/, ()/- Advanced Curtain Wall they apply to the articulation of architectural space — matis the final offering in the GSAPP technology sequence and ters of poetry and aesthetics. offers an intense exposure to the custom curtain wall. It is the intent of the course to provide graduating students with a comprehensive understanding of the technical concepts and specific skills necessary to undertake in actual practice the
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design, detailing, specification, and construction administra- ;Xm`[jfe Efii`j# bglmkn\mhk tion of the custom curtain wall.
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While the course emphasizes emerging technologies, discussion of specific technical issues and methodologies This course focused on pragmatic energy and environmental focuses on those aspects that directly inform contempo- problem-solving methods and tools that address the issue of rary architectural design. Case studies of contemporary human comfort in the built environment while addressing the examples are used throughout to illustrate the technical role and responsibilities of the ecological architect and sustaincontent of the course. Students also explore hundreds of able architectural design in the broader social, economic, and mock-ups and samples at Prof. Heintges’ firm and visit proj- political context. The course combined lectures by the instrucects under construction.
tor and visiting experts with case studies and design assign-
In the semester-long Technical Studio Design Problem, ments that allowed the students to explore the experiential and students do not design ex nihilo. Rather, each begins the poetic implications of ecologically informed architecture. project with a given, highly schematic architectural intent. In executing this project, students are called on to integrate their newly-gained technical expertise with their abilities to interpret and develop an architectural design. Students prepare
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The seminar concerned the relationship of architectural How exactly do designs become buildings? First, relation- form to urbanism and politics. ships must be forged among owners, architects, and con-
Autonomy is the deliberate act of deciding on a different
tractors, establishing the duties, obligations, rights, and relationship between individuals and the inherited system of remedies of each. Second, all parties involved must consider knowledge. Since the Enlightenment, human evolution has and abide by the public constraints and the public/private been shaped by a powerful system of knowledge and producrelationships by which individuals have their rights limited tion — capitalism — and autonomy has been the struggle for the sake of the public good. The purpose of this course is of politics and the arts against the heteronomy imposed by to give students an understanding of these transformational that system. However, in recent decades the struggle has processes — how to protect designs, from concept to realiza- seemingly lost its relevance. Politicians, artists, writers, and tion, and how to develop a sensitivity to the ethical and moral architects no longer question their own intellectual integrity, issues of practicing architecture.
and “autonomy” is seen as a form of retreat. This is exemplified by the way the question of autonomy has generally been understood in both architecture and art since the 1960s, namely as autonomy of the “discipline” — an escape from
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professional commercialization. Against this interpretation, the seminar focused on a different, more proactive idea of autonomy: architectural
((, (./ The History/Theory curriculum of the GSAPP stress- thought as a mode of questioning architecture’s inevitable es a broad social and cultural approach to architectural dis- complicity with power and its representations. In order to course. Architecture history is not seen primarily as stylistic sustain this alternative idea of autonomy, the seminar atevolution, but rather as the consequence of a complex inter- tempted a genealogy of the concept of autonomy itself by action between artistic, socio-economic, technological, and providing an integral and broad vision of its evolution as seen ideological vectors. Most instructors of architecture history through politics, poetics, and productions that have quesat GSAPP have both professional and academic degrees. The tioned, challenged, or reflected the cultural hegemony of overall intent is to place the relationship between theory and capitalism. A crucial issue at stake was the notion of form, practice in a broad historical perspective.
specifically architectural form, understood as a regime that
The course offerings are structured to provide students necessarily entails a definition of inclusion and exclusion. with an opportunity to acquire a general overview of contemporary architectural history and, at the same time, a degree of specialized knowledge in areas of their own choosing.
+(/ G>P LI:<>L H? AHNLBG@3 K>&LMKN<MNKBG@ MA> =>O>EHIF>GM :G= =>LB@G The architecture history classes within the GSAPP are H? IN;EB< AHNLBG@ Where the former is dealt with through a required lecture
sequence, the latter is met through specialized seminars.
supplemented by classes in the Department of Art History D`Z_X\c 9\cc and Archaeology. In this regard students are especially en- ABLMHKR MA>HKR% LIKBG@ +))1 couraged to take art history courses examining pre-1750 and non-Western topics. Students may also take courses ( (+ (.0 (/. (// (0' (00 )'* U.S. housing policy has increasin other departments of the University, such as history and ingly moved toward less reliance on direct subsidy of lowphilosophy, providing they meet basic distribution require- income and poverty rental housing during the past 20 years. ments of the GSAPP program.
Between 1996 and 2001, more than 51,000 federal public housing units were razed or converted to quasi-traditional forms of market rate ownership housing. The scope and
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speed of this transformation instigates a critical set of Venturi’s phrase, it looked for complexity and contradiction questions and suggests that it would be advantageous for within Modernism. U.S. housing to now be understood as parallel to conditions in emerging economies worldwide, where the safety net of public or state assistance has never been available to constituencies struggling in the face of demanding and surging
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market forces.
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The seminar relied on student research and outside ABLMHKR MA>HKR% LIKBG@ +))1 advisors, including Nicholas Calace, Peter Hance, Nadine Maleh, and Brian Loughlin, to examine how low-income Using an interdisciplinary approach, this seminar explored and poverty housing initiatives could expand their leverage Japanese urbanism and Tokyo. Urban theories, history, and their legitimacy by identifying and responding to hous- geography, fictions, films, sociology, and anthropology ing needs in preventative ways. This course attempted to along with cultural critiques helped situate the more perforecast and reveal constituencies that are at risk and show sonal experiences of the metropolis and the new “global this in parallel to a wide range of world constituencies. The city.” In considering the formation of urban/geographical ultimate goal was to justify the prevention of housing crises entities, its infrastructure, and underlying ideologies of by elaborating and making visible the complex set of other these urban constructs, the course attempted to uncover social crises that result from unstable housing.
the mechanisms of the development of collective identities and individual reconciliations. Theoretical readings — Henri Lefebvre in particular — and traditional strategies for penetrating cities were juxtaposed with literature, film, and
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personal testimonies.
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tradiction of universalizing technologies and romantically
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preserved particularities. The course focused on the mod-
Tokyo was studied and situated in the seeming con-
ern city and the tension of western influence and modernIt is fashionable to render Modernist architecture in the ism. Topics included the importance of politics, the physical plural: Decorative Modernism, Vernacular Modernism, (earthquakes), the formal, and the economic in exploring Conservative Modernism, Domestic Modernism, Irrational the remarkable and rapid transformation of the city; the Modernism have all appeared in the recent literature. dramatic solutions to the complexity of the modern city; Applying pluralism retrospectively to the modern move- industries from tourism, cinema, advertising, and comics; ment in architecture does disservice to the discourses of crime, safety, density, commodification, the informal and the 1920s, which generally revolved around a central spine of the illegal, and growth and speed; the repressed and the ideas. The problem is that these core ideas were not them- exploited quality of the city as it plays out the subway, shopselves coherent, leading to contradictory and incompatible ping, and entertainment. Through these investigations, the conclusions as well as different interpretations by the lead- course aimed to understand the factors behind the uses and ing protagonists. It was left to the popularisers and theore- production of social space in the Japanese city. ticians of the 1930s and afterwards to try to weld together a coherent system of Modernist architectural theory and a canon of buildings to represent it. And by then, the leading practitioners had already discarded the founding tenets of Modernism.
+)( MA> IK>?B@NK:MBHG H? <HGM>FIHK:KR NK;:G ?:;KB<3 LMK:M>@B>L :G= IKHOH<:MBHGL
This course was about the development of this retro- D`Z_X\c :feXi[ spectively labeled Modernist architecture, in Europe, be- ABLMHKR MA>HKR% ?:EE +))0 tween 1918 and 1939. It sketched out the core ideas, most of them well established before 1890, and then interrogated Sweeping cultural changes at the end of the 20th century, the contradictory ways these ideas were interpreted at driven by the proliferation of information technologies different times in a series of case studies. To borrow and service industries, have challenged the primary role
of history, theory, and philosophy in architectural, urban statement about the contemporary and near-future cultural design and planning discourse. Metaphors of chaos, com- state of the discipline in relation to the production of affect by plexity, bio-urbanism, junk space, fluidity, transparency, and focusing on the condition of the interiority or autonomy of dynamism have flourished. Yet the implications of this new the discipline. rhetoric on urban form, issues, and policy remain unclear. Do these models effectively articulate the prefigurative nature of capital, religion, and politics, or are they fashion? This course considered the means by which architecture and urban design can intercede in the complexity of contempo-
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rary urbanism. This inherent critique of traditional practice 8e[i\n ;fcbXik examines international examples of both normative fabric ABLMHKR MA>HKR% ?:EE +))0 and variant conditions including sprawl, generic landscapes, informal settlements, preservation districts, marginalized Teaching a survey of the history of architecture and develcenters, and disused industrial zones. The seminar intro- opment in New York is a challenge because the city is so duced students to the logic of western market development rich in architecturally and historically interesting buildings as it is applied globally and to the means and methods in and neighborhoods. This class introduces most of the major which contemporary urban fabric is conceptualized, created, masterpieces of architecture in New York but increasingly and controlled.
focuses on the city’s vernacular architecture — the everyday buildings that comprise the basic fabric of the city and with which residents and visitors interact on a daily basis. This year, particularly close attention was given to the variety
+)) MA> MHIHEH@B<:E LM:M> H? AHKKHK
of residential types that have developed in New York, from
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the speculative row houses erected by Irish immigrants, to
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German-built tenements, to the middle- and working-class apartment buildigns erected by Jewish and Italian devel-
.' ((- (/, The first goal of this seminar was to try to under- opers. Together these buildings create the neighborhoods stand the critical shift in the cultural field of the interiority that lend character to the metropolis and have housed of the discipline: from typology (fixed) to topology (dynamic, generations of New Yorkers hailing from every corner of evolving, mutations), and from the paradigm of the represen- the globe. tation to the emergent condition of simulation. The seminar explored techniques of aesthetics as the ultimate condition of design. Architecture is witnessing a biotechnological and biopolitical shift in the vocabulary of tectonics: taxonomy,
+)+ IN;EB< PHKDL3 BG?K:LMKN<MNK> $ @EH;:EBS:MBHG
ingestion, circulation, digestion, morphology, expression, 8i`e[Xd ;lkkX reproduction, prolapse, and affinity. Speciation, locomotion, ABLMHKR MA>HKR% ?:EE +))0 armature, orifice, membrane, interface, anthropocentrism, actor-network, semi-living objects, genomic literatures, )/ Public works, infrastructure — these terms connote less biomimicry and its immolations, software and its latencies, things or objects, or even a class of objects, than the name and camouflage. Learning from the “corruption” of film, for an architecture of means, as totalizing as it is intermedithe aim of the class was to develop a critical, cinematic, ary. In the realm of infrastructure, governmentality is maniimage-based approach to the production and thinking of fested as equipmentality: paths constituted by the tangled architectural form, embracing visual effect as the origin of relationships of welfare and expropriation, of economies digital techniques.
and biomes, of supports and shelters, of resources and
Move away from the traditional discussion- or tutori- subjecthood. Each path appears to comprise a discipline at al-based seminar organization toward production-based odds with the other. Where is the basis and impact of public research, the course looked at technique as a theory. The works? Is it in the architectonic of decision-making? Is it in main purpose of the seminar was to produce a critical the indirect production of demand by the creation of work? :K<ABM><MNK>
Is it a mode of political inoculation against dissent? Or is it related to the dilation of the money supply? Is it the articulation of a technological rationality? In a manner of speaking,
+)- E:;HK% PHKD% :G= :K<ABM><MNK>3 MA>HKR% ABLMHKR% <KBMB<BLF *2/)&+)))
public works is the apparatus through which the state makes B\ee\k_ =iXdgkfe itself present, visible through building as the intersection of ABLMHKR MA>HKR% ?:EE +))0 these questions. The course interrogated a number of these questions ((, (./ The title of this seminar derives from Hannah and examined theories of public works from Daniel Defoe in Arendt’s study The Human Condition of 1958. It also makes his Essay on Projects to the World Bank’s current delibera- an allusion to Siegfried Gideon’s Space, Time and Architecture tions on infrastructure. A particular thrust of this course will of 1941. Apart from Arendt’s political philosophy, this seminar be its transnational, comparative focus. Through critical writ- deals with a series of themes derived from the essay topics in ings on infrastructure, this course examined this globalizing Prof. Frampton’s book Labour, Work & Architecture, including force of infrastructural thought. Course readings included the work of such figures as Alvar Aalto, Pierre Chareau, Louis key thinkers — Kant, Ruskin, Adam Smith, Patrick Geddes, Kahn, Tadao Ando, Le Corbusier, and Frank Lloyd Wright. Heidegger — and their relationship to equipmental thought and architecture. Case studies included Haussmann’s Paris, the Tennessee Valley Authority, the British New Towns, and the Ford Foundation Plan for Calcutta in the 1960s.
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+), ABLMHKR H? :K<ABM><MNK> +3 MP>GMB>MA <>GMNKR :K<ABM><MNK>% *12.&*2/.
((, (./ This lecture course attempted to trace the evolution
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of view of the role played by structure and construction in
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the development of 19th and 20th century form. The lecture
of the tectonic idea in modern architecture from the point
addressed itself to the poetics of construction as this has ((, (./ The second of the two-semester Architecture History made itself manifest over the past 150 years. The tectonic sequence, this course traces the history of modern architecture suggests itself today as a critical strategy largely because of through its transformation from 1895 to 1965 under the influ- the current tendency to reduce architectural form to a specence of two major forces: the process of modernization and tacular commodity. This amortizable scenographic approach the development of ideology. The first of these derives from the has been accompanied by a dissolution of references in the material changes brought about by technology and industrial- late modern world. ization; the second stems from the received idea of progress and from the utopian legacy of the Enlightenment. The period covered runs from the high point of the Art Nouveau to the death of Le Corbusier. Rather than attempting a continuous chronological account, the course is structured about a series
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of thematic episodes — Futurism, Classical Rationalism, the Apfk` ?fjX^iX_Xi Deutsche Werkbund, Adolf Loos and Vienna, Frank Lloyd ABLMHKR MA>HKR% LIKBG@ +))1 Wright, Le Corbusier and Purism, Dutch Neoplasticism, Russian Constructivism, the Weimar Republic and the New This seminar explored the fragmented, complex, and paraObjectivity, Mies van der Rohe and the New Monumentality, doxical urbanism of contemporary cities outside the conItalian Rationalism, the International Style in America, and ventional West. Do all cities have to resemble the urbanAlvar Aalto and Finnish Romantic Nationalism.
ism of Western Europe and North America to be modern? In an interconnected world of global flows, can these cities be seen as modern, albeit, a different modern? This course examined what happens when global modernity engages with particular places, localities, and traditions.
The course began with the premise that modernity, thematically, using contemporary theoretical texts to quesclaimed and defined by the West, was fundamentally global tion the simple understanding of Doxiadis as an opportunistic and that colonialism and modernity are connected. From (and hugely unsuccessful) planner with a problematic attitude these perspectives students explored the cultural and sym- toward the “developing” world. bolic dimensions of spatial transformation. The seminar focused on the ways in which globality and locality reconcile when local settlement practices/spatial cultures encounter global modernity. While recognizing the subjective position
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of the Western academe, students critically examined duali- Ble`f Bl[f ties such as “traditional” and “modern,” “West”, and “non- ABLMHKR MA>HKR% LIKBG@ +))1 West,” “Orient” and “Occident,” as culturally constructed categories that frame professional understanding and in- Until quite recently in world history, Japan was a local and terventions in architecture and urbanism.
rather invisible event. It was a slow, gentle, and gradual
The course integrated a historical and cultural under- evolution in an isolated island of the Far East for two thoustanding of the architecture and urbanism of specific places sand years, compared with two hundred years in American with theoretical discussions of concepts such as modernity, history of dramatic changes. In this isolation, the Japanese tradition, culture, postcoloniality, globalization, representa- have silently evolved their arts based on feeling rather tions, nationalism, and identity. Students investigated the than reason. Their quest in arts was to realize what Nature plural landscapes of ‘non-Western’ cities through the study desired to be. There was Nature. Nature was with God, God of spatial expressions such as historic quarters, public was Nature. spaces, colonial urbanism, planned capitals, squatter settle-
The Japanese often appear to be contradictory; their
ments, the built environments of re-interpreted traditions culture remains very naive on the one hand and very soand cultural tourism, and the de-territorialized landscapes phisticated on the other. It appears to be simplest, and at of globalism.
the same time the most complex. It is an anti-Hamlet zone. It is the land of To-Be AND Not-To-Be. So is Nature. So is Japanese architecture. The history of architecture is one of the most durable,
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fundamental, and complex facets of material culture. Apart
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from agriculture, architectural production is one of the most
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basic forms of social interaction requiring the organization and mobilization of workforces. An examination of the de-
(// )() This course was an examination of the various prac- gree to which architectural production is systematized in any tices of C.A. Doxiadis (1913-1975) in relation to the cultural, historical period provides essential information concerning environmental, aesthetic, and theoretical milieu of the mid- the level of social stratification, centralization of power, and twentieth century. It began with his participation in the found- ideological dominance. The Japanese carpenters completed ing of the United Nations in San Francisco in 1945 and his the highest degree of spatial and dimensional modulation so simultaneous launch of a traveling exhibition on the effects of that people could produce unlimited variations within a syswar and occupation in Greece. Following the success of this tem with the maximum degree of economy and aesthetics. exhibition and an almost constant series of media launches, This is an untold secret of beauty behind traditional JapaDoxiadis returned to Greece to establish an architectural nese architecture. It’s an ethic of living. consulting firm that would soon have offices in 40 countries and a university whose pedagogy was based on the invented science of ekistics. Rather than being a chronological survey of Doxiadis’ career, this course sought to find thematic resonances between the practices of a long-dismissed and deliberately overlooked ideologue and contemporary politics of “globalization.” Because the body of posthumous literature about Doxiadis is relatively small, the course was arranged :K<ABM><MNK>
This course began and ended, therefore, with archi-
+*( >MAB<L% CNLMB<>% :G= MA> <BMR
tectures that engage the city after “metropolis.” This is the
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global city, the financial capital of advanced capitalism. But it
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is also the city after the “city” — the result of massive urbanizations stemming from regional and global migrations, as
.) (.0 (00 )'* Cities today face unprecedented pressures well as massive dispersals (“sprawl”) that trace back to the from the forces of globalization, the aftermath of the Cold decades immediately following the Second World War. War, migration, technology, security, and climate change,
Composed of virtualities (stock indexes, population
among other things. These forces are compounded by curves, desires), bodies (buildings, peoples, institutions), effects of speed and media, which convert mere change into and flows (money, traffic, power), the new city demands rapid and even hyperbolic change. The effects — in terms of attention at any number of levels. This course emphasized poverty, the environment, health, exclusion, and violence — architecture’s role in constructing cultural “imaginaries” are profound. In this disorienting landscape, there are lots embedded in changing economic, technological, and politiof opportunities for urban professionals. How to respond is cal circumstances. Of each piece of architecture and each governed by ethical and political decisions, whether acknowl- text examined, students were asked: what city or cities does edged or not. Facing the questions of justice and ethics is it imagine? For whom? How? To what end? In each, students less a choice, then, than a matter of urgency — for multiple traced multiple, genealogical affiliations — the alliances it disciplines — if there is to be any meaningful intervention in forges, the subjects it conjures, the pasts it constructs, the contemporary cities.
futures it projects, the others it excludes.
This team-taught interdisciplinary seminar examined a wide set of responses to and protests against the shapes of the contemporary city and investigated various attempts to create what might once have been called a better life in the city. The seminar sought to juxtapose different visions
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of what that life is, and foster debates between them. Be- I\`e_fc[ DXik`e cause rather than being conclusions or absolutes, “ethics” ABLMHKR MA>HKR% ?:EE +))0 and “justice” are first and foremost questions for debate, discussion, antagonism, and fundamental disagreements. -+ (-* (-/ (-0 (.. (/, (0( )') (+*, Much architectural It is those challenges that the profession seems presently production of the past half-century has been haunted by to be avoiding, and it was therefore precisely where this the ghosts of modernist utopias. Following a reformulation seminar was sited.
of these utopias in the 1950s and 1960s, and simultaneous, critical reactions to perceived modernist dogma, a collection of practices and discourses emerged that were eventually grouped together as “postmodern.” If these new directions
+*) F>MKHIHEBL :G= :?M>K3 :K<ABM><MNK>L H? MA> <BMR
shared anything, it was an (often explicit) rejection of utopia-
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new traditionalism, and/or a new populism.
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nism in all its forms, in favor of eclectic, historical citation, a This research seminar advanced the hypothesis that, this rejection notwithstanding, the haunting persistence
-+ (-* (-/ (-0 (.. (/, (0( )') The modern metropolis — of utopia’s “ghost” is an unrecognized hallmark of various cauldron of social transformation, technological innovation, postmodernisms. This hypothesis was explored through inand aesthetic experimentation — is inseparable from the depth consideration of diverse works of architecture tradiequally modern notion of an international “avant-garde.” tionally understood as postmodern. Students concentrated However, in the course of their myriad encounters through on the projects themselves as bearers of discourse — built the twentieth century, both categories — the metropolis and contributions to a generalized, cultural postmodernism the avant-gardes — have become virtually unrecognizable. that may also undermine or contradict the very same antiIn their place have emerged new configurations, new chal- utopian currents they seem to represent. lenges, and new possibilities.
The seminar therefore emphasized and developed tech- functionalism) or to grant new freedom to the architect, niques of visual discourse. Its aim was to collect, document, whether on the basis of personal preference or a desire for and analyze visual material for an actual museum exhibition, sensational effect. But these efforts are themselves often mounted at the Canadian Centre for Architecture (CCA) in ambiguous, challenging any simple dichotomy between rule the spring of 2008. During the semester, the class also trav- and license, or rationalism and intuition. eled to Montreal for several days to work firsthand with the CCA collections.
Joseph Rykwert has referred to many of the eighteenthcentury theoreticians searching for a new grounds for architecture as the “First Moderns.” Although his characterization aptly captures the innovative and critical aspects of their thinking, this seminar did not view these new theories in a
+*+ :K<ABM><MNK> ABLMHKR *//)&*1/)
teleological or even progressive manner. They do not all lead
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to the modern movement or later twentieth-century explora-
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tions; nor can one theory be considered today as necessarily “truer” than another. But the insights (and misleading direc-
+' The objective of the two-semester Architecture History tions) that they engendered are critical to both formal and sequence is to provide students with a basic critical under- theoretical inventions ahead — and, most fundamentally, in standing of major developments in European (and to a lesser expanding the very limits of architectural practice. European extent, American) architectural history during what is some- architecture changed from the late seventeenth century to times considered the modern period, from the late seven- the late nineteenth century from being an idealist practice teenth-century to the post-World War II era. The course that assumed one universal language and that was primarily emphasizes moments of significant change in architecture, directed toward the creation of churches and palaces to a whether they be theoretical, economic, technological, or more historicist one that embraced a multiplicity of aesthetic institutional in nature. Each lecture usually focuses on a solutions and a broad range of building types (most notably theme, such as positive versus arbitrary beauty, enlighten- the new public institutions, such as museums, libraries, ment urban planning, historicism, structural rationalism, courts, and prisons) and urban scales (parks, boulevards, social utopianism, etc. Topics sometimes involve changes and new cities). generated by developments internal to architecture itself, other times by events external to the discipline, at least as it was conceived at that moment in time. The readings and more generally, the relationship between architecture and
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the broader cultural, social, and political context.
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lectures stress the link between theory and practice, and
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+' Case Studies: Le Corbusier, CIAM, Team 10
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in the Modern Movement in architecture in the first half of the
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realized projects in the second half of the century. The class
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focused primarily on a lineage of ideas and proposals that
This course explored ideas of urban planning that emerged twentieth century and their influence on both visionary and
both influenced and were influenced by Le Corbusier’s and +' This seminar explored architecture theory from the CIAM’s urban doctrine. The last section of the class examlate seventeenth century to the late nineteenth century, a ined two divergent reactions to Le Corbusier’s and prewar period that challenged Renaissance canons of beauty and modern urban doctrine: first, the new urban capitals whose composition as it explored alternative means on which to development was deeply indebted to Le Corbusier’s urban base architecture. While these new approaches were many vision, Chandigarh and Brasilia, and second, Team 10 urban and varied, most might be seen as attempts either to find a doctrine, including the proposals of the Smithsons, Jaap rational basis for architecture (structural expression, type, Bakema, Gian Carlo di Carlo, and Candilis, Josic, Woods. :K<ABM><MNK>
Students who were interested focused their independent useful for ascertaining what is taking place, what occurred, research on drawings from the newly acquired archives of and — most importantly—what yet could emerge. Shadrach Woods in Avery Library.
The seminar involved three particular three-week excursions, following an introductory blast-off session. Theoretical texts served as guides and means of transport. Each excursion was seen as a journey either into or out of
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architecture’s disciplinary specificity. Through this structure
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— and the overall course organization — various opportuni-
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ties for linkage, differentiation, and movement between the concepts and arguments contained in the chosen texts were
., (.* There has been little consensus in the past decade rendered available. It was hoped that by these means, no two about the critical mandate of architectural practice and the students would take precisely the same journey. mandate of theoretical writing on it. It is precisely that lack of consensus that this seminar took on as a challenge. The seminar opened by examining several collective attempts at theorizing the current situation in architectural discourse, pub-
+*0 :K<ABM><MHGB<L H? FNLB<
lished recently in Hunch, Log, the last issue of Assemblage, IXg_X\c Dfjk\c and in the Harvard Design Magazine. Drawing out the most ABLMHKR MA>HKR% LIKBG@ +))1 salient themes from these, the course was structured in terms of six coupled themes: city/global economy, urban This course examined the spatial, structural, and formal plan/map of operations, program/performance (relations, qualities of music — qualities that reveal the connections effects, atmospheres), drawing/scripting, image/surface, between music and architecture. Topics included empty utopia/projection. Each of these themes was examined in space, resonance, and ma; approaches to the concept of terms of the recent history of the coupled subjects — as topics pitch; approaches to the concepts of time and form; Bartok that are in the process of definition, rather than as singularly and the Fibonacci series; Arnold Schoenberg, Anton Webern, defined themes. Although the conclusions of this seminar and the 12-tone system; indeterminacy and interpenetration could be only provisional, as the material considered was in — the principles of John Cage; Xenakis and Le Corbusier; motion, so to speak, the most important point of the seminar Morton Feldman and weaving; Olivier Messaien, rhythmic was the very act of (and the students’ collective readiness to cycles, and non-retrogradable inversions; spatial music, e.g. participate in) constructing a map within which they too have Gabrielli, Monteverdi, Berlioz, and John Cage. to imagine their place and their course of action.
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** // (00 Has Brand has replaced Ideology as the dominant (-0 Theory, specifically architecture theory, interfaces with engine of design? If dreams of the “total work of art” once other types of knowledge; theory itself is a specific form of fueled an architectural imagination that spanned from the knowledge, simultaneously analytic, speculative, and instru- “teaspoon to the city”, the contemporary brand manual is mental. In effect, theory both differentiates and is differenti- the apotheosis of that fantasy. Branding is, to borrow Mark ated by intersections of materiality, thought, and events.
Wigley’s definition, both explosive and implosive; it regulates
While not an object in precisely the same manner as a the hyper-controlled interior and creates a network to replibuilding or a drawing, architecture theory nevertheless is cate design ideas at every scale. The contemporary branded equally productive of relationships, both internal (among its environment assumes every gesture from the minute to the components) and external (beyond its borders). Generating universal must be controlled and leveraged. not spaces or images but instead concepts, theory is vitally
The seminar attempted to look at the brand phenomenon at a variety of scales, from books and buildings to cities, networks and nations. The class was comprised of presenta-
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tions by a series of visiting designers, each dealing with the AfXe FZbdXe subject from a different (non architectural) perspective.
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Each student or student team worked as an editor with one of the guests to develop their presentation into mate- *. (0( During the quarter century of sociopolitical and rial for an article. The articles taken together were then technological change from World War II to the end of the coalesced into a publication to be finalized over the summer 1960s, spanning from postwar planning and reconstruction together with Swiss publisher Lars Müller.
to the events of ’68 and the emergence of postmodernism, architectural culture underwent a process of profound reorientation, self-questioning, and restructuring. The seminar traced this historical trajectory decade by decade, paying
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particular attention to issues of periodization, the interre-
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lationship between material and discursive contexts, and,
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more generally, the question of how “architecture culture” is produced and reproduced at specific moments. Among the
*. (0( Despite the virtuosity of much recent architectural topics discussed were postwar debates on monumentality, form-making, rigorous formal thinking is increasingly humanism, and regionalism; the effects of wartime research rare in an age of fast technologies, image saturation, and and technology; the formulation of new theories of structure challenging social, environmental, and political problems. and organization; the ideological and cultural ramifications But can architecture abdicate its concern for form without of the Cold War; the institutionalization of the International negating its identity as a discipline and mode of expertise? Style and its critique; the rise of consumerism, suburbia, Is it possible for architects to undertake serious aesthetic mass culture, and mass media; the impact of decolonization work while also engaging with urban and social reality? How and the incipient “global village”; the rise of a counterculture might form be thought in relation to contemporary life, insti- and neo-avant-garde; and the emergence of the paradigm tutions, and politics? These were questions raised by the of postmodernism/postmodernity. Each student focused on seminar in an effort to move beyond received and reductive a significant theme or issue, selecting an exemplary built views of formalism in architecture. Viewing forms as pro- or unbuilt work from each of the decades under study. This duced in specific contexts and having specific motivations research was presented in three sessions over the course of and consequences, the class began with the Enlightenment, the semester and integrated into a major term essay. then went on to consider some of the most important — and politically inflected — 20th-century aesthetic theories, including Russian Formalism and the Marxist critiques of the Frankfurt School thinkers and later Manfredo Tafuri. It
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counterposed this lineage to the “apolitical” Anglo-American I`Z_Xi[ Gcleq tradition represented by Colin Rowe, Robert Venturi, and ABLMHKR MA>HKR% ?:EE +))0 Peter Eisenman, among others, and their counterparts in literature and the visual arts. It also explored phenomeno- ,- )'+ This seminar viewed New York City as a catalyst for logical, structuralist, and poststructuralist approaches, and questioning those canons of architectural and urban historiconcluded with a set of debates bearing on architectural ography that tend to overemphasize the isolated monument. form-making today. The seminar was at once intended to Students scrutinized the evolutionary history of anonymous offer a selected history of modern theories of form and urban fabric, often created by the uncelebrated architect or formal method, to sharpen students’ skills of “close read- builder, that comprises the major building volume of this and ing,” and, most polemically, to explore the potential of a all cities. The focus was on the culture of housing with the strategic new architectural formalism today.
intent to grasp the political and tectonic devices that lead to specific fabrics in specific urban contexts. The city becomes a crucible to be understood both forwards and backwards in
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time, from extant present-day realities to underlying forma- analysis — something in the spirit of Paul Feyerabend’s tional causes and vice versa. This exercise in urban foren- “anything goes” on one hand, and the systematic meditasics was played back for other global cities, translated from tions of Husserl’s Phenomenological Reduction together New York by the participants who apply the technique and with Wittgenstein’s unsystematic empiricist reflection on values to case-studies embedded in their own local knowl- language on the other hand. Indeed, sometimes in more edge, culminating in a forum in which comparative projected recent writers — Paul de Man, Jacques Derrida — several architectural transformation of fabrics becomes the basis of critical discourses and poetics can be found which were critical discourse.
derived epistemologically from Husserl’s insight, not unlike an earlier generation of Russian Formalism, or Oulipo. Above all, with the introduction of several poets and writers together with architects and painters, the course aimed to
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grasp more clearly the possibility of learning a measure of
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Socratic irony in order to create other poetic strategies.
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Is landscape the space left between and around buildings? Should buildings be subsumed to the natural world or should
++- :K<ABM><MNK> :?M>K *2-.
they dominate it? This course explored these questions by =\c`Z`kp ;% JZfkk examining the relationship between buildings and the land ABLMHKR MA>HKR% LIKBG@ +))1 upon which they are sited and by discussing the various factors that influence the design of buildings in the landscape /, (+( (., (0( This lecture course focused on the period and of the landscape itself.
from 1945 until the early 1990s, investigating how architects
While much of the subject matter included came from the and key architectural institutions (schools, museums, publilong-standing tradition of landscape design’s basis in natural cations) responded to historical forces at work in a particular systems, starting with the work of Frederick Law Olmsted in historical context (aesthetic, socio-economic, political, techthe 19th Century and continuing with the work of Ian McHarg in nological, territorial). It also interrogated how and where one the 1960’s, the course also considered broader topics of sus- can trace the legacy of this period of experimentation with tainability and the importance of understanding how concern new programs, sites, materials, and media within current for the environment can affect the places we design.
practice, offering students both historical knowledge and
The basic curriculum was supplemented by guest lec- critical tools vital to positioning their own work within the turers, including Mark Bunnell, Andrew Moore, and Linnaea ever-shifting field of contemporary architecture. The class Tillett, and by the work of the students themselves who pre- covered both the continuation and transformation of modern sented their individual projects to the entire class.
architecture after the war — including New Brutalism, Team 10, corporate modernism, regionalism, tropical modernism, Neorealism, late modern formalism, and Good Design — as well as the emergence of other practices that challenged the
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modernist legacy or even set out to proclaim its end. Among
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the 1950s and important trajectories of experimentation with
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prefabrication, computerization, and scientific method; the
the latter were: the turn to systems theory and cybernetics of
experimental and “Pop” architecture of the 1960s, such as (,) Inspired by the insight that simply thinking of a certain Megastructure, Metabolism, and the development of notions musical phrase affects one’s body no less than if one actually of “environment”; engagements with linguistic theory and hears it, this seminar set out to introduce the possibility of notions of “meaning,” the neo-modernism of the New York an Archimedean point that allows each individual to extricate Five, investigations into typology, and the rise of a semanhim/herself from any set of conventions, preconceived ideas, tic and historicist postmodernism during the late ‘60s and paradigms, etc. Each week a pair of dialectically connected 1970s; and the post-postmodern turn, from the architecture concepts was considered. Students practiced a conceptual of deconstruction to the architecture of “event.”
discipline’s encounters with technology, particularly shifts
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within formal, material, representational, and program-
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human body, vision, space-time relations, environment,
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techniques of power, and territorial organization. There are
matic characteristics as well as in understandings of the
many aspects of modern technology that formed part of this /, (+( (., (0( This seminar investigated what role architec- story: the emergence of the industrial factory, thermodyture and urbanism play (or might play) in current debates namic machines, electrification, and servomechanisms; the over questions of political representation, human rights, the impact of prefabrication and synthetic materials, advanced organization of territory, surveillance, warfare, political con- ballistic weaponry, prosthetic devices, and biometrics; the flict, defense, and cultural heritage as well as in questions of rise of the railway, automobile, airplane, and spaceship; and citizenship, diaspora, humanitarian intervention, justice, and the development of information technology (printing, phodemocracy. Recent architectural publications were studied tography, telephone, television, video) and computerization. along with key texts from recent debates within human A key ambition of the seminar was to develop a historical rights, political theory, and spatial politics in order to set and theoretical framework for thinking critically and politiout a framework both for considering this work and through cally about the complex and shifting relationships between which to identify new lines of research and further critical architectural and technological transformation, one that prospects. If architecture has at times been identified with calls upon the architect and/or historian and theorist to take ideals of social and political progress — being embraced by responsibility for the implications of this shared archaeolthe United Nations as having a role to play in rights issues ogy when making decisions regarding the nature of his or such as housing — the discipline has also provided techni- her work. cal support and spaces for colonization, apartheid planning, encampment, and other forms of violence. The primary question pursued during the course was how the architect might position his or her work with respect to the complicated ethical and political questions raised by these fields of inquiry —
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that is, how they might take responsibility. Sessions included: =\c`Z`kp ;% JZfkk National, International, Postnational; Democracy, Rights, ABLMHKR MA>HKR% ?:EE +))0 Justice, Public Space; Humanitarianism and its Discontents; Extraterritorial Space/Camps; NonGovernmental Politics; /, (+( (., (0( This seminar set out to demonstrate that three Media/Control Space/Networks; Technologies of Occupation “operating platforms” within the field of architecture — exhi(Borders I); Technologies of Separation (Borders II); Public bitions, publications, and experimental forms of research — Space/Protest/Political Acts; Cities at War; Urbicide; and have served as privileged sites through which the discipline Responses to 9/11 and Terror.
has addressed (or expressed) its relationship to historical forces, frequently functioning as testing grounds at the very forefront of its engagement with social, economic, aesthetic, and technological transformation. Recognizing the domain
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of architectural work as multi-faceted, as are the various
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forms of practice and knowledge that reflect back upon it,
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the course investigated what role these operating platforms have played in the conceptualization and transformation of
/, (+( (., (0( Whether embraced under the rubric of their architecture over the past century, identifying for instance progressive social and aesthetic potentials or rejected as their contribution to seminal debates, to transformations pernicious, even destructive forces, technological develop- in architecture’s technical and aesthetic characteristics, to ments have played a significant role not only in architectural the sponsoring of critical experimentation, as well as to the production per se but also in the architectural imaginary. careers of many architects. Through researching: publicaThis seminar traced important paradigm shifts from the late tions, including magazines, reports, newspapers, and books eighteenth century to the present that emerged from the as well as the architects, critics, writers, and publishers :K<ABM><MNK>
associated with them; exhibitions, whether in galleries, Stressing the dialectic of rule and invention implicit in the museums, worlds fairs, expos, biennials, etc., and the archi- revival of classical forms, the course explored the diverse tects, curators, and institutions involved; and paradigms of cultural and artistic factors in forging a new language based research, including experimental and para-academic for- on antiquity yet moving beyond its example. Topics included mats and the collaborative arrangements, laboratories, and the link between architecture and humanism; the role of institutes through which they function, the seminar identi- architecture in new urban strategies; the search for a new fied a matrix of architectural expertise and modes of opera- type of canon that simultaneously presupposed and chaltion, as well as the diverse forms of public address to which lenged the authority of Vitruvius and the study of ancient these have given rise.
buildings; the rise of new techniques of graphic representation based on orthographic and perspectival projection; the emergence of the treatise and its articulation of universally applicable theoretical norms; the transformation of archi-
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tectural culture by printmaking, whose mechanical repro-
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duction of image and text revolutionized the dissemination of
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theory; the theorization of an architecture that drew both on the precepts of nature and on the example of the other arts;
This seminar examined how cities grow and develop over the assertion of unprecedented cultural status for the architime. It employed a theory of urban actors and conceptual tect; and the relation of architecture to new uses of visual models as tools for the analysis of the city. Transformations representation that helped inaugurate the modern era. in these actors and models were mapped at various scales over time in the course. Conceptual models provided a link between the larger forces shaping a city network and the physical, built city morphologies put in place by actors directing the resources at a particular moment in time. Students
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constructed a city model of a city of their own choosing and ;Xe`\c J_\i\i employed models derived from the course to illustrate the ABLMHKR MA>HKR% LIKBG@ +))1 structure and growth of that city, including its representative public spaces and fabrics.
)'' This course traced the development of the European
The course focused on the rules that generated the ini- city from classical antiquity to the threshold of the Industrial tial growth and on how they are transformed in later itera- Revolution. Focusing on the configuration of architecture in tions, innovations, or repetitions. A major focus was on the urban space, the course followed the evolution of the city relations between the public space in different growth pat- through a complex series of interactions among typological, terns in the city and the shifting/changing relations between morphological, and topographical factors. Beginning with the these growth centers. The seminar attempted to draw out typological transformation of the agora and acropolis and the how these relationships develop over time and what impact concomitant emergence of paradigmatic urban forms from fith these changes have on specified areas of the city and its built century Athens to the rise of the Roman republic, the course form, public space, or fabric. Various scenarios and city mod- went on to examine the formal and functional dimensions of els were considered from around the world.
the architecture of the Roman Empire; the medieval period, with its continuities and discontinuities between classical and Christian concepts of the forma urbis; new urban strategies, architectural languages, and discursive codes associated with
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utopian schemes, aristocratic and communal uses of public
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the emergence of new urban models and related architectur-
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al interventions from the inception of the Baroque era to the
space, and the rise of new towns in the Italian Renaissance;
end of the ancien régime; the role of typological innovation )'' The course provided a historical overview of the major in the urban fabric of London from Inigo Jones to the Great figures of Italian Renaissance architecture from 1400 to 1600. Fire of 1666; the Enlightenment debate on nature, reason,
and the city; and a comparison of the contributions to urban form of Laugier, Ledoux, and Boullée to the urban projects of George Dance Jr., L’Enfant, and Jefferson. The course ended
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with a comparative analysis of the effects of industrialization 9\ieXi[ KjZ_ld` on the urban centers of Western Europe and the USA. This ABLMHKR MA>HKR% LIKBG@ +))1 was a rupture which, in concert with the demographic explosion of 1800, propelled the city between traditional modes +. (+/ (-/ Should architecture be judged based on its hisof typological, morphological, and topographical synthesis tory? Does contemporary practice grow out of a genealogy of by contrasting the economic benefits of technical rationality forms? Or, on the contrary, do architects develop ideas and to the aesthetic and philosophical values of naturalism and concepts embedded in their culture and time? the picturesque.
If architecture is a practice of concepts and ideas, this course suggested that practice may precede theory as often as theory precedes practice. Covering the period from 1968 to the present, the semi-
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nar began with Italian Radical Architecture of the late sixties
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Architecture, and ended with an examination of the yet un-
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built work of today’s newest architectural practices in rela-
and early seventies, together with its counterpoint in Rational
tion to issues of post-criticality and utopian realism. What is sustainable design? The current skepticism about this term on the part of many architects and critics risks trivializing what is a very significant set of questions. As vast areas of the globe rapidly become more urban in both
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planned and ‘informal’ ways, while buildings contribute at BXqpj MXie\c`j least 40-50% of the greenhouse gases that bring about the ABLMHKR MA>HKR% ?:EE +))0 warming of the earth, it is timely, if not urgent, for architects to consider the relationship of design to the environment (*. This course examined the late modernist architecture in an open-minded fashion. By weaving together design of the 1960s and 1970s. Bracketed by Mies van der Rohe’s research, writings about nature and the environment, and key Seagram’s building, the ultimate monument of high modmoments of environmental policy and activism, this seminar ernism, and Philip Johnson’s AT&T building, which declared sought to provide students with the intellectual framework the advent of postmodernism, this period produced the vast to think of sustainability in relation to architecture. In addi- majority of the modern architecture currently in existence. tion, students looked at how contemporary architects and
Tending toward large commissions for corporate and
critics have responded to the concept of sustainability. The institutional clients, late modernism is not avant-garde. questions considered included the following: does sustain- Nor could it be. While the heroic modernism of the 1920s ability stand in opposition to architecture as an instrument of and 1930s argued for an imminent, Utopian (or, in Freudian development? Is “sustainable development” an oxymoron? Is terms, oceanic) future and the high modernism of the postsustainability a way of preserving privilege for the developed war era announced its arrival, late modernism operated after world while “outsourcing” polluting industries and “e-waste” modernism had begun to take damage in the court of public to poorer countries? How can the values of environmental- opinion. Unsure of its position, late modernism sits between ism and sustainability be integrated into the ways in which high modernism and postmodernism, between Fordism and architects think? Can these values provide creative opportu- Post-Fordism. Faced with the stark knowledge that after the nities, and even formal rigor, rather than limitation?
victory of modernism, the battle of the avant-garde was over, late modernists attempted to find ways of practicing in an era in which innovation had seemingly come to an end. Because of its relation to capital, late modernist architecture is often deeply compromised, but in those failures, there are also lessons, and — just perhaps — a key to the current condition.
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Road trip and field work were used as a pair of terms
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to press on this research from two directions, challenging
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mythologies of liberation, sensation, and experience from
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one side and assumptions about techniques of observation, data collection, and empirical analysis from the other. To
(*. Network City explored key urban areas as ecosystems supplement these terms students assembled a databank of of competing networks. Transportation infrastructures, research operations and rhetorics of the road, organized by telecommunications systems, and financial networks have the categories, bodies, vehicles, cities, and documents. simultaneously centralized and dispersed cities within
The seminar emphasized the formulation of an architec-
larger posturban fields. Areas such as the Northeastern tural outside, constituted in this case by encounters with exseaboard and Southern California form the core of global ternal locations, urban configurations, populations, and spacapital, producing the geography of flows that structures tial organizations. Whether the terms of this outside are held economies and societies today.
in place, outside of architecture proper, or smuggled back in,
A fundamental thesis of the course was that buildings the seminar illuminated a pervasive architectural fixation on too, function as networks. Students explored the demands the conceptual and structural importance of the outside, atof cities and physical and social networks on program, tendant notions of context, reference and their aberrations. envelope, and plan since the late nineteenth century, particularly in the office building, the site of consumption, and the individual dwelling unit, and the reciprocal influences of such changes in these typologies on the urban context.
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Students also looked at the fraught relationship between DXib N`^c\p signature architecture — the so-called Bilbao effect — and ABLMHKR MA>HKR% ?:EE +))0 the post-Fordist city in which architecture increasingly seems obsolete.
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Network City treated the growth of both city and sub- es out of passionate and unending debate. Every design urbia (and more recently postsuburbia and exurbia) not as involves theory. Indeed, architects talk as much as they separate and opposed phenomena but rather as intrinsi- draw. This class explored the way that theory is produced cally intertwined. For their final projects, students produced and deployed at every level of architectural discourse from books integrating visual and textual arguments.
formal written arguments to the seemingly casual discussions in the design studio. A series of case studies, from Vitruvius through to Cyber-Chat, from ancient treatises on parchment to flickering web pages, was used to show how
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the debate keeps adapting itself to new conditions while pre-
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was understood as a wide array of interlocking institutions,
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each of which has its own multiple histories and unique
serving some relentless obsessions. Architectural discourse
effects. How and why these various institutions were put in (+- (., )') This seminar researched architectural research. place was established, and their historical transformations Its hypothesis was that both despite and through the pro- up until the present was traced to see which claims about liferation of research obligations and methods at postwar architecture have been preserved and which have changed. universities, the most significant architectural research has occurred outside the studio, away from the university, and on the road. Tracking a history of architecturally motivated travel, from the Grand Tour to contemporary expeditions, the seminar compiled evidence in support of this premise, while critically interrogating the consequences and effect of these tours and the discoveries they claimed.
As a linguistic term, a vernacular is a specific local
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dialect or language, originally posed in contrast to the “universal language” of Latin. The Latin term verna also
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implied power, a slave tied to a place rather than a per-
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son. Architects have extended this to mean a “traditional” or non-elite language of construction, meanings, and use,
('0 (0' (0. Influenced by the philosophy of Henri Bergson typically associated with a specific place but often a vague and Gilles Deleuze, as well as cognizant of the global flows universal vernacular. This class considered various, someof cultural artifacts, knowledge, and affects, filmmaker/art- times conflicting conceptions from primitivist fantasies to ists Chris Marker and Andrey Tarkovsky detach the image political and social hierarchies, focusng specifically on the from the forward advance of the narrative to capture what twentieth century, when intonations of the term “vernacuTarkovsky characterized as an image’s “time pressure.” lar”, both positive and negative, encompassed informality In the past thirty years, architecture’s interest in film has and class distinctions, authenticity and authority, and radifocused on the linear sequencing of frames drawn from cal modernization and supposedly unchanging traditions, the film theory of Sergei Eisenstein and made popular by as well as issues of regionalism and environmentalism and Bernard Tschumi’s influential Manhattan Transcripts. In beliefs about purportedly “organic” social and ecological contrast, “time pressure” enables the flow of time to emerge harmony. Geographically and culturally the class’s frame as a rhythm of filmic sequences. Through close readings of of reference extended from Europe to the United States, Lev Manovich to Elizabeth Grosz, Joan Ockman to Patrick Latin America, and the colonial/post-colonial world of Asia, Schumacher, this course investigated how time, shaped by Africa, and the Middle East. durations, time pressures, and memory, influences the phenomenal experience of architecture and the manner through which architecture is thought. To shift into the spatial realm, students considered how the paradigm of the archive, as a store of material artifacts, and the new virtual realm of the
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database, as a store of information, have emerged as spaces >n\e[fcpe Ni`^_k for the accumulation of time. While architecture and film are ABLMHKR MA>HKR% ?:EE +))0 fundamentally different in their material presence — film and video being linear in time and a more controlled subjective (0( All cities respond to diverse forces: grand master plans, experience, whereas architecture is spatial and therefore a unregulated “cowboy development,” multilayered politics, meandering, uncontrollable, subjective experience — there amalgams of traditions, inventions, and inevitable unexis nonetheless much to learn from these temporal forms and pected contingencies. American cities exemplify this frenetic how they capture the vicissitudes of contemporary life.
dynamic, having embodied the modern metropolis around the world for over a century. This modernism is not a stylistic idiom but one of processes, human experiences, and formal typologies that that have much in common with our
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contemporary world.
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la can fully describe these dynamic processes. American ur-
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banity varies across time and space, even as it borrows from
Certain patterns can be discerned, but no single formu-
and exports to other nations. Multiple analytic methods are (0( Vernacular architecture often seems the antithesis, even therefore required to understand both the particularities and the antagonist, of modernism. Yet every form of modern the larger issues. How does architecture relate to location art — architecture included — has drawn inspiration from and surroundings? To infrastructure and open space? Who vernacular subjects. Modern architecture has been slow to decides what gets built? How does it change over time? This acknowledge its genealogy, suspicious of historicist or neo- class tackled such questions. Students looked at competing traditionalist sympathies. The aim of the colloquium was to arts and policy professions within the shared domain of the investigate this convoluted relationship. :K<ABM><MNK>
city, changing centers and peripheries, the shape of nature
and infrastructure, redefinitions of public and private space, various types of interventions, the effects of what exists and
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what is remembered, and the iconic and the unexpected.
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0' -,/ 0+/ (()) (++/ The focus of this course was on rethink-
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ing the resolution and intricacy of the fabric of space in terms
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of algorithmic infrastructure and increased data populations applied to corresponding emerging modes of production.
.) (.0 (// (00 )'* In the last fifteen years, architecture has Scripted 2D patterns and their physical computational counbeen exposed to a radical set of changes in its visual tool- terparts were tested through the scale of the body — the most kits and its technological environments. New hardware and intimate skin — and the scale of spatial accessories — intesoftware, often imported from other fields and emerging at rior-scale, semi-structural and structural fabrics. Students a dizzying pace, have digitized and automated techniques of worked on development of explicit options primarily in Rhino architectural drawing and modeling and production, mul- scripting or alternatively in Generative Components, explortiplied networks of communication into diverse infrastruc- ing in both cases the fabrication constraints of laser cutting. tures and media, increased the accuracy of analytic imag-
Material Potency is a recurring design research semi-
ing, and expanded databases and methods of data collection. nar aimed at exploring advanced computational systems and Architecture, because its core techniques are not simply its evolving modes of production in design. It is a subset of the own, cannot wall itself off from the many other disciplines research group CONTINUUM, which brings together a series and practices — ecology, the military, science, geography, of professional and academic participants from a variety of popular culture — with which it shares, and from which it disciplines with the intention of exploring and as a result often borrows, its tools.
capitalizing on areas of shared research. The work of CON-
Today, what can be defined as visual in design has multi- TINUUM and Material Potency class was recently published plied exponentially and forced us to rethink all of our projects in the AD issue on Network Practice. and practices. The new Visual Studies curriculum thus places
For further information, visit: http://biothing.org/wiki/
“projects” in the center of the circle, and moves architecture doku.php?id=wearable_potency. to the outer circle with an expanded definition of practice. Visual studies now spans all the disciplines of the GSAPP, such that a wide range of tools, techniques, and disciplines are available in an expanded matrix of courses. Putting proj-
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ects at the core of the curriculum emphasizes collaboration G_`cc`g 8eqXcfe\ across and between disciplines, studios, and seminars.
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Visual Studies is divided into three broad sets of workshops: Analysis and Representation, Design Environments, )' (.+ ,., .// Since Di architectura decem libri, in which and Fabrication.
Vitruvius devoted an entire book to the design and use of
The workshops are structured to enable navigation machines, architecture has steadily shifted its mechanicalthrough a matrix of courses over a student’s time at GSAPP. theoretical focus from construction to that of aesthetic inspraThe curriculum focuses on a combination of distributed tion. The digital computing machine has recently emerged courses, which taken together are designed to expose stu- as a tool for architectural design, yet symptomatic problems dents to the potentials and limits of various visualization have arisen translating digital creations to reality. Recent techniques. This allows students to build a customized cur- advances in quantum computation have sparked a resurge in riculum calibrated to their design studios and seminars. the study of hybrid analog-digital computation, leveraging the It provides students with a critical framework for making massive parallel efficiency of “real-world” computation. discriminating use of the array of available tools across the
This workshop utilized the equipment of the Digital Fab-
disciplines of architecture, urban design, urban planning, rication Lab as a test-bed for the exploration of CNC proand preservation.
duction’s role in contemporary architectural design theory.
Students created a series of analog computational mechanisms based on a set of constraints developed to frame
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the research. The mechanisms had embedded controls G_`cc`g 8eqXcfe\ " B\`k_ BXj\dXe programmed to be articulated and utilized in the material OBLN:E LMN=B>L% LNFF>K +))0 $ ?:EE +))0 $ LIKBG@ +))1 world, where nature becomes the decision maker. Through an iterative transformational process, the designs were de- )' +( (.+ ((0) Computation in design must seek to expand veloped, fabricated, and tested using architectural materi- beyond geometric, mathematical, and logical precision in als. By engaging computational manufacturing techniques, order to engage the “real world”. Production and assembly in combination with traditional assembly procedures (me- provide a means to interrogate potential roles of computchanical fasteners, folding, sealant, adhesives, etc.), in the ers and digital media in architectural practice, providing production of full scale design mechanisms, potentials were feedback to rule-based methodologies and techniques that realized for the integration of digital design in architectural evolved into contemporary software packages and protheory and practice.
cedures. This workshop attempted to discover the hidden discontinuities in the progression from design to manufacture to assembly, when work embedded within the precision of the machine is forced to perform in the world of nature.
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Production is the fitness test of contemporary digital design.
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Rule-based generative morphologies become a tool for the
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visualization of fabricated potentials that are embedded with the “intelligence” of the material world.
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This workshop utilized the equipment of the Digital Fab-
of mold-making and dynamic formwork. Using the casting rication Lab as a test-bed for the exploration of CNC producfacilities of GSAPP’s Fabrication Lab and Printshop, students tion’s role in contemporary architectural practice. Students developed robust casting mechanisms capable of producing developed parametrically controlled architectural assemsmall runs of cast parts. The course focused on repetitive and blies based on sets of constraints that framed the research. system-based castings — on the tectonics of the system in The designs had control mechanisms programmed to be particular — and students were expected to develop a flex- realized in the material world, where nature becomes the ible system, with integrated detailing, that could recombine decision maker. Through an iterative process, the designs in multiple ways. In their explorations of dynamic formwork were developed, fabricated, and tested using architectural systems, students attempted to develop systems that went materials at full scale. By engaging computational manufacbeyond repetition by integrating specific parametric variation turing techniques in the production of full scale creations, to the cast form. The class put an equal emphasis on the quali- potentials were realized for the integration of digital design ty and quantity of cast parts as well as of the formwork itself. in architectural practice. All of the machines and resources of the Fabrication Lab and Printshop were integrated with the final cast prototype system. While Solidworks and Rhino were the primary mold-making tools, in some cases 3DsMAX and Maya
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were employed.
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Student work was driven by rigorous research and a OBLN:E LMN=B>L% LIKBG@ +))1 clear sense of purpose. Students were expected to clearly document their process as if it were an experiment that )' (.+ TimeZone was an intervention in public space involvsomeone else could repeat. The research sited the projects ing a series of low-cost, interactive, lightweight, “building within a clearly defined context, outlining particular goals to blocks” that provided direct video communication between achieve and problems to solve. The class provided a histori- individuals of socially and economically diverse backgrounds cal and theoretical context for the research with examples whose daily routines were aligned along a single time zone. of important projects using casting.
The project addressed the potential for public spaces to stimulate group dialogue and revitalize public activities across cultures and languages. In its broadest sense, it is
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considered a provocation to address the digital divide and circuits, and by the end of the semester they built a range some of the enormous economic inequities that members of exciting full-scale demonstrations for an exhibit at the of the United Nations have identified between people living school or at a New York gallery. in the northern and southern hemispheres.
In the past fifteen years, some of the most vibrant ex-
The design and fabrication challenge sought to cre- periments in architecture have used computer technologies ate interactive TimeZone blocks with maximum durability to develop new types of geometries — with curves, facets, and interactivity at a minimum cost. Clusters of TimeZone and non-standard shapes — and to fabricate architectural blocks contained data projectors, cameras, speakers, sen- elements directly from digital files without working drawsors, microphones, and wireless interfaces. Images ap- ings. Some of these digital processes are now completely peared on the blocks’ highly durable, water- and scratch- integrated into practice while others are still being develresistant flexible surfaces, which served as touch-screens. oped and redefined. Building on these investigations, a new Proximity and touch sensors facilitated interaction between type of post-digital experimentation has called into question users. The blocks were demountable and able to be crated the “muteness and inertness” of traditional materials. Reto remote parts of the world where they would be assem- cently, some architects have been using new technologies bled and put to use. During the summer of 2008, prototype to explore and realize radically different kinds of spaces TimeZone blocks were constructed, connected, and tested that respond to their environment in real time: responsive in public spaces.
kinetic architecture. Using the standard building blocks of inexpensive sensors, simple microcontrollers, and shape memory alloy actuators, students were able to create interactive environ-
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ments without extensive training or a laboratory infrastruc-
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ture. Dynalloy, the manufacturer of Flexinol shape memory
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alloy actuators, donated materials for the class.
('') ((*, ()./ ()0* (**- (*+, (+), The scope of this course focused on using the medium of architectural photography as a critical tool, to enable the visual depiction of buildings,
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both contextualized and decontextualized. Photography is DXib :fcc`ej " Kfil ?Xj\^XnX capable of intentional and unintentional deceits in terms of OBLN:E LMN=B>L% ?:EE +))0 $ LIKBG@ +))1 scale, context, and physical condition. Photography has also been proven an excellent tool for displaying the shortcom- (/* This workshop explored generative design methodoloings and sensations unidentifiable by plans and sections. gies through the application of algorithmic techniques, lookArchitectural photography can reveal the architect´s ideas ing at fundamental coding principles (recursion, feedback, and intentions and can provide insight into a building´s modularity, and I/O) while teasing out a rich taxonomy of potential meaning. It not only provides documentary evi- algorithms. Artificial life, material intelligence, interactivdence; it also serves as a stimulant for the critical mind.
ity, and other second-order principles were approached from the vantage point of “dynamics” and “search” — or the introduction of directed intelligence into a dynamic process of making. Based on “feedback” from previous iterations of
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the course, this semester focused on the interrelationship
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between “development” and “behavior”.
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Behavior and development were understood to be a sum, or aggregate, of a multitude of innocuous decisions. Each is a
0) (.( (.+ (0+ (0- )') 0*( (((( Students in this course “dynamic”, or a process “in time” that necessarily feeds back brought architecture to life. This hands-on laboratory unfroze and regulates procedures to promote higher levels of form, buildings and created functioning interactive environments. organization, and movement. Students developed a focused Students were introduced to the issues of responsive kinetic inquiry into a specific area of algorithmic dynamics. Here, architecture and the techniques of designing with electronic “dynamics” is meant as an inclusive term for all kinds of
activity; formal development, flocking, embryology, automata, FEA, fractals, and L-systems are all examples of time-based
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recursive practices. The class fleshed out a vocabulary and ;Xm`[ =Xef structural understanding of a wide array of algorithms and OBLN:E LMN=B>L% ?:EE +))0 $ LIKBG@ +))1 sought out correspondences among dynamics, mapping, and search heuristics. By casting a wide net, the course hoped .(( 00( 00* What is the place of BIM in architecture? Is it meant to see opportunities for portability and the development of a solely for production, or can architectural design benefit from critical stance towards algorithmic “tooling.”
the real-time feedback available from Building Information Models? BIM can and will change the profession, and this generation is responsible for how that will be. The intention of this workshop was to develop a thorough understanding of
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BIM and, in particular, the ways in which architects can inter-
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vene in the process to push beyond mere efficiency. How is the
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time gained from these tools re-appropriated? How can the concepts of parametric modeling infiltrate the design process?
.*) .*, .-) ('0' ()(( As the architect’s computer switches Using software that forces rigor, can architects learn from it modalities from a tool that integrates design and the pro- and re-apply those logics to other aspects of the design? duction of data for actualization, new processes, and tech- Students used Autodesk’s Revit to create a parametric archiniques to more capably take advantage of this shift must be tectural system with embedded variability. Once the system explored and skillfully utilized. This workshop challenged was designed, Revit was used to create models that translated traditional methods of drafting and physical model build- into drawings for fabrication. ing and explored a more parametric approach. Virtual 3D models were drafted, subjected to multiple iterative transformations, tested for design fitness in the realm of the software, and output for testing in real space. Results of this
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study included practical knowledge of how certain geom- JXYi` =Xiflb` etries affect the performance of designs. Virtual models OBLN:E LMN=B>L% ?:EE +))0 $ LIKBG@ +))1 were embedded with intelligent criteria established by the designer to produce more controlled and specific results, This workshop explored the multiple techniques and tactics moving away from the abstract results of the generative used to develop a short animation. As a means of communiformal experiments of the late ‘90s and early ‘00s. The fre- cation, no other visual medium rivals the short animation in quent use of 3D printers and laser cutters ensured a close its efficacy. It can make one laugh, cry, be horrified, believe, relationship between the virtual parametric model(s) and and disbelieve, all within 30 seconds. Kinetic by nature, their physical counterparts, enabling the designer to test animation can reveal aspects of architecture impossible to design concepts in real space in a short time and adjust the represent in static images. 3D production software like 3DS design(s) accordingly. Topics included understanding para- Max (the primary software platform for the workshop) is able metrics, understanding geometry types, advanced modeling to explore the unique structure — linear time, filmic juxtatechniques, implementing pre-written scripts, modeling with positions, narrative, and abstract composition. This is the relationships, recycling geometry, exporting techniques, and “drawing” of contemporary architecture and design. data extraction for fabrication.
One part design project, one part technical instruction, the workshop was structured around its project — a short animation of an architectural space changing over time. Students drew an animated sketch of an architectural space using a 3D interface in combination with any other graphic means necessary. The concept was then further developed and refined through the use of advanced 3D techniques, providing a broad-based knowledge of current digital animation practice.
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students were encouraged to utilize rapid prototyping tech-
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niques to better understand the relationship between vir-
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tual models and physical output. Building on this foundation,
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students used Ecotect not only as an evaluative tool but also as a projective device. Working with some of the software’s
-). -*+ .+' 0*, 000 ('(- ((-. (*'+ (+)( (+)) This workshop embedded scripting capabilities or directly from raw weather explored the multiple techniques and tactics of rendering: data, students investigated formal proposals that addressed sketch, visualize, analyze, quantify, synthesize. 3D software specific environmental factors. such as 3DS Max (the primary software platform of the workshop) allows the architect to navigate fluidly the constant conception/representation oscillation of the design process. The architectural rendering — whether abstract,
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analytic, or photo-real — captures the energy of an idea AXjfe @mXc`fk`j " E`Z_fcXj Bfk_Xi` about space, while contemporary rendering techniques OBLN:E LMN=B>L% LIKBG@ +))1 have enabled the architect to embed more information, with greater intent, into a single image.
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One part design project, one part technical instruction, of structure and the components of enclosure is conventhe workshop was structured around the production of three tionally considered to be mutually exclusive. However, in publication-quality images. Students sketched an architec- an environment where material efficiency and speed of tural space, using a 3D interface in combination with any fabrication is becoming more important, there exists an other means — 2D software, photography, hand drawing, etc. opportunity for the designer to intervene within the fabrica— and presented that idea into three separate images. Once tion process to assimilate both structure and envelope into formulated, the concept was further developed and refined one hybridized system. using advanced 3D techniques for modeling, lighting, mate-
This course encouraged and enabled student designers
rial application, and compositing, providing a broad-based to use digital software as a generative tool and the laser understanding of current digital rendering techniques.
cutter, CNC Mill, plastic bender, and welder as a means to bring virtual systems into the physical realm. The students are asked to design a variable mesh of at least 15 cellular components born from one complex tessellated surface. Bridging the gap between digital conception and physical
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construction, students used various digital platforms to
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flatten the tessellated geometry into individual cells and
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then shifted focus to the fabrication equipment where these cellular forms where extracted from conventional acrylic
Public awareness of environmental issues has increased and aluminum sheet stock and reanimated into the digitally dramatically over the past few decades, and more and more generated, three-dimensional component system. The indiquestions are being asked of designers and architects. Some vidual cells were transformed using cutting, strip heat bendof these are answered at the urban scale with planning strat- ing, welding, and folded manipulation in order to fabricate egies and creative infrastructure solutions, while others are a topological network of elements — a homogenous, self addressed at the micro level with advances in high-perfor- supporting mesh. In effect, the students created structure mance materials. This workshop investigated the direct rela- from non structure and complex systems from simple surtionship between architectural form and adjacent environ- faces. Specific emphasis was placed on the development of mental conditions at the scale of the individual building.
multiple systems of geometry and various materials within
Students began by working in the software of their choice the same structural network in order to discern elements of to develop an architectural proposal for a given program. This surface and elements of connection. proposal was then reconsidered, refined, or rejected using
The research objectives of this course encouraged
Ecotect’s analytical functions for daylighting, thermal model- students to devise functional design applications, estabing, spatial visibility, and acoustics. Throughout the workshop, lish contextual relevance for their component systems, and
propose realistic fabrication scenarios based on quantifiable material and mechanical constraints. Components were ex-
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tracted from the digital realm, built at full scale, tested and B\`k_ BXj\dXe reevaluated, effectively taking them beyond prototype.
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+( ,.' --* --. Fabrication has always been a complex act rooted in strategy, research, cumulative knowledge, intent,
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collaboration, and expertise. Participants in this workshop
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nents fabricated on the CNC mill(s) to a highly polished state
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of finished refinement. In this workshop, “finishing” was
developed and documented procedures that took compo-
understood as pushing an intricate material development 1. Agenda for Greener and Grander
process several steps beyond the CNC mill, towards some
,*. /+( ('/' ((-( After implementing environmental stan- articulately customized end. Fabulous composite effects dards, why does green architecture look so bland? Passive were systematically developed through the orchestration of cooling, low flush toilets, and harvested lumber do not fore- geometry, surface articulation, strategic tool-path combinaground evocative design. During the last two decades, the tions and procedures, applied coatings, post-CNC processes, prevalent challenge for the sustainable design movement in and CNC feedback. Procedures and results were documentthe United States has been to sluggishly modify the behavior ed in a standardized format and were compiled as a resource of the developers, architects, and planners responsible for for future reference within the Fabrication Laboratory. the sizable majority of new projects. What does it take to recreate the “Bilbao effect” (artifact as stimulating catharsis) ecologically? The profession has to restructure its pedagogical goals in terms of environmental studies. By educating professionals on the sensibilities of green design, the ultimate goal of this course was to make ecology visible.
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2. Draw the Wind
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Students were asked to choose an ecological system in context and describe it, drawing or mapping in the factors . (/+ )'( The “time” of the institution, which organizes a kind that were especially “unseen,” such as mapping flows of of monolithic memory structure on a political and cultural gray water runoff in a parking lot, a flower opening for solar level, contrasts dramatically with the time of the individual income, sounds of highway traffic affecting bird habitat.
subject, which is filled with myriad unpredictable details. Similarly, the “time” of the built fabric of the city provides
3. Exquisite Corpse
an archetypal and shared memory which spans all cultures,
Like any ecological system, nothing is pure. Each individ- while the individual subject in his or her chance encounters ual, after accomplishing his/her task was asked to switch creates an absolutely unique memory that then cascades with a partner. Students were asked to assist each other into the urban form itself, in many ways. Urban morpholoin learning individual choices of media. All of the projects gies are now on fast forward, as they adjust ever more rapidly were combined and recombined until the unexpected was to global systems that provide individuals, collectives, and achieved. The prevailing goal for the final class product was institutions with constantly shifting ways to interact. The a visual representation of ecology as an “exquisite corpse” global spaces of contestation for resources, identity, infraof many competing systems. A collage of tiling environ- structure, military control, or desire that we see in films like ments onto environments.
Demonlover (Assayas, 2003), Syriana (Gaghan, 2005), or Code 46 (Winterbottom, 2003) are not science fiction speculations, but verifications of the wildly re-territorialized reality we inhabit today.
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Architecture operates as a key link in this dynamic relation, in its capability to slow down such time, unlike many
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other disciplines tied into the practice of generating urban D`kZ_ DZ<n\e morphology. This seminar studied these emerging “Post- OBLN:E LMN=B>L% ?:EE +))0 Empire” landscapes of control, systemic tendencies, and new freedoms.
(++) The existing zoning framework attempts to define
After a series of lectures, discussions, readings, and architectural potential as a set of static parts or modular film viewings, students created short films investigating a components. Rather than satisfying a range of possible conparticular aspect of the new urban archipelago. Conflating ditions, the collection of zones repeatedly fails to produce the fact and fiction, present, past, and future, these films were effects prioritized, even as new zones are generated. The problematized artifacts that challenged the idea of docu- ubiquity of the “special” portends this failure as zones lose mentary filmmaking.
any universal ability and become merely a lowest common denominator from which specialization can occur. Recognizing that professional city planners are increasingly expected to edit and even produce 3D models,
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the course explored such visualization techniques in rela-
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tion to urban planning. Working from very basic geometric
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components and using the New York City Zoning Resolution as a framework for investigation, students generated a
-)- -+. --) ().+ ()., (*)/ Researchers in fields like bio- spatial system. This course was part of an ongoing project mimetics and systems engineering have discovered relation- that seeks to design zoning mechanisms capable of generatships embedded within complex systems of seemingly unre- ing their own specificity. To accomplish this, the strategy of lated components or, in the case of natural systems, plant and parametrics was employed, making dynamic the field of posanimal life. These relationships (and dependencies) can be sibility and allowing its logic to develop recursively. Feedback shown to enhance the whole, perhaps improving the resiliency loops and corruption became part of the system, not foreign of the system to changing conditions or improving efficiency to it. Height limits, sky exposure planes, setbacks, sideand reducing waste of limited resources. Another common yards, and other points of spatial regulation were defined as theme in complex systems, particularly natural systems, is parameters in the production of a 3D system. adaptive growth. They respond to specific demands and environmental conditions present during their formation. Research aimed at modeling natural systems resurged in the 1980’s with “genetic algorithm” optimization techniques showing promise. More fundamental to the notion of
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adaptive design or generative design, however, is the ques- G_`c`g GXib\i# \hhk]bgZmhk tion of problem formulation. How do we build a system to 9XYXb 9ipXe# 8c`Z\ :_le# G_`c`g GXib\i# E`Zfc\ IfY\ikjfe# adapt? What does it adapt to?
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This workshop investigated the formulation of an adap- OBLN:E LMN=B>L% ?:EE +))0 tive system based on optimization methodologies. Here, the notion of optimality — generally understood to be a singular, +/ -. (/+ (,/ (0* )'( )'- .,. 0'' 0/' ('(' ('-0 ('.+ ('/. mathematical minimum — is reconsidered as a catalyst for (((' (()0 ((*( ((./ (*(. Recognizing drawing as the intimate design. A rigorous definition of optimization was applied, practice fundamental to the architect’s productive imaginatranslating a “generalized design model” into a parametri- tion, Drawing 1 worked with the several strands that sustain cally controlled “performance design model.” Students the fragile links among architect, idea, and material. The explored how the performance model is easily tested and course introduced a process of questioning — in the work evaluated against a variety of performance measures, in- itself — the relationships between measure and things that lie cluding testing by structural analysis.
at the center of architectural convention and representation. The correspondences between drawing and building are supported not only from the instrumental effect of one
producing the other but also through their mutual use of the camera and understanding techniques of cinematography, plane as a primary organizational structure and their perfor- digital editing, narrative structures, and, where necessary, mative roles as mediating apparatuses. The course situated post production work. drawing in ongoing discussions of media culture and the roles of the instrument in producing object, fields, and effects. Lectures and essays attempted to cut across these zones of shared performance, making building and drawing
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participating forms of knowledge and exchange while the DXk_Xe IXk`eXd projects focused on the memory-intensive and speculative OBLN:E LMN=B>L% ?:EE +))0 practices of drawing. Projects, lectures, and readings were organized around the distinctions of cutting into an ongoing How can one represent the immaterial qualities of architecmilieu, projecting from one surface to another, the traces ture through current digital practices? As the greater role formed at a meeting of two surfaces, and the folding of one of digital representation has been focused on the geometric surface into another.
and formal order of architecture, the ambition of this course
Working between the surface constructions of drawing was to review representational techniques so that they may and building, the course attempted to construct responsive, account for its symbolic, temporal, and invisible qualities. even tactical, working spaces where insight corresponds
Looking to other disciplines which are also heavily in-
with the architect’s ability to adapt while maintaining a radi- volved in the nature of representation, such as photography, cally consistent view.
sculpture, and cinema, it seems as though it is not through verisimilitude but through deliberate manipulation of their respective mediums that a heightening of the viewers’ senses and awareness is created. Examples of this can be
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found in the manipulated images of Yves Klein’s “Leap into
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visual effects of Jean Pierre Jeunet’s films that reflect the
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emotional states of his subjects rather than simulating their
the Void,” in Jeff Wall’s “A Sudden Gust of Wind,” and in the
physical experiences. If other disciplines, using the same When one arrives to this city the fictional New York of cinema software, are able to bring to the fore complex ideas and senis often wonderfully foreign and familiar to the New York that sations, why should architecture fail to take similar opporone sees; it creates moments one occasionally confuses with tunities with methods of representation, instead choosing to one’s own memories and experiences. It is undoubtedly the concentrate on “truthful” depictions of architectural form? city’s ability to re-characterize itself for every genre of film This course was about generating and critiquing moving immaking that leads to this confusion. Transcending between age compositions that require a deliberate manipulation of action, drama, romantic comedy, sci-fi, documentary, thrill- both image and time in an effort to capture architecture’s er, musical, it is a city made for everyone and every situation. elusive qualities. As this city suggests it can be all things for film, one cannot help but wonder about all the different ways it could be reread for architecture. Within the larger question of the role of animation in
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architecture this course explored how the city can be re- DXk_Xe IXk`eXd framed to communicate multiple agendas through moving OBLN:E LMN=B>L% ?:EE +))0 image. It sought to determine a cinematic language more akin to architectural representation by re-presenting the city How can one represent the immaterial qualities of architecback through an architectural lens. Reappropriating filmic ture through current digital practices? As the greater role of techniques that shift from the poetic to the analytical and digital representation has been focused on the geometric and the explicative to the generative, students created moving formal order of architecture the ambitions of these courses image works that projected and recalled memories embed- are to review representational techniques so that they may ded within the city. Students spent time working with the account for its symbolic, temporal, and invisible qualities. :K<ABM><MNK>
This course was a cinematic exploration of things architectural, focusing on narrative and content. Beyond the goal
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of exploring architectural issues through a cinematic lan- ;Xm`[ I\`e]lik guage — like the Eames’ films from the 50’s to the late 70’s OBLN:E LMN=B>L% ?:EE +))0 $ LIKBG@ +))1 — a further aim of the course was to counter the growing presence of prosaic architectural flythroughs. Discussions (/( The prevailing model of professional book production covered narrative structures which lead to polemical and nu- is firmly entrenched in the Fordist Assembly-Line. Writing, anced views, the characterizing of architectural experiences design, production, printing, and distribution are each hanand (re)humanizing architectural ideas. Students focused dled discretely by specialists as the project proceeds through on representing the observations, concerns, and positions a chain of command and production, where economies-ofpertinent to architecture that cannot be accounted for via scale and their required capital investment necessarily limit traditional methods of architectural representation.
who and what can be published. Recently, laserprinters, cellphones, photocopiers, page-layout softwares, instant messaging, word processors, and increasingly fluid communications networks have facilitated the shift to a just-in-time
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be made on-the-fly, quantities can be smaller, and the dis-
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tribution network can be more responsive. A book might reasonably be written by the designer who begins a layout and
The Carceri (Prisons) series of etchings by Piranesi marked works with an editor who commissions a writer and sources a significant turning point in the 18th century of visually a printer to produce fifty copies by next Wednesday. representing architectural spaces. Breaking from the rigid
Coincident with this shift are opportunities for self-
mathematical rules of linear perspective that had dominated publishing, economies-of-scope, and alternate networks architectural representation since the Renaissance, Piranesi of distribution to form an accessible, powerful and portable sought to focus on the evocative qualities of images rather platform for modeling design ideas. This workshop provided than the geometric order that was privileged by the conven- a background in the graphic design and production of short tions of perspective. The theatrical nature of his etchings books and explored alternative printing, publishing, and dishave since been noticed by many outside the discipline of tribution strategies, including a number of new alternatives architecture and were of great influence to film makers such such as Print-On-Demand, Online Archives, iPhoto Books, as Eisenstien and more recently Spielberg. Another such PDFs, Digital Offset, and Subscription services. visionary, Hugh Ferris, who also created cinematic renderings of architecture and also proactively distorted the linearity of perspective, wrote in an article on the role of architectural renderers: “… it would appear that he is not so much
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permitted as actually required to slight incidental facts of his ;Xm`[ I\`e]lik viewpoint in favor of the essential facts of the subject which OBLN:E LMN=B>L% LIKBG@ +))1 he is viewing” (Ferris 1926). This course was interested in the highly instrumentalized practice of digital representation (/( This workshop introduced fundamental technical and and aimed to explore methods that fracture the making pro- critical skills to engage the computer on its own terms, cess of contemporary digital images in an effort to describe fostering an understanding of the software, protocols, and the poetic aspirations of an architectural proposition above languages that construct a computer. Complex computer its geometric description. For the culminating project of this programs can be (and usually are) built in an ad-hoc fashcourse, students created short animations through uncon- ion, using smaller pieces of existing or free software. It is ventional digital and practical techniques.
exactly this string and sealing wax approach, as British designer Anthony Froshaug once described, that can yield work that is not over-determined by existing commercial software packages nor limited by production techniques.
To this end, students used existing Processing projects — frames them? Part 2 built on the proposals developed in Part modifying, taking apart and re-using the code and structures I and moved into the area of form and media: once a story has to produce their own projects. In the process, they gained an been identified, what are the devices by which it is delivered, understanding of fundamental programming methodologies how do those devices change the content, and how can they and a specific facility with Processing to explore concise pro- be deployed within a given architectural space? grammatic experiments. The software-savvy architect can reclaim an intimate relationship not only with the design but also with the means of production. The goal of the course was to understand the
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computer as a simultaneous site of design, of production, N\j Ifq\e and of distribution; and this collapse of functions at one OBLN:E LMN=B>L% LIKBG@ +))1 place and in realtime allows the creation of computational forms, models and organizations that are constantly rear- This class generated architectural work by drawing lines with ranging, re-configuring and recalculating.
film or video cameras. Motivated by the virtual fly-through’s freedom from gravity and Dogme Collective’s handheld principles, this course used camcorders as primary tools for making architecture. The course opened with a series of
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film clips in which camera movement produced a provoca-
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tive spatial effect as well as readings about cinematography
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relevant to architecture and an introduction to some of the more standard devices used for camera movement in the film
** (00 .)' 0'* ('-, ('-- ('-. The notion of program in graph- industry. Students were then asked to choreograph various ic design is inherently vague, and the functions demanded of camera paths over a given location in New York City and to it are multivalent and often contradictory; graphic designers design and build camera appendages corresponding to ideas sell something while appearing not to, demand conformity about movement. The class culminated in the creation of while promising freedom, etc. But whatever the program- short films with an emphasis on film production rather than matic demand, the graphic answer is almost invariably film editing. narrative. Graphic design, in that it shapes texts, organizes information flow, structures hierarchies, navigates spaces, and is doled out in chunks that find their completion in an imagined public.
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This class examined the friction generated when graph- 9iX[c\p JXdl\cj ic design and architecture overlap (or when graphic design OBLN:E LMN=B>L% LIKBG@ +))1 is injected into or spread onto architecture). How is the episodic aspect of designed space changed, intensified, under- -0, ./0 0.( ((+/ This course examined the intersection of mined, or reinterpreted by the graphic design that coexists geospatial and information-based mapping. The seminar within it? How can the designer investigate and critique the focused on methods of cartographic representation that notion of the “visitor experience” and try to understand the addressed the confluence of data and geography through way in which graphic design is often the first filter through the mapping of political borders, natural resources, transwhich a public understands a building?
national infrastructures, and questions of extra-territorial-
Students worked specifically on a proposal for the de- ity. Special attention was given to mapping strategies and sign of a space programmed as a tourist destination within instruments developed outside the field of architecture. a new building in Beijing. Part 1 concentrated on the manner
The format of the course was a combination of lectures
of graphic narratives that unfold within architecture and how and discussions on assigned reading. Presentations focused designers conspire to affect an unseen and unknown audi- on emerging geospatial software such as ArcGIS. Google ence. What kind of stories can be told in public space? How Earth Pro, and NASA Whirlwind as well as contemporary are they parsed? And how can they both be motivated by, geospatial techniques and tools such as digital elevation and interpret, the essential sequence of the architecture that modeling, data interpolation (krigging), LIDAR scanning, :K<ABM><MNK>
and advances in satellite imaging. Using these and other geometry can be based on the use of a line system to gentechniques, students were asked to choose a site from which erate a “structure” of forms that incorporate space-form to create analytical maps exploring ways to visualize dispa- relations. The morphology to be studied or animated can rate layers of information. Reading included the work of Eyal also be based on an object, a system, or a network whose Weizman, Derek Gregory, Manuel Delanda, and others.
morphology is in interaction with a topologically equivalent entity. Generative perception can be based on time-based material effects performing on pre-defined geometry. In this case the morphology is revealed over time by animating vi-
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+0+ ;H=R ?HKFL3 ?:LABHGBG@ I>K?HKF:G<> :MMBK> ?HK MA> +))1 ;>BCBG@ HERFIB<L HI>GBG@ simulation and representation. Simulation was understood <>K>FHGR -0) /.+ 0+) ((+- (++- In this workshop students explored
the generation of visual constructs dealing with the notion of
as the origin of a reality, not as a representation of a formal Pfj_`bf JXkf construct, by generating behavioral models and abstract OBLN:E LMN=B>L% ?:EE +))0 events without a tactile origin. The simulation gives origin to sequential representation of an unknown event that progres- (*) (.- (// This timely workshop offered students a unique sively yields to the generation of a tangible visual fabric.
opportunity to participate in a spectacular global event by
The primary methods of investigation used in this working on the design of the costumes for the 2008 Beijing course were threefold. The first involved the notion that a Olympics Opening Ceremony to be presented on August 8th, simulation could give origin to sequential representation. In 2008 (8/8/8) at 8PM in the “Bird’s Nest” Olympic Stadium this case simulation was the unknown event that progres- designed by Herzog & de Meuron. As a member of the sively yielded to the representation of a tactile fabric. The Opening Ceremony’s design team (including film director second used representational constructs to generate new and chief Zhang Yimou, set designer Mark Fisher, special perceptive realities; a represented environment was bent effects artist Cai Guo-Qjang, and adviser Steven Spielberg, by anamorphic architectural events. Finally, visual narra- among others) costume director Eiko Ishioka established the tive was used as a generative formation of a simulation, an program, design, and production milestones for the class. environment without atmosphere or perceptive origin.
Reflecting the celebratory spirit of the Olympics’ and Beijing 2008’s three main themes — Green Olympics, HighTech Olympics, and People’s Olympics — the students’ work was intended to support the needs of the performers, inves-
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tigating the human body’s most intimate architecture and
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Dynamically alternating between phases of research, design, critique, and production, the outfitted presence of the
This workshop focused on the topological study of form. ceremony’s cast and crew were developed and detailed headUnderstanding form as a composite of mathematical data, to-toe. Of paramount importance was the wardrobes’ visual one can begin to investigate the underlying structure of post- amplification, as live and televised performances from the Euclidian geometry. Students also investigated fluid dynam- grand size of the stadium to intimate scale of the bodies up ics as a morphological system, as opposed to the norma- close needed to be considered. The course served as a platform tive approach or regarding fluids as vector-based systems. for discussion, testing, and speculation between future techFinally, students looked at how the generative morphologi- nology, human needs, the global environment, and beyond. cal behavior of fractals could generate “structures” of form that would incorporate space-form relations. The two primary methods of investigation were generative geometry and generative perception. Generative
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,++ -,) .*+ This workshop examined the role of agency Environmental simulation has been a marketable trade for within generative design processes. The course engaged some time now. The popularity and practical utility of viralgorithmic techniques in the development of a computa- tual spaces has grown in direct proportion with the fidelity tional methodology emerging from research into swarm of consumer technology. Today’s desktops and entertainintelligence. While discussing the political and social role ment consoles can maintain perfect fluidity while handling of agency, the workshop focused on an abstract design sophisticated algorithms that add uncanny nuance a user’s methodology, recasting simple decision-making ability into first-person experience. agents capable of self-organizing into an emergent system.
Unfortunately, supplanting physical reality is still not
Scripting formed the basis for algorithmic models that an option as the fidelity of the technology is still not quite enabled localized interaction of agents to generate proto- there. As such, the architect remains obligated to deal with architectural forms, structures, and articulation. Unlike the familiar set of terms and obstacles before realizing his the typical application of swarm systems in design, this or her vision. However, the current state of the art is not workshop went beyond a simple mapping of these complex without unique characteristics of its own, making it a candisystems, mining their self-organizing potential to negotiate date for a new form of expression. In addition, it is possible between complex sets of desires and parameters in the gen- to envision alternatives to the architectural paradigm given eration of architecture. The workshop operated through the its close resemblance to the physical domain without the development of scripting and code, expanding on an existing restrictions of physical law. library of relatively simple functions and recombining them to develop more complex generative algorithms.
This workshop focused on the use of the Unreal game engine to simulate physical environments and architectural
Computational design is shifting away from a reliance proposals in an interactive format. Students worked with the on heavy platforms such as Maya into lightweight scripting software in conjunction with 3DS Max or Maya to develop environments, enabling the intensive iteration required for personal theses on the applicability of this technology within emergent processes. In anticipating this shift, the workshops the profession and/or a new definition for the practice of arfocused on the newer, lightweight languages of Processing chitecture at large. and RhinoScript.
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The most advanced engineering achievements of humans In this workshop, students looked at case studies, using video pale in comparison to the very practical and sophisticated work done for O.M.A., Gucci, and Oppenheim Architects. systems of even the most common plants. Plants’ ubiquity, Lessons covered video compositing and post-production even in New York City, offers the possibility of direct, visceral effects (green screen compositing, motion graphics tech- study. This course used plant form as a basis for the approniques, motion tracking, camera tracking, etc.) using a vari- priation of industrial design techniques into architectural ety of software. Class assignments focused on using these constructs. Details in everyday industrial objects surround techniques to illustrate work being executed in the students’ architects but are only rarely used in buildings. The use of studio courses.
CNC and rapid prototyping technologies has expanded the vocabulary of recent architecture to include industrial design details. Puzzle connections, Velcro, snap fits, folding patterns, and other common industrial design technologies
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techniques present an expanded set of tools for architects, ;Xe`\c Mfj the use of these tools for buildings requires a substantial OBLN:E LMN=B>L% LIKBG@ +))1 translation from one set of constraints to another. This translation of techniques was addressed in the course “Model: a system of postulates, data, and inferences prethrough the appropriation of techniques and the physical sented as a mathematical description of an entity or state of realization of architectural constructs. Students contend- affairs; also: a computer simulation based on such a system” ed with such constraints as tolerance, fit, stretching, and (Merriam Webster Dictionary) assembly sequence. ./) ./, (),0 ()-+ The object of this workshop was a physically accurate model of light and, by extension, of material. The goal was to make a real rendering by selecting an archi-
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tecture as the subject of the model, taking photographic data
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of a particular site under specific lighting conditions, gen-
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erating a physically calibrated digital material library, and using a rendering engine to synthesize these elements into
(// .-( /// 00. ('(( ('-( ((.* ().. (+*/ With the burst of distinct images. A minimal number of class lectures introthe Internet bubble in the late ‘90s, computing, cyberspace, duced important concepts and demonstrated their potenand the digital revolution were delivered a healthy dose of tial. The software included Adobe Photoshop, 3DS Max, and fiscal responsibility. While certain divisions of technology multiple free shareware High Dynamic Range Image (HDRI) have been forced to readjust to the demands of the economy, processing programs. the architectural profession has largely been undaunted in its use of computing. Computing in architecture has reached such a level of now ubiquity that the idea of practicing without it seems incomprehensible. It has altered the standards of
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representation, retooled construction techniques, and made JXiX_ N`cc`Xdj communication of complex information instantaneous.
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In this state of ubiquitous computing, the architect is asked to not only grasp these new technologies but also to ,.+ ((0' (*)* Geographic Information Systems (GIS) are a integrate them into the built environment. As the edge be- powerful tool for analyzing spatial patterns. Often referred to tween the virtual and real becomes increasingly thin, the as a system of spatial databases or visual databases, GIS is architect must not only be proficient in this interactivity, but used by many different fields to understand everything from tool it toward new ideas and potentials that are rife within spatial clustering to management of natural resources. For this expanding territory.
example, an epidemiologist might use GIS to determine the
While Fundamentals of Digital Design is an introduc- source of a contagious disease while an economist might tory course in computing, it builds on the student’s advanced use it to understand how industries cluster and if there are ability to question, shape, and interrogate space and time. environmental reasons for this clustering effect. The course interrogates the computer as a design tool of
This advanced research seminar was designed to ex-
representation and analysis. This interrogation is framed in pand students’ knowledge of the tools available for spatial the concepts, techniques, and methodologies of computer analysis, enabling them to develop unique research quesaided design. Students study the operative relationship be- tions and methodologies for answering those questions tween 2D and 3D data and are asked to explore the reaches using unique sets of software tools. With the ultimate goal of their potential.
of teaching students how to develop quantitative research methods, the course required each student to develop and test a hypothesis through the use of spatial analysis.
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/-* Mapping is a key component of site investigation. Maps -+ (-* (-/ (-0 (.. (/, (0( )') The Ph. D. program in archireveal unexpected spatial relationships, allowing designers tecture is oriented toward the training of scholars in the field to better understand their territory.
of architectural history and theory. Its structure reflects a
Data is the key component to making maps. The science dual understanding of the scholar’s role in the discipline at of mapping is based of the idea of translating data — wheth- large, as a teacher and as a researcher making an original er found or collected — into a visually comprehensible form. contribution to the field, with an emphasis on expanding and In other words, maps reveal the spatial nature of data.
reinterpreting disciplinary knowledge in a broad intellectual
GIS is a visual database. It allows one to easily interpret arena. Course requirements are therefore designed to give and visualize vast quantities of spatial data. The output of entering students a solid foundation in historical knowledge this visual data has traditionally been through GIS, but in and theoretical discourse, with sufficient flexibility to allow this course students combined GIS databases with a variety the initiation and pursuit of individual research agendas. The of output options, including Google API, Google Earth, Arc- program’s focus is on the history and theory of modern and Globe, and 3D modeling software. Exploring the collection, contemporary architecture and urbanism in an international creation, interpretation, and mediums for making maps, and cross-cultural context, from the mid-eighteenth censtudents devised a “hack” to interpret site data.
tury to the present. Within this, a wide range of research is supported through the varied expertise of the faculty and through strong relationships with other departments throughout the University and beyond. Students are resident
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in the program for five years.
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0(. (+++ Geographic Information Systems (GIS) is a tool for managing data about where features are (geographic coordinate data) and what they are like (attribute data), and for providing the ability to query, manipulate, and analyze those data. Because GIS allows one to represent social and environmental data as a map, it has become an important
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analysis tool used across a variety of fields including: plan- :\jXi\ 9`i`^eXe` ning, architecture, engineering, public health, environmen- IA'=' MA>LBL tal science, economics, epidemiology, and business. GIS has become an important political instrument, allowing -)/ Since antiquity the term polis has captured both the idea communities and regions to tell their story graphically. GIS of city as physical settlement and that of city as community/ is a powerful tool, and this course introduced students to the state. This thesis will explore this constituent ambivalence basics, gave them an understanding of its possibilities, and as it took form in the early-modern period, tracing a series of enabled them to use it in their own research.
historical shifts in the way the city was envisioned in France from the reign of Louis XIV until the Revolution. The proposal is to study the urban imaginary of this period by comparing the figures of the city produced by architects and utopian writers to the ideas formulated under the rubric of “police science,” the theory of the government and administration of the city. The thesis will examine two historical phenomena and their mutual relation: first, the emergence of a new
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“rationality” of the city, as it developed in the discourse and
+1. =PB@AM I>KDBGL :K<ABM><M3 <BOB< K>IK>L>GM:MBHG :G= LH<B:E K>?HKF BG <AB<:@H change in the way the city, in both its material and political =NKBG@ MA> IKH@K>LLBO> >K:% *12,&*2,, practices of the police, the institution that most controlled
urban transformation; and second, a profound cultural
sense, was conceived. The hypothesis is that the new ideas A\ee`]\i >iXp and representations of the city that emerged in the eigh- IA'=' MA>LBL teenth century involved a fundamental re-articulation of the relation between State and civil society; the police offers a //0 /0' Chicago architect Dwight Perkins was a pivotal critical means to understanding that re-articulation.
figure in the progressive social and political reforms that were especially strong in the Midwestern United States during the opening decades of the twentieth century. He had personal and professional connections with prominent
+1- >MÃ =>EE: F:<<ABG:3 F:K<H S:GNLHÍL local reformers such as Jane Addams, John Dewey, Charles :K<ABM><MNK> :G= BG=NLMKB:E =>LB@G *2-.&*20+ Zueblin, and Jens Jensen. The contention of this dissertation J_Xek\c 9cXb\cp
is that this milieu shared a set of socio-political ideals that
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revolved around the goal of fostering a mutually responsible social democracy in place of laissez-faire individualism and
(-0 This dissertation is a study of Marco Zanuso (Milan, Italy that the realization of this goal took on architectural form 1916-2001). The study will show how the methodology of this through Perkins’ designs for new social centers, namely: architect and industrial designer, formed during the second settlement houses, public schools, playgrounds, parks, World War and the 1950s in Milan, emphasized the engage- and recreation facilities. Perkins and his compatriots enviment of current capabilities in production, inventive reuse sioned these spaces as loci of democratic exchange, and of physical and logistical structures, and attention to social when grouped together they operated as a town planning need. These themes will be explored through case studies formula for creating self-governing democratic communiof individual objects, including factories, domestic buildings, ties. This dissertation seeks to explore: 1) the substance of schools, and industrial design objects such as furniture and the social reforms desired by Perkins and his fellow progrestelevisions. Analytical comparisons to projects by contempo- sives, which touched on issues such as assimilation, the role raries in the reconstruction mood of 1945-1960 will include of public education in molding citizens, the importance of Milanese architects who made similar use of béton brut and group recreation and nature study in promoting democratic elementary construction systems, such as Vittoriano Viganò behavior, as well as an emphasis on health, hygiene, safety, and Figini and Pollini; and designers who shared Zanuso’s and efficiency; 2) the way in which Perkins’ social centers proclivities for mass design and design with roots in pre- institutionalized certain middle-class values, especially existing cultural forms and productive capacities, notably with regards to gender roles and economic class; 3) the way Achille and Pier Giacomo Castiglioni. The central chapters of Perkins realized and symbolized these agendas in his archithe study seek, through these investigations, to understand tectural designs. Zanuso’s notion of “mass” design in architecture and design, and to compare this notion to Reyner Banham’s “machine age” idea entailing, on one hand, the application of technol-
+1/ EBF: :L : IKHC><M3 LIHGM:G>HNL NK;:GBS:MBHG :G= :K<ABM><MNK:E tastes associated with “academicism” in traditional archi- BGM>KO>GMBHGL% *2-.&*20. ogy to the enhancement of everyday life and invention of new forms of living; on the other hand, rejection of the formal
tecture. Further, the study probes the limits of this età della ?\c\e >p^\i macchina, in particular the decline of the machine-age style IA'=' MA>LBL in Zanuso’s work amid the twilight of the industrial development for which such projects were optimized, as industrial (,/ (0* The dissertation argues that Lima, Peru, 1945production and cultural structures were replaced with those 1975, functioned as a significant site of experimentation for of a “tertiary” economy and other post-industrial cultural modern architecture and planning in developing solutions manifestations in the early to mid-1970s.
for the effective provision of low-cost mass housing. It is
structured as a social history of the production of housing mountain, and Pacific coast landscapes. These then became innovation and focuses on three types of projects exempli- a set of interlinked reference points for the representation fying the range of housing and urban solutions explored of the nascent nation. Seen as inhabiting untouched landin Peru in this period: barriadas, informal settlements scapes, each project was conceptually framed and aestheticonstructed without the assistance of design profession- cally shaped by wilderness ideas. This close study aims to als; aided self-help housing schemes, where architects elucidate the conception, construction, and representation of provided technical assistance to the resident-builder; and these works and the ways in which they embodied Canadian PREVI (Proyecto Experimental de Vivienda), a model neigh- values — including ideas of resource exploitation, aesthetic borhood deriving from an international design competition pleasure, and autochthonous origin — and claimed this that foregrounded questions of technological innovation and seeming synthesis as an embodiment of national values. aesthetic form. The dissertation examines the work of two key figures involved in the creation and implementation of these experiments, John F. C. Turner and Peter Land, as a point of entry into building up an image of the networks of professional associates, theoretical and political influences,
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policies, and programs underlying these new approaches Jaflba\ mXe [\i D\lc\e to housing.
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A key element of the approach will be to examine the development of housing innovation through the interactions (+*- This dissertation claims that media conditions pose of three main spheres: the conditions of possibility that such a challenge to modern art and theory in the postwar made Peru a fertile site for experimentation under a suc- period that it cannot be ignored. It is necessary to develop a cession of very different political regimes; the influences on conceptual framework for modern art on the basis of a justiarchitectural discourse that led to the development of alter- fied media vocabulary in a historical and theoretical sense. native approaches to housing; and the context underlying the Since such a vocabulary hardly exists, this dissertation will emergence of new ideologies and practices of development engage in a conceptual history of a variety of media terms in this period, as witnessed by the growing professionalism (such as media, multi-media, mixed media, mass media, and of international development agencies.
the so-called “new” media), as well as its singular form of medium (which in art theory has primary significance), and explore how they have been used and interpreted in modern art theory from 1960 through the 1990s. With this ground-
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work of media terminology, this thesis will confront the rival
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media and medium (such as the antithetical discourse of
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Clement Greenberg and Marshall McLuhan) around a cen-
theories that have developed in regard to the discourse of
tral theoretical problem: the aesthetic medium versus the ('+ This thesis explores three architectural constructions technological media, for example, or the debate between in wilderness areas associated with the transcontinental “medium” and Bild (image). Although the impact of media railway system in Canada. The works were planned and will primarily be shown in the field of art theory, the interdisexecuted over a period of economic expansion, territorial ciplinary ambition of this thesis is to be relevant to other culconsolidation, and national self-definition in which wilder- tural disciplines as well — in particular architecture, where ness ideals played crucial roles in Canadian nationalism. the question of architectural medium and its intersection A series of town plans, a resort hotel system, and a totem with other media is similarly raised. restoration project worked at different scales using distinct strategies for inhabiting lands rendered newly accessible by the railway. Beyond the physical occupation of territory, each scale of intervention contributed to representing a specific idea of a place. New grid-plan railroad towns, CPR hotels, and totem poles emerged respectively as icons for prairie, :K<ABM><MNK>
and fabrication methods, cultural analysis of local and global
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conditions, and investigation of the urban and built realms.
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graduates who have completed degrees in the Master of
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Science Advanced Architectural Design (MSAAD), Master
To involve these research laboratories more directly in the educational mission of the school, GSAPP offers a one-year program in Advanced Architectural Research for
of Architecture and Urban Design (MSAUD), and Master The Confucian metaphysical philosophy devalued material of Architecture (MARCH). AA Research places the same artifacts, and, as a result, architecture was not tradition- emphasis on the research labs that the Masters Programs ally seen as a scholarly field. Architectural study as an place on the design studios. Students expand the knowledge academic discipline only began as a formal discipline in and skills acquired in completion of the master’s degree in a the last decades of the Qing dynasty (1644-1911) when it was setting dedicated to applied research. Students devise a twointroduced by westerners. Since then, Chinese scholars semester advanced architectural research project to inveshave produced a significant and culturally influential body tigate specific questions in the field of architecture. Under of architectural history, a thorough account of which has yet the supervision of a lab director or faculty member, students to be done — either in English or in Chinese. The objective of utilize their expertise to create innovative design responses this analytical study is therefore to cover the writings of the to address those problems. All research is experimental in most important architectural historians that worked during spirit, but nonetheless directed toward how this knowledge the first stage of the discipline’s development in China.
can be applied to engage real issues concerning how archi-
It is found that these historians actually interweaved tecture shapes the world. native learning skills and architectural history, a discipline originated from the West, to fulfill the need for a national identity caused by the asynchronous modernization. This is particularly embodied in the methodologies and historical styles that they remodeled. Contrary to most prevailing
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post-colonial theories, their methodologies and historical @e^i`[ :Xdgf$Il`q styles exemplify a positive and confident local response to BXk\ Fi]] " C\jc`\ >`cc# Z]oblhkl foreign input. By scrutinizing these historical texts, this dis- :=O:G<>= :K<ABM><MNK:E K>L>:K<A sertation provides a new perspective on the early history of global architecture.
-/0 This research project examined public spaces that are home to conflicting political and religious interests. In a public space, the encounters between diverse political and religious interests of the people can result in rough social
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relationships. What is the relationship between the materi-
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ality of the public space and the conflict it hosts? The three case studies examined were the Malmo East-
('0 (0' (0. With an emerging global society reshaping archi- ern Cemetery in Malmo, Sweden, by architect Sigurd Lewtecture’s disciplinary imperatives to address such needs as erentz, the Gardens of Forgiveness in Beirut by Gustafson ecologically sustainable design or the varied demands placed Porter architects, and the Cañada Real Galiana Cattle Trail in upon architects as they work within and create increasingly Madrid, Spain. These three cases illustrate the rough, somecomplex public spheres, new graduates in architecture must times hostile, encounter of the distinct interests of the local be prepared to navigate a multi-disciplinary profession. administrations, private owners, and users. Architects must not only design, but also must develop new
The analysis yielded three possible interpretations: 1)
forms of expertise. Leading the field in innovation and exper- conflict in public space is a frame for democractic discusimentation, the Graduate School of Architecture, Planning sion — for the imagination and vindication of new uses; 2) it and Preservation’s research laboratories focus on three key is a spectacle for the media — an object under the control of interrelated initiatives: the development of new technologies
those in power; or, 3) it is a tool with which the architect can exercise control over design decisions.
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With this methodology for the analysis of projects host- <c\eX G\i\q >l\dY\ ing political-religious conflicts, the research aimed to ex- D`Z_\cc\ =fieXYX`# Z]oblhk tract the principles that structure these landscapes and that :=O:G<>= :K<ABM><MNK:E K>L>:K<A cause their failures and their successes, with the ultimate goal that these principles may be applied in the organization ()*0 ()+' This project experimented with several concepof other problematic landscapes in the world today.
tual, bodily, and architectural dimensions, investigating the ways in which bodily positions open up — and close down — fields of communication. It attempted to create surfaces that could in turn create relations among individuals.
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The material chosen should combine both bodily and
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social aspects in order to actively engage the users. It should
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emerge from the body, and be adaptable, instantly likable,
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and universally accessible. Something as simple (and potentially silly) as water-wings become a vehicle of transfor-
-// -0' -0( Museums not only reflect societies, but also mation of space and, more importantly, a social experience have the ability to re-imagine them. As digital technolo- of space. In short, through permutations of surface, the gies bring profound changes to the relationship of society designer can create specific experiences of the space that to art, culture, and history, the museum institution seems affect relationships between people. to not yet address them as a real possibility for reinventing
Inflating and layering the water-wings on the floor, then
itself, while its emphasis is still oriented to the construction folding them further into simple yet endless configurations, of iconic buildings. The “Virtual Museum,” a common term the water-wing carpet provides a sense of infinite mobiltoday, remains a static experience that uses the computer ity. Intimacy itself unfolds (face to face), or folds and closes as a mere viewing terminal. Given this context, one cannot (back to back). Through these strategies the social space help but ask: what is the next museum?
itself becomes intensified. The carpet not only transforms
This research project explored the possibility of an in- itself but also transforms the conversation on it. teractive database museum that could use digital data sets rather than traditional material objects as the repository for memory. Institutions today have the capacity to store huge amounts of digital data, and while raw data does not nec-
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essarily have value for most people, relational databases IfjXeX IlY`f$?\ie}e[\q are able to transform it into information, which can have a ;Xm`[ 9\eaXd`e " Jff$`e PXe^# Z]oblhkl cultural value. As a result, digital databases have the latent :=O:G<>= :K<ABM><MNK:E K>L>:K<A potential to build an institution’s collective memory — to become its museum. Databases are also dynamic environ- ().0 ()/* Colored Liquid Crystal (CLC) is a switchable matements where the user can perform operations, adding a sec- rial that changes its optical properties when a low voltage ond potential: interaction.
is applied, modulated and monitored by a microcontroller.
The next museum research project presents and tests It performs both as a light filtering material and also as a these hypotheses. m u s e (h) u b gsapp is the first prototype transparent information display. It has the potential to be of an interactive database museum, using the school’s video used in architecture as a façade and as an interior material, archive of lectures as a testing ground.
as a scenic component for performing arts and as a material for industrial design. The invention relies on rethinking the technology used for the manufacture of regular black and white liquid-crystal displays to construct an architectural and design material. The particularities of this new transparent material are that its tincture level can be changed dynamically and that it is
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“structurally” colored, meaning that the color is achieved became the new rule, while the turf farm turned into a optically, by interference effects, rather than by pigments symbol of a morbid past. The inherent design knowledge or metallic depositions.
of the turf farm tradition has ever since been underesti-
Morphologically it consists of three elements: the actual mated and even neglected with few important exceptions. CLC — a multilayered transparent film system — a micro- The research analyzed the turf farm as a building mode in controller, and a software interface. Sensors and actuators which landscape and building fuse together — architecture can be also implemented to constitute a material that is not that springs from the earth and blends into the natural suronly active but interactive as well.
roundings, utilizing the earth as protection from the wind and to control temperature. Due to the ephemeral nature of turf as building material, a considerable part of the turf farms have found their origin again and fused with earth. The
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first part of the research drew from the writings of foreign
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visitors about the farms and built up to a second part, where
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contemporary examples of turf farm-inspired architecture
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was presented and analyzed. The analysis concluded that the turf farm continues to be highly potent and plausible
((+0 ((,) The Bris Block is a precast concrete element to in modern architectural context and that it merits further be implemented as a bris soleil. While the bris soleil is a research and rediscovery. sustainable element because of its ability to control environmental conditions, the Bris Block is a single unit that can adapt to control a wider range of conditions due to its reconfigurability. Six different configurations are possible,
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ranging from 33% to 73% porosity. Configurations can be IfjXeX IlY`f$?\ie}e[\q recombined with one another to create a dynamic bris D`Z_X\c 9\cc# Z]oblhk soleil. Each block weighs only 36 pounds and spans a total BG=>I>G=>GM K>L>:K<A% ?:EE +))0 of 42 inches (32-inch bond) with a height of 18 inches. The material economy of the block enables construction to be ()/) This project traced the genealogy of the last generation more environmentally friendly and easily installed. Using of post-industrial glass — its architectonic and engineering polypropylene/polyethylene blended synthetic macro-fibers antecedents as well as the alterations that technical develas reinforcement allows replacement of structural steel and opment, environmental concerns, and “immaterial” culture economized cross-sectional material. After several itera- have produced. tions, the block can be fabricated as thin as 1.5 inches at a material cost of only $5.
Although the scope of the research covered the development of new glass technologies that addressed static issues, such as structural glass, and those that dealt with questions of hazard and security, the main focus was on optically advanced technologies, for three reasons. First, due
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functions that they perform, Advanced Optical Glasses (AOG)
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embody a contemporary notion of materiality. Second, AOG
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also belong to the group of present-day materials that would be defined in terms of mass, energy, and information. That
-*0 -+) The history of the Icelandic Turf farm dates back is, not only do they have a material value; their performance to the first settlements in Iceland in the late 9th century — is their meaning. Finally, AOG also question the very notion a vernacular tradition that remained the principal form of of transparency as defined in modern and contemporary habitation in Iceland well into the 20th century, when Iceland architecture; they open up a wider range of optical and meabruptly turned into a modern industrial society. Permanent chanical interplay among the material, the light, and the building materials, hygiene, and effective infrastructure users that define a space. For instance, they have lost part
of their transparent nature in favor of expanding the possi- released in 2005, the size of an average American house has bilities of thermal and visual light, as an architectural meta- doubled since the 1950s. The cause of such drastic expanattribute. Their levels of transmission, reflection, diffraction, sion was attributed to the increasing demand of the storage translucency, transparency, and opacity can be dynamically spaces due to the accumulation of the stuff; thus, the home changed, and they have the ability to transform daylight into becomes a mere container. electricity and transport it from one place to another.
The investigation was twofold: first, the project com-
“Through Glass” — a contribution to the Engineered piled an inventory of ideas and objects that have become a Transparency Symposium at GSAPP in September 2007 — part of evolution of stuff and its architectural implications. was an invitation to reflect on the unique implications of these The investigation focused on the kitchen and the bathroom, materials — constituted through the interaction of the human examining compilations of standard and idealized objects eye with the multilayered glass — for the built environment. and images. The objects were mapped for their places in storage (i.e. hidden vs. displayed) and for their travel routes within a house at large. The stuff could then reorganize a typical house through the ways objects travel, as objects
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became more of the main inhabitant of the house. This research was to serve as the base for the second
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part of the project, in which the average American house
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would be re-imagined using the organization of domestic objects and storage in the design process.
(+'0 Through a series of experiments, this study explored the inherent properties of carbon fiber, in particular the material’s performance. The experiments evolved in an iterative fashion, each prototype testing for specific criteria. The prototypes were fabricated by creating silicon rubber molds, applying layers of resin and carbon fiber, and removing the excess resin through a vacuum process to increase the strength-to-weight ratio. The complexity and detail of the project was achieved through the 3-axis mill and the water jet. The following categories were established to guide the development of each of the prototypes: extreme curvature tolerance, refinement of surfaces, material thickness through layering, and hidden connections using either resin or embedded magnets. The research resulted in new possibilities for the fabrication and application of carbon fiber with relevance for the field of architecture.
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(+-) This project re-investigated American domesticity through objects and their implications in space and representation of the domestic realm. According to a study :K<ABM><MNK>
perspective of conservation, design, history, and planning.
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Studio work included graphic presentations, written presen-
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tations, and oral presentations.
0 The Historic Preservation Program once again offered courses and programming to balance the theoretical and practical natures of the discipline. The Fall Conservation
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Workshop used the Van Cortlandt House, owned by the =iXe f`j\ 9fccXZb# 8e[i\n ;fcbXik# ;fifk_p D`e\i Historic House Trust of New York, as a site for building " Afi^\ Fk\if$GX`cfj# \kbmb\ investigation, as well as the Paul Rudolph-designed Orange ABLMHKB< IK>L>KO:MBHG LMN=BH% LIKBG@ +))1 County Courthouse in Goshen, New York. Jorge Otero Pailos’ History/Theory Workshop on In- (0( /,, /,/ /-+ /.' Studio 2 continued the work of the Fall terpretation used the Phillip Johnson Glass House in New Semester Studio 1 in the same study area within New York, Canaan, CT as a site for analysis. Paul Byard and Craig Konyk extending the understanding of that area from beyond its indiled the Joint Architecture & Preservation Design Studio and vidual building components to the neighborhood and region. traveled to Casablanca in September to imagine a new cen- Issues of designing appropriate infill buildings on vacant or ter for rural immigrants in this very old city. With the support underutilized lots were explored in a design charette at midof the Kress Foundation, and under the leadership of George semester. Studio 2 culminated in a Preservation Plan for the Wheeler, further improvements were made in the conserva- area, which evaluated the historic resources against local tion curriculum.
zoning, economic realities, physical assets, and problems,
Over the January break the Historic Preservation Pro- and members of the study area’s community, testing student gram and Avery Hall hosted the Third International Archi- ideas against neighborhood personalities and politics. tectural Paint Conference. The event drew hundreds from around the world who specialize in uncovering, restoring, recreating, and documenting architectural finishes. Many Preservation students assisted in the conference, and their
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help is gratefully acknowledged as key to making this a suc- 8e[i\n ;fcbXik cessful event.
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In March, the James Marston Fitch lecture was held on a Wednesday night as part of the GSAPP lecture series, with (0( This course examined the development of American archiNikolaus Hirsch, a German architect who has worked inno- tecture from the earliest European settlements to the cenvatively with new and old architecture. In April, Traditional tennial in 1876. Beginning with the earliest Spanish, French, Building Magazine showcased the Historic Preservation Pro- Dutch, and English colonial architecture, students explored gram at the GSAPP in their “Pillars of Preservation” series. the American adaptation of European forms and ideas and the In May, we graduated 24 students.
development of a distinctly American architecture. The course lectures and readings examined high style and vernacular architecture in rural and urban environments throughout the settled parts of the United States. The course was supple-
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mented with tours and the examination of original drawings
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and early architectural publications in Avery Library.
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0 ()0( Studio is the core course of the first year, and revolves around the study of a section of New York City. Students began by documenting individual buildings, and moved through the first semester by understanding and documenting ever-more complex elements of the built environment in the study area. Students explored buildings from the ABLMHKB< IK>L>KO:MBHG
were addressed. Guest speakers highlighted preservation
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in Chicago and Pittsburgh, illustrating similarities and differ-
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ences in practices in the field in other American cities.
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0 The course was devoted to the exploration of combinations of old and new architecture to understand how the new
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can extend the meaning of the old and how it extends that D`Z_X\c ;\mfej_`i\ meaning when the old architecture is said to be “preserved.” ABLMHKB< IK>L>KO:MBHG% ?:EE +))0 Architecture of Additions understood combined works as one of the most challenging and illuminating of the contem- Structures, Systems, and Materials 1 familiarizes students porary building types, one having special relevance to almost with the structures and materials of traditional building, all contemporary architectural practice.
beginning with wood framing and load-bearing masonry walls. In addition to learning how buildings are made, students also learn how buildings often fail and what can be done about it. Fieldtrips to see the situations discussed in
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class were integral to the course and occurred weekly during
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the first half of the semester.
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0 This workshop was taught with the third-year Additions Design Studio in the Architecture Program. The problem
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for the studio was a major addition to an important modern 8e[i\n ;fcbXik building that required an understanding of the meaning of ABLMHKB< IK>L>KO:MBHG% ?:EE +))0 the old building — all of the ways its form and materials express the values it sought to represent and serve at the (0( This course was designed to familiarize students with time — and the ways that meaning might or might not be the history of the major building types that comprise the extended, enriched, and brought forward by the addition.
physical fabric of New York City. The development of building types was used as a lens through which to examine various New York neighborhoods and the ways in which they have developed and changed.
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The physical and stylistic evolution of these building
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types were discussed, and, through walking tours in vari-
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ous New York neighborhoods, students examined how these buildings worked within the evolving form of the city and its
This course was a comprehensive introduction to the field neighborhoods. Among other types of buildings, students of preservation planning that examined the constitutional looked at the development of residential architecture, parunderpinnings of landmarks regulation and the emergence ticularly row houses, townhouses, and multiple dwellings; of historic preservation as a discipline analogous to urban the changing nature of commercial architecture from modplanning. Also addressed were the issues of applying preser- est low rise structures to great skyscrapers; and the evoluvation planning tools, including local individual and historic tion of public and institutional architecture from the small district designations, National Register nominations, special buildings of the early city to some of the great architectural zoning and neighborhood conservation districts, and pres- complexes of America. Also discussed were issues of design, ervation easements. Financial incentives for rehabilitation, planning, and preservation in the neighborhoods visited. including investment tax credits, property tax incentives, and revolving loan funds, were examined. Current issues in preservation planning including open space preservation, combating sprawl, and preserving rural landscapes
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,** :K<A:>HEH@B<:E LBM>L3 <HGL>KO:MBHG :G= F:BGM>G:G<>
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This course engaged the principles and practices of architectural finishes conservation, preservation, and mainte- Recently there has been a greater demand for architectural nance. Students acquired the skills to know what questions conservators at archaeological sites. As archaeologists to ask about finishes conservation, and how to begin answer- become increasingly aware of their ethical responsibility ing them. This course included lectures, laboratory, and site to conserve the architectural remains uncovered, the need work. Types of finishes covered in the course included paint, for this type of expertise is acutely felt. The first part of plaster, stucco, murals, twentieth century composite wall this course looked at philosophical and ethical differences and ceiling finishes, tile linoleum, glass, and wallpaper.
between structures that can be rehabilitated as architecture and those that will be stabilized as ruins, while reviewing the international organizations and charters that have been set up for this purpose. The second part of the course dealt
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with techniques of conservation, including site improve-
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ments, recording methods, reburial, consolidation, protec-
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tion, sheltering, materials analyses, and state-of-the-art technology applicable to archaeological sites. Laboratory
--0 This hands-on conservation course took place both sessions, guest lectures, and field trips in the New York area on site and in the laboratory, including documentation, supplemented lectures, readings, and projects. sampling, materials analysis, synthesis of information, and recommendations for conservation. Two distinct sites comprised the focus of the course. The first was the 18thcentury Van Cortlandt House Museum located in the Bronx.
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This well-loved building has been reworked to incorpo- GXd\cX A\ifd\ rate elements of the Colonial and Federal periods at least ABLMHKB< IK>L>KO:MBHG% ?:EE +))0 twice, exposed the students to issues of alterations and the whims of interpreters. Students also investigated several Impetus for the preservation of cultural heritage has develissues of concern to the museum, such as water infiltration oped through the recognition of sites as non-renewable problems. Their work culminated in a presentation to the resources. Training is readily available in the specific tasks owner and a report for the museum archives. The second required to implement preservation, but far less attention site was Paul Rudolph’s 1967 Orange County Government has been paid to the larger, more complex and compreCenter, a Brutalist building in Goshen, New York. Unlike the hensive issues of management — the process by which the Van Cortlandt House Museum, this largely neglected build- individual components of preservation come together and ing is plagued with deterioration issues and — students felt either succeed or fail. To address this lack of consistency, — overall not well suited to its purpose as a court building. the Australian ICOMOS (International Council on Monuments Here, in addition to acquiring in-situ and off-site concrete and Sites) committee proposed the Burra Charter, which examination skills, students investigated issues of material expanded the premises of the Venice Charter. This docuproperties, performance, and deterioration mechanisms.
ment revolves around the identification of site significance, which is then used to define and guide the management policy within ethical, scientific, social, political, and financial contexts. This course utilized the conservation process outlined in the Burra Charter as the basis for a rational approach to managing cultural sites. The course had an international focus and reviewed case studies — some presented by
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recognized experts — from both historic and archaeological of the architectural discipline. Out of this deep-seated, and sites. The course first focused on the compilation of back- by no means exhausted, anxiety about producing, preservground information and identification of the key interested ing, and identifying American history, came a sophisticated parties. It then progressed to the analysis of site significance architectural culture — one capable of foiling, exploiting, and assessment of existing conditions and management subverting, and manipulating the various contradictions constraints. Finally, the development of the management of modernity. policy and strategies for its implementation was reviewed.
From the standpoint of this relationship between history
The delicate balancing act between cultural enhancement and modernity, the course analyzed the American architecand exploitation was explored, as well as the need to periodi- tural struggle to be progressive and accepted, exceptional cally monitor and reassess management policy.
and customary, and to simultaneously capture the future
Students learned to critically evaluate the management and the past. Each lecture considered the production and process and to recognize the needs of the various interested reception of built (and written) works by renowned figures constituents. The class explored the latest tools and the vari- and anonymous builders. By considering American archious disciplines required to perform the series of tasks that tecture’s successes and failures in terms of the engagement make up the complex mosaic of management.
between architecture and other disciplines over time, the course aimed to gain a richer sense of the historical characteristics that have informed its evolving nature.
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This course was an introduction to the legal mechanisms ABLMHKB< IK>L>KO:MBHG% ?:EE +))0 protecting historic resources in the built environment, focusing on the legal principles underlying preservation laws, Run as a seminar, this workshop provided an opportunity including the constitutional issues relating to governmental for in-depth research and analysis of the built environment, regulation or real property. Federal, state, and local historic using the rich resources of New York City as the primary preservation laws and their complementary relationships source. The aim of this course was to explore contemporary were studied in the context of relevant environmental and ways of understanding and transforming the built environother land use laws.
ment, particularly given the interdisciplinary nature of the field. Traditional models relating theory and practice depend on the closed teleological principle of striving towards completion and are therefore inadequate; these models ulti-
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mately create the fiction that to be complete, theory must
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exclude practice, and vice-versa. Students were asked to
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consider alternative principles of openness for relating theory and practice, and to explore the correlative ways to
This course was a survey of American architecture since imbricate the aesthetic and the intellectual in the production the country’s first centennial. As America ascended to its of interventions and interpretations. current position of hegemony during the late 19th and 20th centuries, its architects helped refashion the built environment to serve the needs of a growing and ever-diverse population. Hand in hand with the satisfaction of pragmatic
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requirements, American architects were called upon to ful- I`Z_Xi[ G`\g\i fill deeper psychological wants, such as the country’s desire ABLMHKB< IK>L>KO:MBHG% ?:EE +))0 to have a national history. The American complex about the brevity, artificiality, and exterior dependency of its history, This seminar reviewed the structural and decorative uses of structured, with varying degrees of intensity, the evolution metals in buildings and monuments. The metals reviewed
included iron and steel, copper and copper alloys including bronze and brass, lead, tin, zinc, aluminum, and nickel and chromium. The seminar examined the history of manufac-
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ture and use; mechanisms of deterioration and corrosion; Af_e JklYYj and cleaning, repair, and conservation.
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This course offered an introduction to the theoretical and practical issues governing the practice of historic preserva-
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tion. Students developed their individual points of view based
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on lectures and group discussions on the principle facets of
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the field — namely, the history of the profession, past and present theory, basic research and documentation methodol-
This course built on information introduced in Part I, bring- ogies, technology, and professional practice. Such basic coning the material up to the present in terms of understanding cepts as values and significance in heritage conservation and modern building systems and materials. It addressed how standards in the field were questioned, and selected examples steel frame and concrete buildings are made and how they of contemporary practice were critically evaluated. often fail. The organization of the course relied upon not only the study of the chronological development of the building arts and sciences, but as each building system was introduced, the discussion of the pathology modes and conserva-
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tion approaches followed within the same week.
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These laboratories comprised a three-semester sequence
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designed to provide a basic understanding of building mate-
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evaluate their conditions, and to show how to generate the
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information and data necessary to propose and evaluate
rials, to demonstrate how to identify these materials and
conservation treatments. Through lectures, laboratory exerThe Hudson River Valley has been described by the National cises, and field trips, these three courses examined wood, Park Service as “the landscape that defined America.” In paint and other finishes to wood surfaces, concrete, mortar, recent years, the valley was designated by Congress as a stucco, and plaster. National Heritage Area, by President Clinton as an American Heritage River, and by New York State as the Hudson River Valley Greenway. Yet the valley continues to face great challenges to its character and historic context through the planned (and unplanned) development of cement plants,
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energy facilities, destruction of historic buildings, and CXZ\p 9lYeXj_ sprawl. In this course, through readings, lectures, class K_\f[fi\ Gil[fe# Z]oblhk dialogues, case studies, and field trips, students examined ABLMHKB< IK>L>KO:MBHG MA>LBL the history of the preservation of cultural and natural landscapes as well as preservation techniques, such as regional This thesis addressed the issues surrounding the conplanning, heritage tourism, and the use of conservation servation of dalle de verre (also known as faceted or slab easements, now in use nationally and internationally.
glass). A number of prominent buildings, as well as many less architecturally significant structures contain panels of this twentieth-century adaptation of stained glass. Dalle de verre is defined as ¾" to 1" thick slabs of glass (or “dalles”) set in a matrix of concrete or epoxy. It was widely
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discussed in stained glass literature of the 1950s and 60s, and community identity that have become defining elements but little attention has been paid to this technique in more in landscapes across America. recent decades. Although a number of buildings featuring dalle de verre panels have already required conservation or restoration, there are no standard recommended treatments, and work has always been conducted on a case-by-case basis. Con-
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servation work has been performed by both stained glass 9Xj_X <jkif]] conservators and architectural conservators, although they IfY\ik 9\Xli\^Xi[# Z]oblhk tend to approach the materials in different ways. This thesis ABLMHKB< IK>L>KO:MBHG MA>LBL investigated the reasons that dalle de verre fails, its modes of deterioration, and then focused on solutions to these issues. The New York City Landmarks Law seeks to ensure that In particular, previously applied or attempted conservation architecturally, historically, and culturally significant structreatments were evaluated and new possibilities discussed. tures will be around for future generations. However, other Issues of authenticity, architectural intent, and aesthetic policies in the city, such as the zoning code, can either comquality were investigated in applicable cases.
plement or detract from the law’s provisions. The purpose of this thesis was to investigate how New York City Zoning Resolution (ZR) §74-711, which allows for bulk and use modifications to historic landmarks, has affected architectural
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integrity. This thesis examined a non-random sample of nine §74-711 applications filed for properties within the Ladies’ Mile Historic District for the time period 1989–2008 and found a positive effect on architectural integrity.
8dXe[X ?fcd\j :iXnc\p :Xifc :cXib# Z]oblhk ABLMHKB< IK>L>KO:MBHG MA>LBL
,+- IK>L>KO:MBHG >:L>F>GML3 : E>@:E F><A:GBLF ?HK IKHM><MBG@ FH=>KG as potential Historic Rehabilitation Tax Credit projects. K>LB=>GMB:E BGM>KBHK :K<ABM><MNK> This thesis evaluated America’s aging shopping centers
Currently, many older shopping centers in inner-ring sub- 8dXe[X BX`e\i urbs are closed or struggle for business due to competition K_\f[fi\ Gil[fe# Z]oblhk with newer retail centers, the perception of an outmoded ABLMHKB< IK>L>KO:MBHG MA>LBL design, and sprawl developments that draw the consumer base. Most of these closed or struggling shopping centers The purpose of this thesis was to determine whether a are subsequently abandoned, demolished, or extensively preservation easement effectively preserves the architecrenovated with little or no concern for historic character.
tural and historical values of a modern residential interior.
The results of this thesis suggest that the Historic Re- Following the introduction, a general discussion about the habilitation Tax Credit Program offers a realistic alternative development of modern residential interiors and preservato the typical design approach and financial structure ap- tion easements set the background for an in-depth overview plied to the redevelopment of these retail sites. Although this of the case studies, modern residences protected with presapproach should be considered only one element of a finan- ervation easements including interior restrictions. The case cial package, it is a potentially valuable tool with far reaching studies were the Henry B. Hoover House (Henry B. Hoover, effects. Monetary investment in the historic rehabilitation Lincoln, MA, 1937), the Ginzton House (Joseph Allen Stein, of America’s first-generation regional shopping centers Los Altos Hills, CA, 1948) and the Conger Goodyear House extends beyond the preservation of individually significant (Edward Durell Stone, Westbury, NY, 1938). These case studstructures. It has the potential to aid in revitalization efforts ies added depth to the broad overview, providing an opporin declining and deteriorating inner-ring suburbs, while also tunity to discuss the development of individual interiors, the offering continued life to these important sources of social character-defining features and spaces, the preservation
easement restrictions, and any subsequent rehabilita-
,+/ <E>:GBG@ ABLMHKB< ;NBE=BG@ BGM>KBHKL3 MA> JN>LMBHG H? K>LB=N> NLBG@ :KM> FNG=BM and spaces of modern residential interiors; however, the <E>:GBG@ I:LM> tions. The case studies demonstrated preservation easements effectively protect the character-defining features
restrictions are arbitrary and open to interpretation if the <i`ZX DfiXjj\k easement-holding organization does not actively monitor >\fi^\ N_\\c\i# Z]oblhk the restrictions or have the expertise to recommend appro- ABLMHKB< IK>L>KO:MBHG MA>LBL priate design solutions. Furthermore, the best approach for protecting a modern residential interior is through restric- Arte Mundit® cleaning paste has seen increased use for the tions that blanket a character-defining space.
cleaning of stone building interiors. One significant advantage to this product is the ease of removal and disposal of the cured latex film that is part of the cleaning system. Arte Mundit® is also generally effective as a cleaning system but
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little work has been done that addresses the potential long-
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the following questions: Does Arte Mundit® leave residues
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on or in the substrate it is meant to clean? Does the amount
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of residue vary with the type of stone?
term effects to stonework as a result of residue left after cleaning. In response to this concern, this thesis explored
In order to answer these questions, an in-depth analysis In the contemporary imagination, the notion of the artist of the product and several stones used in architectural intestudio unconsciously provokes images of light-infused, riors treated with Arte Mundit®, specifically granite, Berea expansive, industrial spaces within older urban buildings. sandstone, Indiana limestone, Tennessee marble, travertine, This visual representation, as well as common discourse on and Texas Cream limestone was conducted. Each sample was the subject, often points to 1960s artist colonies as the key examined by microscopy, under ultraviolet light measuring historical reference point for the birth of the modern urban capillary uptake. After the application and removal of Arte studio building.
Mundit®, the samples were tested for the presence of re-
Although the legacy of these stories is powerful and ap- sidual latex using Evolved Gas Analysis (EGA) and Pyrolysispropriate within the overall history of artist studio buildings, Gas Chromatography/Mass Spectrometry (py-GC/MS). The as well as historic preservation, it does not accurately portray presence of absorbed electrolytes before and after treatment its roots. Present-day accounts of creatively preserving his- with Arte Mundit® was measured using conductivity. toric buildings through conversions to artist studio buildings
Based on the six interior stones tested, it can be con-
can, in part, be attributed to well-publicized examples that cluded that after treatment using Arte Mundit® residue began to appear in the 1960s and 1970s. But it has unfortu- from the product remains on the stone. Within the sample nately masked a richer, more complex account of the long- set, a correlation was noted between the presence of residue term relationship between artist studio buildings, cultural and the overall surface topography. values, urban development, and historic preservation that has been actively developing since the mid-nineteenth century. The objective of this thesis was to examine and identify
,+0 MBF>E>LL IK>L>KO:MBHG3 BG<HKIHK:MBG@ MA> K><>GM I:LM BGMH MA> ?NMNK> H? ABLMHKB< It recognizes from the outset that the “adaptive use — art- IK>L>KO:MBHG how the historic evolution of the artist studio building in the
United States continues to resonate in preservation today.
ist studio building model” is a highly successful prototype <c`qXY\k_ 8ee Fcjfe for the preservation of older, underutilized buildings. This Afi^\ Fk\if$GX`cfj# Z]oblhk thesis explored the questions of why it became successful; what events precipitated its development; and seeks clues This thesis explored the use of age criteria in historic presin the nineteenth century buildings that prefigured their ap- ervation, focusing on how the fifty-year rule has contributpropriateness for adaptive use. ABLMHKB< IK>L>KO:MBHG
ed to the field’s current concept of the recent past. Within
contemporary governmental practice, preservationists have thesis argued that oral histories do indeed provide an avenue largely concentrated on protecting the inherited resources of of historical research integral to the process of evaluating previous generations. Now a rising constituency in the field a historical site’s meaning. Oral history can and should seeks not only to protect resources from the distant past, be considered a primary tool by which to inform preservabut also those of its own lifetime, namely, the recent past. tion’s work. This thesis examines how the notion of the recent past has emerged in historic preservation, relating its development to fundamental struggles with age, collective memory, and historical objectivity. Relying on the passage of time to achieve a level of objectivity, governmental preservationists have
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instituted age criteria to differentiate the recent past from =X`jXc 8c` IXag\i the distant past and exclude it from consideration. However, GXd\cX J% A\ifd\# Z]oblhk the rise of interest in the recent past among non-govern- ABLMHKB< IK>L>KO:MBHG MA>LBL mental preservationists is evidence of the shortcomings of the current age criteria. In particular, the fifty-year rule The act of providing water to the thirsty is considered has perpetuated age biases, facilitated the neglect of recent extremely noble in Islam. In Islamic civilization, this led to resources, and impeded the ability to establish valuable links the evolution of the sabyl, or charitable water dispensary. In between living collective memory and the built environment. Cairo, the sabyl emerged in the fourteenth century, evolving The benefits and drawbacks of current age criteria include: into an elaborate construction absorbing diverse architecturthe gain of claims to detachment and historical objectivity al styles. It attracted patronage from a wide range of wealthy versus the loss of resources and living collective memory. In Cairenes who sought to perform a righteous deed fy sabyl conclusion, this thesis asserted that governmental practice Allah (in the way of God) while asserting their social status. should eliminate the fifty-year rule as a determining criterion
Over the course of six centuries, sabyls dispensed water
for evaluation, as well as suggest how the recent past might from cisterns filled and replenished with Nile water by the be incorporated into the mainstream activities of historic saqqys (water carriers). They were an integral component preservation.
of the water supply system of Cairo until the introduction of piped water in the ninetieth century. For this reason, as well as various social and urban changes that began around the same time, numerous sabyls were razed or left
,+1 ?KHF MA> @KHNG= NI3 HK:E ABLMHKR :G= MA> to deteriorate. BGM>KIK>M:MBHG H? E> A:OK>% ?K:G<> Today, over one-hundred sabyls survive in the UNESCO :i`jk`XeX G\eX
World Heritage Site of Historic Cairo. While a few well known
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examples have undergone conservation, most are unused
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and in poor condition. This raises the question, how can the sabyls of Historic Cairo be preserved? This study adopts a
Recognized internationally by UNESCO as a site of universal multidisciplinary approach to answer this question, including heritage, Le Havre, France, is an ideal case for presenting elements of history, design, conservation, and planning. It the utility of oral history to the field of Historic Preservation. concludes that sabyls are potentially useful buildings that can Reconstructed after World War II by Auguste Perret, the be integrated back into the lives of Cairenes and play a role in city’s importance has, to this point, been defined by expert the revitalization of Historic Cairo. In order for this to be realscholars and institutions as it relates to the fields of archi- ized, Egypt must reconsider its preservation policies. tecture and urbanism. The detachment from a first-hand understanding of Le Havre’s rebuilding has limited these groups’ concept of significance. Through oral histories, this thesis gave voice to Le Havre’s residents (the insiders) and complemented the accepted outsider perspective with a social dimension previously ignored, creating a more complete history of Le Havre’s postwar reconstruction. This
the farm, creating multi-faceted connections — and tensions
,,) =HKF:GM LFHD>LM:<DL :G= LBE>GM — across the country. Through four agricultural case studies in Wisconsin, MNK;BG>L3 MA> :=:IMBO> K>NL> H? >:KER MH FB=& California, New York, and Vermont, this thesis evaluated MP>GMB>MA <>GMNKR IHP>K LM:MBHGL 8c`qX Ifjj
and critiqued the largely peripheral role the field of historic
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preservation has assumed in these debates and argued that
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preservationists can offer a critically important perspective. The research explored new annunciations of historic signifi-
The early to mid-century central station, identified today cance and authenticity that wed traditional discussions of as a power station or power plant, has intrigued communi- architectural form with other dimensions of historic conties, architectural historians and preservation organizations tinuity emerging from the foods and fields of the farm. By alike, with chimneys soaring to the height of neighboring better integrating preservation goals with those of farmers, church domes and imposing classical facades conspicuously farming advocates, and agricultural policy-makers the work distinguishing themselves among a landscape of low-scale, forges a central role for holistic historic preservation planrather austere industrial buildings. Sited in historic indus- ning in agriculture. trial zones once discrete from cities’ downtowns, power stations are now a part of the metropolitan core, as expanding urban borders have engulfed these zones. This inclusion in the downtown landscape has created increased development pressure that frequently results in plans for the stations’ demolition. Their historical and architectural significance has been well established and recognized. However, whilst the equally-obsolete and significant industrial buildings that surround them find new uses in the form of residences or commercial spaces as post-industrial zones in downtown redevelopments, the historic power station frequently rests vacant and deteriorating; a brown-field site whose potential for reuse is often overshadowed by its intimidating size.
,,* ?:KF MH M:;E>3 =>O>EHIBG@ : G>P ABLMHKB< IK>L>KO:MBHG I:K:=B@F ?HK PHKDBG@ ?:KFLM>:=L Gfccp J\[[fe :Xifc :cXib# Z]oblhk ABLMHKB< IK>L>KO:MBHG MA>LBL
The family farm retains a complex physical and social identity in twenty-first century America. Even as fewer and fewer people are directly involved in agriculture, the role of farming in American life engenders debate as visions of red barns, green pastures, and wholesome products clash with industrial scale agriculture, rural sprawl, and processed foods. Diverse policy discussions pertaining to land use, cultural identity, public health, and environmental safety have coalesced around the buildings, fields, and products of
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team-based processes and critical success factors. Training
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used real world case studies of actual development sites
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that required defining new development plans and focusing on essential feasibility. A series of four intensive team char-
)(( The Columbia MSRED program is an accelerated one- rettes involved programming and design for selected sites. year master’s degree offering special emphasis on core Teams produced financial analysis, market analysis, and full competencies in real estate development, finance, enter- design documents for each case study. prise management, and product implementation, combined with frameworks for public policy partnerships and market Module 1: Brooklyn, Residential Infill research methodologies.
,-' ,-) -+, .00 Located on Bergen Street at Classon Avenue,
The Columbia MSRED is the “D” School — not a “B” for this case study centered on creating a residential scheme business school — as the entire emphasis is on the develop- that responded to its context. The core issues focused on ment sector exclusively, and not on general business. The pro- developing the appropriate unit size, sales/rent per unit, unit gram is unique in its curriculum, which offers two semesters mix, and a feasible parking solution. Solutions included conof real estate finance, and in that it focuses its core curriculum textual and high-rise proposals and were marketed towards on critical success factors and best practices for development, a broad mix of demographics including: workforce, student, including real estate law, market analysis, politics of develop- and high-end residential product types. ment, public/private partnerships, international development, construction technologies, product development, architectural Module 2: Newark, Mixed-Use development design, and asset/enterprise management.
,+( ,+* Sponsored by Cogswell Realty Group, this project
Additionally, the MSRED program benefits from a focused on urban revitalization. This site located adjacent to breadth of working professional adjunct professors to bring a the Broad Street Station in Newark, created an opportunity real-world and current practice set to campus. The program for a market-driven, mixed-use solution. The major issues has exposed students to a long-standing roundtable discus- included distance to Manhattan, a derelict site, and market sion series that brings over 225 real estate industry leaders conditions. Proposals comprised office, residential, hotel, to campus each year to discuss current trends in real estate retail, and community space. development. A continuing success within the program is the Case Study Studio, which teams MSRED students with Module 3: Harlem, Mixed-Use GSAPP students in other programs to collaboratively explore -(' .0- This Kimco-owned site located at 125th St. and development approaches on a set of actual sites. Students Frederick Douglass Avenue was the subject for proposals also benefit from the GSAPP’s Center for High Density Devel- incorporating various mixes of uses including retail, residenopment, a senior research lab and seminar on the fiscal, so- tial, commercial, and hotel. Solutions sought to maximize cial, environmental, and investment benefits of high-density the site’s FAR while developing an appropriate tenant mix. development. The GSAPP’s MSRED program, with its intensive core Module 4: 330 Lower Manhattan, Hotel curriculum and practitioner adjunct faculty, is uniquely suit- ,/+ -)( -), This Tishman Construction-sponsored module ed to motivated individuals seeking to radically alter their focused on the adaptive reuse of a manufacturing building career paths with significant new employment options in the at 330 Hudson Street. Solutions focused on renovation of real estate development industry.
the existing and the addition of a new tower above to utilize the site’s air rights. Schemes involved various mixes of boutique hotel.
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The intent of this course was to investigate the political )(( This course was structured as a series of topically issues surrounding real estate development. Areas of focus oriented roundtable discussions with invited professionincluded interest groups and coalitions, fiscal analysis, and als appropriate to the topic. The weekly sessions were the legal framework of development and the concept of selected to cover a wide range of building types and real eminent domain, and how these issues are dealt with in the estate industry functions — most of which are not covered press. More in-depth discussion of these issues unfolded in in depth elsewhere in the MSRED curriculum. This was the a series of local case studies, including the High Line, Coney Tenth Annual Columbia Roundtable Series. Topics included Island, South Street Seaport, Atlantic Yards, Hudson Yards, affordable housing; managing the relationships among broMoynihan Station, and Manhattanville.
kers, lawyers, and developers; capital markets and oversupply vs. investment returns; careers in real estate; corporate real estate and the sustainable workplace; alternative and opportunistic investments and new sources of equity; sus-
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taining market position and value in high-density residential
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nation and security; pension funds, advisors, and alternative
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investments; and REITs and institutional investors.
development; hotel development; trends in mortgage origi-
)(( Through lectures, written assignments, and case studies, students investigated new possibilities for the field of real estate through turnaround strategies and new product
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development. How will the re-positioning of assets affect D`Z_X\c =`j_dXe " IXhl\c IXdXk` institutional ownership over the long term? What chal- K>:E >LM:M> =>O>EHIF>GM% ?:EE +))0 lenges face corporate executives with new workforce and workplace issues? What new real estate products could This course investigated the relationship between business increase absorption or induce demand? What role will and design, aiming to cultivate a more integrated approach architectural design play in the future? Topics included an to development. It introduced students to the fundamental overview of marketplace and historical forces that shape aspects of architectural design and how they relate to the real estate form, fashion and functions; the process of larger context of urban planning and urban development. representation, with an emphasis on the relative accuracy The approach of the course included hands-on design projand utility of representational techniques and marketing ects, lectures from visiting professionals, and walking tours presentation formats; the psychology of the design process of the city. and the developer’s role in recognizing and “managing” the emerging design concept; site context issues, including relationships of project design to site influences, scale and grain, responsibility for design continuity, and respect for
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traditional materials; the master planning process, its his- DXik`e >fc[ torical precedents, and current efforts to create real estate K>:E >LM:M> =>O>EHIF>GM% LIKBG@ +))1 value; development programming and design management; and turnarounds and repositioning strategies, including the This course explored the legal side of development. Topics creation of new value from existing properties, stabilizing included purchase and sale agreements, examining the under-performing special assets, improving yields on exist- key issues and problems involved in the sale of developed ing assets, and portfolio exit strategies.
real estate as well as the practical concerns of both the seller and buyer; company organization and how to choose
an appropriate form of organization for real estate ownership and development; hazardous substances and the
,-) BGM>KG:MBHG:E K>:E >LM:M> =>O>EHIF>GM
Comprehensive Environmental Response, Compensation :_Xic\j CXm\e# pbma Af_e Kjl` " DXiZ N\`[e\i and Liability Act; contractual relationships between owner K>:E >LM:M> =>O>EHIF>GM% LIKBG@ +))1 and architect; methods for structuring construction projects and the roles of the owner, architect, general contractor, This course provided a broad perspective on real estate subcontractors, construction manager, and project man- issues, trends, and opportunities in international econoager; ground leases and commercial leases; various meth- my. Real estate development is at the nexus of the global ods of financing; multiple ownership properties; securitiza- issues of rapid urbanization, economic development, public tion; affordable housing and various ways to structure such policy, and capital flows, and it therefore provides insights developments; and development agreements and economic into both policy and financial issues. The course brought development projects, exploring the evolving relationship together students of international affairs, real estate, ecobetween the public and private sectors in the realm of eco- nomic development, and public policy that wished to broaden nomic development projects.
their exposure to the unique aspects of international real estate development. Examples of projects in Asia, Europe, and the Americas were used to demonstrate the processes and risks involved in international transactions and invest-
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ments in real estate. The course covered topics including
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current and potential opportunities for investment and
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development in international real estate markets, financial and market analyses, capital flows, cultural, political and
“… by and large, developers as a breed have only one special- social-economic considerations of doing business in interized skill not generally available in the population: they have national real estate development, and the respective roles the ability to do fairly high-level arithmetic, in their heads, of public and private sectors. while talking about a completely different topic. What developers do, fundamentally, is run the numbers. And the most impressive number they run is the one in which they manage to divide extremely large dollar figures by 43,560, which is the number of square feet in an acre. By so doing they can and do
,-* IN;EB<&IKBO:M> I:KMG>KLABIL BG K>:E >LM:M> =>O>EHIF>GM
reduce much of the human experience — quite accurately, as AXd\j C`dX " IfY\ik GXc\p it turns out — to the Deal.”
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—“Edge City”. Joel Garreau. Anchor, 1992, p. 224. This course explored public sector involvement in real estate This course was an introduction to methods of financial anal- development and developed a set of skills and an underysis for real estate investments. Topics included methods of standing of resources necessary to manage the complex valuation, cash flow forecasting, computer modeling, debt, blend of governmental powers and conflicting goals and leverage, and deal structures. Emphasis was placed on the agendas that are inherent in public/private development. financing of individual projects and was specifically oriented Students examined the motivations, powers, and constraints toward numerical analysis, making use of case studies and of public agencies, approaches to planning projects, solicitcomputer spreadsheet analysis.
ing support, sustaining momentum, and structuring public/ private partnerships. Case studies were drawn from a variety of projects, primarily in the New York metropolitan region. The course focused on the following general themes: fundamentals of government initiative (public purpose and political context as well as governmental resources, constraints, powers, and process); characteristics of public sector development (multiple mandates and constituencies; focus on process, equity, and precedent; short-term
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political orientation versus long-term planning and invest-
Decisions for financing, investing, development, public
ment horizons; political risk taking priority over capital risk; policy formulation, and asset management and disposition motivation by public benefit rather than investment yield); require comprehensive market analysis as one major step in similarities with private development, elements of success the development and financing process to: (1) reduce risk, (2) (entrepreneurship, market responsiveness, and intelligent achieve anticipated returns, and (3) make informed investdesign); striking a balance between private goals and public ment, development, and policy decisions. The analyses are purposes (the fiduciary role in developing public/private applicable to both the public and the private sectors, to both partnerships, governmental versus private planning initia- non-profit and profit-based organizations. tives, and promoting the public interest).
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“Good design is good business” — the mantra of this course — reflected the idea that the creation of a well-designed building is critical to the success any development project. The course was directed toward students in real estate development seeking to learn the essentials of modern architecture and the concepts associated with creative, practical architectural design across various real estate product types, including residential apartment buildings, office structures, hospitality and resort properties, and retail properties. Students investigated the importance of urban design, sustainability, and preservation and acquired skills in reading buildings plans, negotiating with zoning and code regulations, and selecting an architect and design team. The course offered a real-life perspective on architectural design issues, with evaluative exercises on built examples and several class visits to top architectural firms in New York City.
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Market analysis is an essential component in real estate transactions. Individuals and institutions use the analysis to make critical decisions in markets that change frequently and often unevenly. The year 2007 found a great deal of uncertainty in the marketplace, in the U.S. and worldwide. This course provided a basis for looking forward in the evershifting markets to arrive at a reasonable determination of real estate development and investment potential.
The sequencing of the studios is intended to build the
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linguistic substructure that is essential to urban design
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thought and practice. The use of language evolves from how representation of the urban site determines the quality of
,- )'+ Columbia’s Urban Design Program exploits the peda- site knowledge (representation) to more specifically how gogical potential of the studio as a form of design-based discourse on the city determines interpretations of its past inquiry. To explore how the city is thought, projects are seen and projections of its futures (discourse) to the invention as critical instruments to focus on topics in contemporary of the strategic languages of public engagement involving urban design practice. All three studios emphasize a multi- operational mechanisms for urban transformation at both scalar approach to the urban site (local, neighborhood, met- the formal and programmatic levels (public synthesis). This ropolitan, regional, and global) and approach urban design sequence asserts that the grounding conditions of an urban as an inter-disciplinary practice that engages with and nego- design project — site and program — are complex mechatiates between different actors in the urban dynamic.
nisms that must be actively and critically constructed rather
In general the curriculum is focused on the futures of than simply accepted as “givens” beyond a designer’s control. cities that have come of age in the modern industrial era While each urban design studio presents students with difand now face the transition to new forms and meanings, fering urban conditions and programming opportunities, all in dialogue with new cities in development. Particular em- three semesters together reinforce the program’s commitphasis is placed on questions of urban infrastructure and ment to help individual designers to develop rigorous urban urban ecology. A dialogue is woven between New York City design tools and methods, to acquire a working language to and other world capitals with analogous contemporary communicate urban design ideas, and to enhance the critical conditions, moving between recent theoretical debates on skills needed to test and refine urban design strategies. future urbanism and applied projects that directly engage the realities of the transformation of the post-industrial city. Urban Design Students In this way, the program attempts to engage both the daily E^^ :emfZg% FZgn^e :obeZ% Chl^ia Abm^ ;bee^l% ?kZg\bl\Z reality of our urban condition and the theoretical abstrac- ;khlZ Ehal^% <aZke^l <abZg`% <a^g <ahn% @Z[kb^eeZ ?hebgh% tion of current academic debate. Within this position, urban :e^q @hgsZe^s% Kb\aZk] @hgsZe^s% LZfZg CZfZe% Cng`dn design is pursued as a critical re-assessment of conven- DZg`% CZg^m DZh% Rhncng` Dbf% Ahhglnd E^^% FZgn^e tional approaches relative to questions of site and program, FZglreeZ% Cn`Ze Fblmkb% Cbah IZkd% RndZ M^kZ]Z% C' FZmma^p infrastructure, and form-mass, as they have been defined by MahfZl% B&<ang MlZb $ D^obg P^b urban design practice during this century. The urban design curriculum is unique as a coherent pedagogic position on the role of architecture in the formation of a discourse on urbanism at this moment of post-industrial development and
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indeed, of post-urban sensibility relative to the traditional 8e[i\X BX_e# \hhk]bgZmhk Euro-American settlement norms.
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By proposing an expanded architecturally-based teach- " G\k\i CXli\eZ\# \kbmb\l ing model for urban design, the program advocates working NK;:G =>LB@G LMN=BH *% LNFF>K +))0 from the “ground up,” rather than adopting “a top down” master-planning approach. It takes advantage of archi- ,+0 ,,, ,,- -(+ .() .(* .(+ As an interpretive framework, tecture’s traditional concerns for site specificity, spatial the notion of the urban constellation directs attention to the experience, construction logics, economics of organization, ever-shifting collection of physical and non-physical systems morphology, and physical form, while also engaging forms of that interact to configure urban experience. As a design activknowledge associated with disciplines such as urban plan- ity, constellating focuses on assembling the array of physining, urban ecology, and landscape design. In this sense, cal forms, infrastructural interconnections, development the program is considered experimental, exploratory, and models, and social agents needed to create new forms of unorthodox in comparison to the established canons of the public space. To create urban spaces that afford lasting value traditional architectural design studio.
while still maintaining capacity to accommodate change over time, students manipulated the underlying systems
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structuring urban experience to effect urban transformation through projects that aspired to more than polishing the
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surface appearance of the city. Their work aimed variously to D`Z_X\c :feXi[# \hhk]bgZmhk BXk\ Fi]]# M`Zkfi`X DXij_Xcc# amplify the local; discover profitability in wastelands; create :_ffe :_f` " 9i`Xe DZ>iXk_# \kbmb\l constructive interferences between urban systems; enhance JXiX_ 9i\eeXe# ^g^k`r \hglnemZgm urban green stock; facilitate alternative occupations of public NK;:G =>LB@G LMN=BH ,% LIKBG@ +))1 places; and construe public space from intersecting social, economic, and ecological sheds.
(0 )( ,,/ ,/* -)0 --( --+ .(, //, //- (**+ In the context of dramatic ecological threat, economic uncertainties, and severely overcrowed road systems elevating tensions between the city center and its periphery, the United Nations
,-/ G>P FH=>E <BMR3 =>LB@GBG@ !G>P" G>P RHKD Development Programme published Thailand Human BG @K>>G% ;EN>% R>EEHP% HK:G@> :G= K>= Development Report 2007: Sufficiency Economy and Human Dfa[\_ 9XiXkcff# \hhk]bgZmhk
Development. The report highlighted the stark contrast
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between Thailand’s impressive overall economic and social
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progress and the many deep-rooted development challeng-
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es that remain. Incomes are highly skewed, many people
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still live in poverty, and the provision of essential services differs greatly in quality and quantity in different areas of the
,-+ ,/' -(. .(' /-' /-) ()', ()(* (+,) (+,, Twentieth century country. At the same time the natural environment is under New York enjoyed a reputation as a prototype for urban life, great stress, and family and community life is strained by in all of its cultural and industrial manifestations. However, in migration and urbanization. the current global environment New York’s status as the global
The Carbon Studio engaged the Sufficiency Economy
“model city” is being challenged against a new set of localized Model through a critique of an earlier BMA/MIT Bangkok conditions. These include changes in land value, use and zoning, Master Plan along the Khlong Phadung Krung Kasem Canal shifts in various levels of policy, stewardship, and ownership and at the Hua Lamphong Railway Station. The urban design (public, private or public/private) to the reconfiguration and teams found new strategic, formal, and material pathways implementation of complex and interrelated natural and man- toward a sustainable future, producing a final report (http:// made systems. In fact, the flux and rapid change in both global www.lulu.com/content/2503696) that was presented to the and local conditions and dynamics are being observed and local university partner, Chulalongkorn University, and pubare provoking the design fields to engage the engineering and lic sector partner, The Bangkok Metropolitan Administration. science fields to embark on a common search to understand The report organized the projects into three general themes: and respond to the relations between macro trends and projects that addressed density, currents, and movement in micro behaviors that have large predictable and unpredict- the city, focusing on its density as well as the various services able consequences.
supported by different infrastructure systems; projects that
The Urban Design Fall Studio 07 re-envisioned New York’s implemented urban design models based on the research of multiple scales and territories of operation to challenge an causes and effects of increased CO2 emission, on both local underlying assumption that the coherence of traditional forms and global scales; and projects that took a holistic approach of the city (core and edge) have been thrown into question by to address the role of carbon reduction in future urban deprocesses of distribution and collection linked to broader sign models, asserting that change can only succeed through global transformations, such as changes in environment or culturally and socially inclusive design strategies. emerging economic forces. The design groups developed urban models, i.e. the studio’s collective explorations of the “new model city,” with clear consideration and precise positioning of site specific projects in relation to broader concerns such as sources and resources, geography and cartography, capacity and flow, density and intensity, quality and quantity, territory and boundary, vitality and equity, etc…
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(,. The focus of the Urban Planning Program is on future NK;:G IE:GGBG@ LMN=BH% LIKBG@ +))1 physical, economic and social well being of the world’s cities. The rapid pace of global urbanization has been accompanied ,/. ,/0 ,0' ,0) New York City has currently planned or has by an increasing polarization between the well off and the underway a number of megaprojects (e.g., Hudson Yards, poor in the cities of both the more developed and less devel- the World Trade Center site, the Columbia/Manhattanville oped nations of the world. Unless these polarizations and the development, East River: Manhattan, Brooklyn Parks, and ensuing antagonisms are reversed, global urbanization and Governors Island) that will involve a great deal of constructhe population migrations it has engendered will work to the tion activity. These projects pose logistic issues related to the detriment and not the betterment of all of us. Developing the movement of construction materials into the city and onto capacity of the next generation of planners to adapt to and sites with little room for storage. address the social and environmental challenges brought
Moreover, the movement of construction materials by
about by a rapidly urbanizing world is a central concern of truck generates traffic and safety issues and could be rethe Program. The Urban Planning program began this aca- directed to barges on a meaningful scale. The purpose of this demic year with a new director, Robert Beauregard.
studio was to explore the economic, social, environmental,
The Program was re-accredited by the Planning Ac- and other aspects of the siting and design of construction creditation Board (PAB). The site visit occurred in the fall materials transfer sites along the NYC waterfront for the semester and the decision to re-accredit was received in late movement of construction materials in and out of this island May. The Program had a number of visiting professors dur- geography. The client was the Regional Plan Association. ing the year. Richard Tomlinson from Johannesburg taught full-time to maintain the commitment to international de- Rhng`cb ;Z^% @beebZg <hgg^ee% Chag =neZ\% <a^el^Z @e^bl% velopment and planning. Ana Baptista taught Environmental GZhfb A^kllhg&Kbg`ldh`% DZl^r EZ?eZf% LZkZa Ebmme^\abe]% justice in the fall semester. And Chester Hartman, a nation- CbnrnZg Ebn% Lhhg FZag IZkd% Bk^g^ L^h ally-recognized housing expert, taught Housing Policy and housing studio in the spring semester. On the faculty side, Peter Marcuse and Laura Kurgan taught a course on ethics and justice in planning and architecture. Stacey Sutton began a project on neighborhood
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development in Korea. Smita Srinivas continued her work :_\jk\i ?XikdXe# \kbmb\ in India with the Technological Change Lab. Sarah Williams NK;:G IE:GGBG@ LMN=BH% LIKBG@ +))1 worked with an art project in Brooklyn to set up cell-phoneavailable interpretation of sites of interest, identified through ,*0 ,+, ,+- ,+/ This studio addressed various issues facing GPS data. Elliott Sclar completed work with the Rockefeller Manhattanville Homes, a large state-aided, high-quality Foundation on poverty in the global south. Bob Beauregard public housing project between Broadway and Amsterdam, lectured at universities in Helsinki, Turkku, and London.
and 129th and 135th streets. Principal issues addressed
In addition, the program, with the help of Janet Foster, included NYC Housing Authority’s plan to capture/reuse made progress in establishing better management proce- project open space (parking areas, recreation areas) and the dures and providing a greater degree of transparency. The movement of several hundred units into the Sec. 8 program. students organized the weekly lecture series (LIPS) and pro- Related issues were the status and fate of small neighborvided helpful advice through the Program Council.
hood-service businesses on Amsterdam between 125th and 135th Streets threatened by gentrification. Clients were the Manhattanville Tenants Association and the Manhattanville Area Consortium of Businesses.
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The purpose of the studio was to address the develop-
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the Tigre Delta. Particular attention was given to sustainability and social justice issues. The client for this studio was the Tigre Municipality/Local Development Corporation.
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-(* -(, -(/ -(0 Stamford’s East Main Street and the surrounding neighborhood are experiencing a rapid transformation. From its prior role as a center for low-density automobile dealerships and other automobile-related uses
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comes a more intensive development profile with new rental <k_\c J_\]]\i# \kbmb\% pbma ;fl^_ Nff[nXi[ and condominium apartment buildings and pedestrian-ori- NK;:G IE:GGBG@ LMN=BH% LIKBG@ +))1 ented retail stores among other new uses. One of the critical challenges to this situation is to de- ,0( ,0* ,0. -', The client for this studio was the Greenwich velop a multi-modal transportation strategy for the corridor Village Society for Historic Preservation, which is the lead that will encourage further redevelopment while preserving organization in a consortium of community groups and orgaand enhancing neighborhood quality of life. The goal of the nizations. The groups were concerned about the contraction studio was to situate the corridor so that it complements the and development of St. Vincent’s Hospital on Seventh Avenue major office and retail development of the downtown core. and 11th, 12th, and 13th Streets in Greenwich Village in New The objective was also to make the corridor into a village York City. The hospital plans to consolidate all of its facilicenter with its own identity. The client for this studio was the ties into one building and sell all the rest to a developer for East Main Street Neighborhood Association.
market housing.
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Greenwich Village Historic District, any plans to demolish or
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build must go through public hearings and be approved by the
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Landmarks Preservation Commission. St. Vincent’s Hospital
Because the entire hospital campus falls within the
is also governed by special zoning regulations, therefore the City Planning Commission and the City Council must also approve any such changes after extensive public hearings. These
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hearings were held during the winter and spring of 2008.
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opment ever in the Greenwich Village Historic District since
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its designation, and the largest development anywhere
St. Vincent’s plans would be, by far, the largest devel-
in Greenwich Village in at least 50 years. This studio consid,00 -'( -'- -'. -'/ The Tigre Delta is located about 20 ered many important planning issues: historic preservation, miles north of Buenos Aires, Argentina. Once a collection density and zoning, urban design, traffic and transportation of small towns, agricultural farms, a few industries, rec- issues, housing diversity, and open space. It also engaged reational activities, and informal housing populated mainly a number of important approval processes so it afforded stuby households in need, it is now filling up with tourist facili- dents an opportunity to learn about these processes directly. ties and gated communities targeted to upper-middle-in-
The studio worked with recommendations, alter-
come households. Yet, the number of poor households has natives, changes, and modifications to the proposal but remained unchanged. Moreover, the ecological sustainabil- also developed a greater vision for the best kind of plan ity and economic feasibility of the area are uncertain.
for this area. The expansion also raises important questions about how more than one social and public good can be
reconciled — the change and expansion of a valued health including a work requirement in welfare programs is often facility and the preservation, livability, and development of a to enhance the earnings of welfare recipients after they historic neighborhood.
leave these programs. Does the requirement produce the desired result?
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This course explored the political, scientific, economic, legal, and cultural impacts of environmental justice (EJ)
Cities are run by city-governments. These governments and risk analysis. Through theoretical and practical readare providers of infrastructure and goods themselves, and ings, detailed case studies, media content analysis, and they also regulate the provision of goods by private firms. an exploration of social movements, the course examined They promote health and welfare through land use and how claims of environmental injustice are intertwined with environmental regulation, and they are charged with ensur- the politics of race, class, and gender inequalities, as well ing that political power and economic resources will be as cultures of science, technology, and risk assessment. distributed equitably. Yet governments operate in societies The course analyzed the political implications of research where resource allocation is governed primarily by markets. into disproportionate environmental impacts, EJ litigation Economics provides tools — often controversial ones — to under the Civil Rights Act, and policy responses to address guide decisions about when and how government should be claims of environmental injustices from the local to the involved in providing or subsidizing services and in shaping international level. The course also explored the impact market activity.
that community-driven actions, particularly those aimed at addressing adverse health and environmental impacts in communities of color, have had on the political, legal, and cultural landscape of environmental politics and risk. Case
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study topic areas included urban air pollution, community
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land use planning, clean water access, occupational safety,
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and international development.
In evaluating whether to adopt a project, the following are some of the factors the planner must consider. (1) Projects often yield benefits and require costs over long periods of
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time. Paving of a road, for example, must occur at the begin- IfY\ik 9\Xli\^Xi[ ning of the life of that road, whereas the benefits from the NK;:G IE:GGBG@% ?:EE +))0 road will occur for many years after the paving was completed. Do the benefits exceed the cost? (2) The benefits (,. This course weaved together the substantive history of from a project may be uncertain. For example, should the the planning profession in the United States with its intelgovernment invest in a firehouse in a particular location? lectual evolution. It focused on the planning function and (3) User fees for a particular project may not be sufficient to related planning roles. This course considered different cover the cost of providing the service. For example, should rationales for undertaking planning, alternative ways of the government provide a particular public transportation practicing it, the relationships between experts and citiservices if the fares would not cover the cost of constructing zens, and the political tensions within planning practice. and operating the service? (4) A project may be designed Particular attention was given to the interplay of power and to achieve a particular result. For instance, the purpose of NK;:G IE:GGBG@
knowledge; ethics and social responsibility; and issues of race, gender, class, and identity.
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Planning in a Design Build World focused on the skills, prod-
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the variety of disciplines required to accomplish strategic
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infrastructure design and real estate development planning.
ucts, tools, methods, processes, and relationships among
The intense level of interdisciplinary coordination required This course taught digital methods of creating visual infor- from concept through construction on any public/private mation and was designed to build those skills fundamental development project is overwhelming without exposure to to understanding and communicating projects from the the professions integral in implementation of pro-formas scale of the building to that of the city. Classes observed and policies. The course established a basic understanding and discussed techniques of effective visual communication of who does what within the overlapping field of disciplines, and the methods and details of realizing such work using how projects move forward, and who is making ultimate the computer. Students were encouraged to bring design decisions and with what information. The class also sought studio projects to be measured, interpreted, outlined, to push boundaries; for those with design, economic, or extruded, sliced, detailed, annotated, and displayed in a environmental backgrounds: what keeps us from achieving pin-up and portfolio.
our sustainability goals and recommend actions to remedy these. In what ways can the environmental review process be leveraged as an innovative urban design tool? How does one discover a place for creativity or even make a positive differ-
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ence in a field predominantly defined by market demands,
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bureaucrats, and egotists? With the belief that New York
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City has had a unique way of defining and answering such questions throughout its history (most recently with the
Many issues related to housing have vexed planners and PLANYC2030 effort), students investigated these topics and policy makers for decades. Why is there a shortage of visited field offices and development sites, and honed visual affordable housing? Should everyone be guaranteed a right and verbal communication skills. to decent housing? What is decent housing? When, if ever, should the government intervene in the provision of housing? Does rent control really keep rents affordable? Should policymakers concern themselves with what type of neigh-
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borhoods people reside in? Introduction to Housing provid- I`Z_Xi[ =if\_c`Z_ ed students with the analytical skills to address these and NK;:G IE:GGBG@% LIKBG@ +))1 many more difficult questions dealing with how to house our diverse population. Students learned to analyze and inter- This course served as an introduction to how public entities pret the plethora of housing data available publicly in order (cities, states, public benefit corporations) finance urban to assess housing market conditions in a particular locality. development by issuing public securities. Beginning with an With these skills students are better prepared to formulate examination of how public entities leverage limited capital effective housing policies.
resources through the issuance of debt, including a review of statutory and political considerations as well as limitations put on such debt, the class explored the limitations of tax-exempt financing and the kinds of development that can qualify for such financing. By examining different kinds of development financing, including mass transit, health care facilities, schools, public utilities, airports, and housing, students were
able to see the major forms of tax-exempt financing that are available. The class also delved into rating agency require-
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ments, security disclosure rules, market dynamics, and the =cfp[ CXgg mechanics of offering bonds for public sale. Students dis- NK;:G IE:GGBG@% LIKBG@ +))1 cussed criticism of public financing and looked at failures and bond defaults. Students were expected to review offer- Although many urban planners see this subject as formulas, ing statements and related financial information for actual models, and attempts to predict travel behavior, it is more financings being marketed in the public markets. The course understandable when one seeks to relate land use and the consisted of a mix of lectures, guest lectures from practitio- potential transportation connection. The hierarchy of transners, discussion, and group presentations.
portation modes begins with the shortest distances between two points — walking, usually up to a distance of a mile or 20 minutes and biking which takes one a bit further. The automobile and various modes of transit, such as the bus
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and rail, are much more regional and are part of a network.
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is the way to travel because more people are moved more
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rapidly. However, America’s love affair with the automobile,
In dense urban areas, where space is at a premium, transit
furthered by major funding for highways across a mostly Today, for the first time in human history, more than half low-density environment, does not always relate the most of the world’s population lives in cities. With increasing appropriate mode of travel to land development. This course urbanization, uneven economic development, and deplet- contrasted the rise, fall, and latest attempts at knitting traning resources, cities in the 21st century demand serious sit into the metropolitan fabric while trying to improve the consideration in order to appropriately manage them. The dilemma of too many people taking to the road for the conidea of minimizing human impact on the natural environ- venience of being stuck in traffic. ment is now a generally accepted goal. At the same time, exploiting resources, both natural and cultural, is accepted as necessary to achieve the goals of economic development. While consensus is possible on the broad objectives of urban
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sustainability, the approaches, and efforts at accomplish- AfeXk_Xe DXik`e ing them vary widely. Debates rage between revolution and NK;:G IE:GGBG@% LIKBG@ +))0 reform, more technology and less, to embrace urban density or abandon city life. Meanwhile, the universal goals of sus- This course presented the fundamentals of land use plantainable development have to be reconciled with the particu- ning as practiced in the US today and gave students the larities of a place, its history, culture, and social institutions. opportunity to develop and design a land use plan for a small This course explored the diversity of contemporary debates hypothetical city. Prior to developing the HypoCity, students around sustainability and the city and investigated the man- studied contemporary land use planning issues, including agement of change in the urban environment to nurture urbanization and urban growth trends, ethics, quality of positive and enduring relationships amongst the natural and life indicators, ecological land use planning, and inner city social worlds, and the built environment. The objective was revitalization. Attention was also given to what constitutes a to work towards a framework for making cities sustainable. comprehensive plan, principles of good plan-making, where Topics included sustainability and the crisis of urban devel- to start, specific steps to take, information needs, and how to opment; perceptions of nature and urbanism; globalization, choose methods to accommodate a range of community sitculture and politics; tourism and heritage; innovations to uations. Through case study analysis of several large-scale promote sustainability including mixed use and transporta- planned developments in New York City, students learned tion, green building and urban greening, water and energy analytic and synthetic skills, practiced oral, graphic, and resources; disasters; climate risks; housing, community, written communication skills, and participated as effective equity, and gender.
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members of a planning team.
Each team determined the socioeconomic, cultural, environmental, and political aspects of their HypoCity to form a
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context for planning that allowed them to pursue particular <cc`fkk JZcXi issues of interest. Teams assessed existing and emerging NK;:G IE:GGBG@% LIKBG@ +))1 community conditions; formulated goals; translated projections of economic and population change into their land The physical shape of cities at each moment in time is a use implications for land, location, and community services; reflection of social choices. These choices are constrained determined the suitability of land and locations for various by history, social values, technology, population change, land uses; and applied computer technology to specific plan- and economic opportunities. Clearly, issues of power, social making tasks such as map presentations, land suitability equity, and cultural sensibilities are embedded in these conanalyses, and the drawing of plans. The tangible result of straints. The ways in which these constraints operate are the semester’s work was a professional-grade land use plan both powerful and complex. Although they play themselves that incorporated the fundamentals of land use planning and out differently in different places, there are still strong simithe particular innovations created by the planning teams.
larities in the patterns among various places. This course explored the dynamics through which the physical shape of urban settlements emerge. Students sought to comparatively understand how urban space is organized in both the
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developed and the developing world. In this they were guided
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by an attempt to understand what is place specifically and
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generically in each case. The goal was not to develop a one size fits all theory of urban space, but rather to develop the
The nineteenth century development of urban planning as ability to read how the dynamics of urban space play thema profession and academic discipline had its basis in public selves out in specific cases. health initiatives designed to improve the quality of life of urban dwellers. Contemporary environmental challenges are once again uniting the fields of urban planning and public health. In the next 50 years, urban planners seeking
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to improve the quality of life for increasing numbers of urban <k_\c J_\]]\i residents throughout the world will grapple with major social, NK;:G IE:GGBG@% ?:EE +))0 political, economic, and environmental issues that affect the physical structure of cities and the health of their residents. New York City appears to be in a state of great transformaTopics range from increases in urbanization and population tion. At this time, New York is viewed by many as a place growth in poorer regions of the world, to the global spread of where a mature American city can re-shape itself through infectious diseases and the creation of new refugee popula- comprehensive planning and design of its built environment, tions brought about, in part, by global climate change.
infrastructure, transportation, and neighborhoods. What are
Working together, scientists and professionals from ur- some of the distinctive problems that make New York unique ban planning and public health may better ensure that new and, at the same time, a potential model for other cities? communities are built and old communities are revitalized to
The course provided an understanding of the collabora-
be more egalitarian, sustainable, and, ultimately, healthier tions, conflicts, tools, and strategies surrounding planning in for all residents. The goal of this course was to provide the New York today. It focused on a selection of current planning ideas and information necessary to integrate environmen- projects, small and large, ranging from the Hudson Yards tal viability and sustainable development with other primary in Manhattan to the Atlantic Yards plan in Brooklyn, and concerns of urban planners and public health scientists and from Jamaica and Willets Point in Queens to Hunts Point practitioners, namely, social justice, human rights, environ- in the Bronx. The students’ inquiry centered on the Mayor’s mental integrity, and health in the broadest sense, to include PlaNYC, examining its goals and recommendations and aswell-being and quality of life.
sessing the challenges to its implementation.
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There is probably no other activity that links people and place in more complex ways than work. Work remains a primary Political economy can be described as the study of institulocus of human identity and mobilization. Even with labor tions and modes of governance. It attempts to capture difmigration between cities and across countries, urban work ferent models of how society’s politics and economy are continues to anchor people to their surroundings in multiple intertwined. It is also a discerning look at the language, ways. Particular labor markets have specific characteristics. models, and actual history of social change. There are many Furthermore, the changing division of labor appears to dra- “schools” within the field of political economy attempting matically affect the manner in which people participate in to describe issues such as the role of the state, the optisocial, economic, and political facets of urban and national mal path to development, and the most equitable forms of life. The increasing inter-connectedness of sectors across redistribution. These also comprise strong behavioral and national boundaries complicates the governance of work. institutional assumptions about locality and nationality and Since work is a major influence on urban transportation how to run urban and other development projects. systems, housing, other public infrastructure, processing zones, and factories, these trends are of particular interest. In this course, students critically examined the institutions that create markets from work, as well as paid and unpaid work. Understanding how work is structured and governed
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today around the world provides a better grasp of the every- JkXZ\p Jlkkfe day functioning of city-regions and an appreciation of how NK;:G IE:GGBG@% ?:EE +))0 they can be planned and governed to promote economic development and equity. It also provides a historical and (, On a regular basis planners are called upon to either colcontemporary theoretical context within which to enquire lect original data or obtain data from secondary sources. about scales and types of governance.
Therefore, planners must be comfortable summarizing, analyzing, and presenting quantitative data, and be comfortable developing logical empirically based arguments using statistical techniques and analytic methods. Additionally,
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urban planners are often called upon to review quantita-
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others, as well as design independent research studies to
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test various hypotheses and make effective decisions. This
tive analyses and assess the validity of arguments made by
course prepared graduate students in urban planning to This advanced seminar for Ph.D. students focused on under- critically review analyses prepared by others and to conduct standing the State. Students looked at its component orga- basic statistical data analyses independently. nizations, institutional underpinning, norms, rule-making, and other processes of administration, but also addressed issues of symbolism and power. The course covered diverse topics such as: the state as policy arena, democracy and
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types of governance, organizational theory, questions of I`Z_Xi[ Kfdc`ejfe bureaucracy, rationality and planning, the emergence of NK;:G IE:GGBG@% LIKBG@ +))1 informal and formal institutions, rule-making, behavioral and cognitive frameworks for state action, state sanction Mega-events are events that a country and city can expect and legitimacy, and public sector reform.
“to host” once only in the space of some decades. There are essentially three types of mega-events: World’s Fairs/
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Universal Exhibitions/EXPOs, the Olympics, and the FIFA the web in “knowledge sharing.” The course included case Football World Cups. These events are located in a host city studies on particular policies in a number of countries and, (World Fair and the Olympics) or host cities (Football World inter alia, “knowledge sharing,” “best practice,” “hints,” and Cup) and involve a tremendous amount of investment in “housing rights.” infrastructure, hospitality services, marketing of the country and city and, of course, tourism. As such, mega-events can have profound urban impacts. An interesting and recent feature of mega-events is that they are now also occur-
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ring in developing countries, for example, the 2008 Beijing >iX_Xd Ki\cjkX[ Olympics, the 2010 Shanghai Expo and the FIFA 2010 Football NK;:G IE:GGBG@% LIKBG@ +))1 World CupTM in South Africa. This course betrayed a special interest in mega-events The National Environmental Policy Act and the several state in developing countries but included references to mega or local regulations requiring environmental impact assessevents, past and present, throughout the world. This in- ment — including the New York State Environmental Quality cludes the bidding process to host a mega event, which has Review Act (SEQRA) and the New York City Environmental become inordinately expensive. New York’s bid for the 2012 Quality Review (CEQR) process — require public decisionOlympics is a case in point. The purpose of the course was makers to consider potential short-term and long-term to examine the impact of mega-events on cities, their infra- environmental effects of projects or actions. These regulastructure, economy, and management.
tions and processes set forth specific procedures or methodologies to follow in the preparation of environmental assessments or environmental impact statements. The regulations also require incorporation of public participation and agency
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coordination at several steps in the process. This course
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assessment; and investigated how application of environ-
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mental impact assessment affects project outcome.
explored the key procedural elements of NEPA, SEQRA, and CEQR; examined the key analytic techniques used in impact
To a considerable degree urban policy in developing countries is formulated and propagated by multilateral and bilateral development agencies, global development con-
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sulting firms, foundations, and academics who consult to >iX_Xd Ki\cjkX[ all these agencies. A significant feature of these agencies NK;:G IE:GGBG@% ?:EE +))0 and academics is their working with host governments, from national to local, to engage in “knowledge sharing,” “best For the built environment to operate properly, engineered practice,” and “policy development based on what works.” service systems and roadways are needed. For it to be In addition, specialist agencies have been constructed to healthful and pleasant, modern utility networks and support enhance public-private partnerships and privatization and facilities have to be developed. To move human settlements to increase “deal flow.” In the last decade or so, along with toward sustainability, advanced technology and sensible use notions of “best practice” coming to include working with of natural processes should be put in play. The institutional NGOs and CBOs, have arisen local, regional, and interna- and financial frameworks, within which service systems have tional NGOs such as Shack/Slum Dwellers International to be implemented and maintained, need critical attention. (SDI), Homeless International and the Centre on Housing
Within this context, the practical scope of the course
Rights and Evictions (COHRE) that promote a “rights-based” encompassed what is generally known as subdivision deapproach to urban policy.
sign and municipal engineering. Subdivision design deals
The purpose of the course was to explore the formu- with the most common form of city building during the last lation of urban policy in developing countries, the influ- half-century in North America. While frequently dismissed ence of these institutions on urban policy, and the role of as sprawl, new attitudes and practices can create attractive
communities in balance with the natural environment and for a municipal-level policy on demand-side energy reducmunicipal infrastructure. Municipal engineering has been tion. The findings suggested that the policy environment a concern in human settlements since ancient times. Dirty poses three barriers. First, the City government does not water, abysmal sanitation, and lack of mobility have plagued have full jurisdiction to regulate energy efficiency in buildcity residents for centuries and persist today in much of the ings. Second, energy efficiency is a negotiating tool of the developing world. Only in the last century have workable political marketplace. Third, financial and human resourcsystems been developed that can handle livability problems, es limit the City’s capacity to implement effective policy. albeit through heavy investment in engineered systems. New approaches seek to minimize fiscal cost by relying more on natural processes.
,01 =H>L IK>LB=>GM ;NLAÍL FHKM@:@> ?HK><EHLNK> FBMB@:MBHG IE:G F>>M MA> G>>=L work actively and responsibly in the structuring and imple- H? :F>KB<:ÍL <BMB>L8 It is not enough for professional planners and design-
ers to just appreciate these concerns; they must be able to mentation of the base systems and new concepts.
8dp 9fpc\ JkXZ\p Jlkkfe# Z]oblhk NK;:G IE:GGBG@ MA>LBL
,0/ <HFFNGBMR @KHNI >??><M HG G>B@A;HKAHH= Millions of homes are expected to enter into foreclosure ;:L>= <HFF>K<B:E <HKKB=HK K>OBM:EBS:MBHG over the next year. This thesis focused specifically on the C\jc`\ 8cYX
needs of localities that are affected by high rates of mort-
JkXZ\p Jlkkfe# Z]oblhk
gage foreclosure. Interviews with policy-makers and fore-
NK;:G IE:GGBG@ MA>LBL
closure experts in three localities that have been hard hit by mortgage foreclosure — Detroit, Michigan; Cleveland, Ohio;
Vibrant commercial corridors are the lifeblood of a neighbor- and Stockton, California — were used to determine specific hood. This thesis focused on how local community groups problems facing localities. Comparing this data to President affect the vitality of commercial corridors. Much research Bush’s Foreclosure Prevention and Mitigation Plan, it seems has been done on how business improvement districts and that the President’s proposal fails to solve key problems that empowerment zones affect retail corridors, but little atten- localities cannot resolve without federal intervention. These tion has been given to those communities that do not ben- findings have implications for the ability of cities to respond efit from these initiatives. Focusing on one neighborhood in to the mortgage foreclosure crisis. Queens, New York, the research indicated that commercial corridor vitality is as much a result of the entrepreneurial spirit of the residents who live there as of how the incentives given by non-profits and government agencies are shaped.
,1( BGM>@K:M>= =>O>EHIF>GM IE:GGBG@3 <K>:MBG@ AHNLBG@ LNLM:BG:;BEBMR ?HK MA> NK;:G IHHK BG CHA:GG>L;NK@ ;\mXee\ 9iffb`ej
,00 BFIE>F>GM:MBHG ;:KKB>KL ?HK >G>K@R >??B<B>G<R IHEB<R BG G>P RHKD <BMR ;NBE=BG@L
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South Africa adapted the concept of the developmental state
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to demarcate its role in directing economic growth, develop-
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ment, and the redistribution of social and economic resources to redress systemic poverty and repression. Through the
New York City Mayor Michael Bloomberg set a target in Reconstruction and Development Programme (RDP) 1994, PlaNYC 2030 to cut by 30% New York City’s carbon dioxide housing provision for the poor and marginalized segments emissions by 2030. Forty-nine percent of that reduction is of the population became a primary example of the governpredicated on improving the energy efficiency of the building ment’s commitment. Housing provision has produced over sector. This thesis examined the implementation barriers two million units, yet beneficiaries in some urban contexts NK;:G IE:GGBG@
have chosen to be relocated to informal housing and to sell these units. This thesis asserted that unsustainable provision has
,1* MA> ?K>LA=BK><M >??><M3 AHP =H>L ?HH= <AHB<> :??><M : G>B@A;HKAHH=ÍL :II>:E8
resulted in this condition. The central question is whether DXi^l\i`k\ >iX[p housing provision has resulted in unsustainable housing for JkXZ\p Jlkkfe# Z]oblhk the urban poor. The hypothesis asserted that this is the case NK;:G IE:GGBG@ and that it is necessary to address the needs of the urban poor particularly with regard to employment. The research (, E-grocery stores, like FreshDirect in New York City, hold traced relevant policy frameworks and models regarding the potential to greatly impact the way that urban food marhousing and economic development and integration to un- kets function, yet they remain largely unstudied. Empirical derstand the rising phenomenon of unsustainable housing accounts suggest that the sudden increase in food choice for the urban poor. The results of this research concluded that e-groceries provide in neighborhoods underserved by that integrated development is a useful mechanism in link- bricks-and-mortar grocery stores, which are often lowing housing and employment to increase sustainability for income and minority areas, fuels gentrification. This thesis the urban poor, yet more needs to be done to deepen the tested that observation by spatially analyzing FreshDirect’s level of integration.
deliveries by zip code from 2002–2007 in relation to the variables of income, rent, property value, and number of supermarkets, as well as by surveying FreshDirect customers. The quantitative analysis revealed little correlation
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between FreshDirect deliveries and demographic indicators
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ship between food retail and neighborhood appeal and have
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broad implications for urban food access.
of gentrification, yet the qualitative analysis suggested that people do use FreshDirect for better food options in gentrifying neighborhoods. These findings help explain the relation-
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In response to the threat of atomic devastation of American
,1+ >L<:IBG@ MA> =NM<A =BL>:L>3 : <HFI:KBLHG H? =BO>KLB?B<:MBHG LMK:M>@B>L ?HK MA> HBE vival under an attack. Chief amongst these was dispersal of ><HGHFB>L H? AHNLMHG :G= >=FHGMHG cities during the Cold War, several federal agencies studied
urban vulnerability and put forth recommendations for sur-
population and industry from dense urban areas. In 1950, a :_i`jkfg_\i ?Xpe\i group called Associated Universities undertook a federal Jd`kX Ji`e`mXj# Z]oblhk study, Project East River, which imagined an atomic bomb NK;:G IE:GGBG@ MA>LBL detonating in Manhattan. This thesis examined how federal recommendations for dispersion for civil defense were articu- When economies are over-dependent upon their natural lated at the city level in New York in order to illustrate the resources as a growth stimulus, their innovative capacity historical relationship between density and security.
can lag during a resource boom from a misallocation of capital away from traditional sectors like manufacturing. As the resource diminishes and investment is re-directed, there is a danger of finding technology-dependent sectors in obsolescence. In a time when resource endowment appears to be a curse upon economies, it is relevant to cite examples which have defied this trend by curtailing manufacturing disinvestment using resource upgrading as a stepping stone towards further diversification. In East Texas there has consistently been interplay between the business community and the state and national
level government. This dynamic was first instrumental in
,1- LRGMA>MB< E:G=L<:I>L :G= :KMB?B<B:E G:MNK> BG G>P RHKD <BMR I:KDL :G= IN;EB< petro-chemical upgrading. The resulting downstream supply LI:<>L3 :G :G:ERLBL H? >GOBKHGF>GM:E chains and highly skilled engineering labor pool associated CNLMB<> :G= KBLD :LL>LLF>GM K>E:M>= MH with this same refining process eventually contributed to fur- LRGMA>MB< MNK? securing Department of Defense research and manufacturing contracts in resource-based industries like refining and
ther diversification into the aerospace and semi-conductor J\k_ Il^^`\if industries. Provincial, regional, and local policy-makers in Al- 8eX 9Xgk`jkX# Z]oblhk berta are currently leveraging their oil sands wealth to mimic NK;:G IE:GGBG@ MA>LBL the integrated clustering of Houston’s refining industry outside of Edmonton in order to retain the value-added revenues The increased use of synthetic landscape elements to within the province. As similar refining facilities continue to replace natural ones throughout New York City combined come on-line in the Middle East and East Asia, however, the with recent concerns regarding the potential environmental same linchpin of subsidized innovation that proved crucial and public health risks associated with these elements pose to Houston’s sustained economic growth may be critical in a possible environmental justice threat. This thesis examsecuring both Houston and Edmonton’s economic future.
ined that threat through a spatial analysis of the geographic location of synthetic turf fields along with anecdotal evidence gathered through interviews and surveys. Incomplete information about synthetic turf also presented the opportunity
,1, IN;EB< I:KMB<BI:MBHG :G= MA> LM:M> BG LHNMA DHK>:G =>FH<K:<R :G= =>O>EHIF>GM
to analyze risk perception of policy-makers and users when
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uitable distribution of synthetic turf in environmental justice
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neighborhoods and reveal that risk perception differs based
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on access to information and option availability. These find-
a knowledge gap exists. The findings begin to hint at an ineq-
ings led to a set of policy recommendations including careful Considering the backdrop of industrialization and demo- planning of the placement of future synthetic landscape elecratic transition in South Korea, the following question ments, increasing access to information about synthetic turf, comes up: how was public participation institutionalized and expanding opportunities for community involvement. in South Korea after the change of government from an authoritarian military government regime to a participatory democracy? Considering the strategy of development in
,1. IN;EB< LI:<> :G= IE:GGBG@ ?HK BG?HKF:E PHKD>KL3 MA> <:L> H? LMK>>M O>G=HKL BG the post-military government? How far can public partici- FNF;:B% BG=B: terms of the extent or degree of the government’s involvement, what types of public participation have arisen since
pation affect the outcome of development strategy under JfeXc J_X_ the democratic government, compared to its effect on the Jd`kX Ji`e`mXj# Z]oblhk outcome under the military government?
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The research used several urban redevelopment cases and examined specifically institutionalized partici- The contest over urban public space, both physical and politpatory types in South Korea and the state’s position. The ical, is central to the debates over street vending in India. research concluded by claiming the state’s strong position With the liberalization of the Indian economy and the 74th in South Korean development in both military and demo- Amendment to the Constitution, discourses of public/parcratic government, and suggested several issues to plan- ticipative space, civil society and its institutions like the Civil ners: planners should fully understand the locally embed- Courts have implicitly disempowered these workers in the ded characteristics for regional, national, and international informal economy. This thesis attempted to identify the ways development. In addition, as far as the meaning of public in which street vendors in Mumbai have claimed urban space participation for South Korea, “is the democratic way al- (both physical and political) from State institutions. Street ways the best way?’” NK;:G IE:GGBG@
vendors engage in interactions that range from formal/
legal/secular politics to informal tactics. These include: jurisprudence and negotiation of the law through civil courts, formulation of policies through the activities of organizations like NASVI, claims of welfare through organized activity and protests, and informal tactics. Thus, participation of street vendors in public space needs to be analyzed with respect to different scales, actions of the leadership, daily interactions with the State, and the particular working class and ethnic politics of Mumbai.
,1/ NK;:G IE:GGBG@ IA'=' IKH@K:F IfY\ik 9\Xli\^Xi[# ]bk^\mhk (,. The Ph.D. Program prepares students for careers in teaching, research, and advanced practice in the fields of urban planning and urban policy. The program has as its specific field of inquiry the articulation of space (understood as material form, not mere geographic territory) and the socio-economic, political, and physical urban processes that produce and reproduce the built environment. These investigations take place at various spatial scales from the neighborhood to the global and focus both within and outside the United States. Organizing this inquiry are questions related to the efficiency and effectiveness of planning practices, social justice, and deeper questions related to the growth and development of societies. Ph.D. Candidates GZnla^^g :gpZk% ;kngh ;blih ]Z @kZ\Z Eh[h% IZ]fbgb ;blpZl% CZf^l <hggheer% CZr =^inmr% FZmma^p @^[aZk]m% LnlZg @eZ]lmhg^% @k^mZ @he][^k`% Fbe^gZ @hf^s% <hglmZgmbg^ DhgmhdhlmZ% LaZ`ng F^akhmkZ% ChaZgg^l Ghor% Bg`kb] Heboh% Cng` >ng IZkd% DZm^ I^]Zm^eeZ% CZf^l Ihmm^k% Chag Ihp^kl% >ffZgn^e IkZmm% :g]k^Z Kbsob% Chr\^ Khl^gmaZe% Rnfb^ Lhg`% Cnlmbg Lm^be% =Zg Lm^bg[^k`% >kbdZ Lo^g]l^g% FZkd PZed^k% E^b PZg`% LZ[kbgZ PbeebZfl
addition, the Lab and it’s students produced a set of modular
,10 :O>KR =B@BM:E ?:;KB<:MBHG E:;
silicone molds for a project that is being cast in Toulouse,
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France, for the office of Anzalone+Bayard Architects, as a
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continuation of applying the research to full scale architectural projects on Columbia’s campus each summer. The Lab
, )' ()- (,* (,+ (.( (.+ /*) /** /*+ /*- /*. /*/ /*0 /+) is in the process of compiling a book documenting the last The shift toward more expansive forms of digital production three years of digital fabrication at the GSAPP. within the design and construction industry affords opportunities of not only reconfiguring the relationships between the key players, but also incorporating industry sectors not typically associated with building construction. At the core of this shift is the integration of communication through vari-
,11 EBOBG@ :K<ABM><MNK> E:;3 : PHKDLAHI ?HK IKHMHMRIBG@ K>LIHGLBO> M><AGHEH@B>L
ous forms of digital networks, CNC fabrication being just one ;Xm`[ 9\eaXd`e " Jff$`e PXe^# \h&]bk^\mhkl among many, with the ambition of developing a comprehen- K>L>:K<A E:;HK:MHKR sive, well organized, easily accessible, and parametrically adaptable body of information that coordinates the process 0) (.( (.+ (0+ (0, (0- )') ('0* ('0+ ('0, ('0- ('0. ('0/ from design through a building’s lifecycle. This is the broader ('00 (('' (('( ((') (('* (('+ ((', (('- (('. In the context context for the goals of the Avery Digital Fabrication Lab.
of ubiquitous computing — as tiny, inexpensive, networked
The intent of the new fabrication lab is twofold: first, computers literally disappear into the woodwork of our to develop techniques for merging design and fabrication buildings — the exploration of living architecture becomes through digital networks (an organizational goal), and sec- ever more interesting and important. During the past year, ond, to develop new building systems using CNC technology the Living Architecture Lab launched several new full-scale, for prototyping full-scale components that structure the functioning, responsive prototypes that address energy, logic of larger assemblies (a material goal). What distin- environment, and ubiquitous computing. guishes CNC technologies for architecture is the opportunity it affords to reposition design strategically within fabrication LIVING CITY and construction processes such that what architects actu- Living City (www.thelivingcity.net) is a platform for buildally produce — drawings — shifts from loose representa- ings to talk to one another. With the support of the Van tions of buildings to highly precise sets of instructions that Alen Institute New York Prize and a grant from the Graham are coordinated and integrated into a full description of a Foundation, the Lab installed a wireless sensor network building. At a more modest level within this comprehen- on the facade of the Empire State Building and another sive organizational picture, CNC has also influenced design on the facade of the Van Alen building. Each network colmethodologies as architects begin to respond more directly lected interior and exterior air quality data and shared it to the conditions of digital production as a means for both with the other building. Then a prototype building facade at pragmatic concerns like cost and efficiency and more con- the Van Alen Gallery breathed in response, controlling air ceptual potentials like variability and customization. These flow and making visible environmental conditions. With the are the topics of research and experimentation for the lab.
facade as a location of sensors, of wireless communication,
During the past year, the Lab has embarked on a number and of responsive actuators, the city acquires a new level of initiatives and projects. The Lab has been working closely of interactivity. For a second version of the project, Living with the Engineering Department on the submission of joint City was simultaneously installed for the shows “Vapor” at CU-RISE and NSF-IGERT grants. The Lab has recommitted Southern Exposure Gallery and “Feedback” at Eyebeam Art itself to its research goals by modifying its access policy to and Technology Center, allowing a building in San Francisco that of providing a Lab for proposed student research and to communicate with one in New York. studio projects. The Lab has continued in its work with Natalie Jerimijenko on the Urban Space Station project to design LIVING ARCHITECTURE: RESPONSIVE KINETIC and build greenhouses for rooftops in NYC. One USS will be SYSTEMS LAB installed with the design and prototyping help of the Lab and In two more semesters of this Visual Studies workshop, stuits students this summer on a building on the NYU campus. In dents created full-scale functioning prototypes that built off K>L>:K<A E:;L
of the projects in previous years and left open source docu- investigate selected research topics in each of five modules mentation for those in the future. In the spring, students through weekly reading and written assignments, surveys, explored the use of environmental sensors and presented and final presentations. The Center also reaches out to the work in progress in a public charrette at Eyebeam, as part of larger community through its website, field trips, publicathe Feedback exhibition.
tions, and conferences.
LIVING LIGHT
VISUALIZATION RESEARCH MODULE
In May 2008, the Living Architecture Lab won a competi- A\e D`cYlie# B\m`e GXkk\ijfe Ê'/ tion sponsored by City Gallery to design a permanent public Design industry surveys established the need for the creinstallation in Seoul, Korea. The proposal, Living Light, is a ation of a searchable online database of images of best-inmap of the city bent into a 40’-wide semi-enclosed pavil- practice developments. The search criteria for the database ion. Different neighborhoods of the map glow and blink in were the result of a survey completed by over 100 design response to both data about air quality and interest in air professionals. quality. The pavilion will be constructed by November 2008 in a busy plaza at the city’s major bus terminal.
EQUITY GROUP RESEARCH MODULE BXiXe 9fcXi`X# :_i`jk`eX GcXbfg`kX# Ifj\dXip BXe^ Ê'/
REVOLUTION DOOR
A survey of high-profile pension funds, opportunity funds
In further development of this project by Fluxxlab, affiliated and private equity groups showed that High density properwith the Living Architecture Lab, a full-scale prototype of ties suffer less occupancy loss in down markets, have more the Revolution Door was showcased at Eyebeam’s Feedback stable cash flows, rebound faster during down markets and exhibition in spring of 2008. Gallery visitors entered through are better recognized by investors during fund raising. the Revolution Door, converting metabolic energy into electricity and illuminating the LED entrance signage for the DEMOGRAPHICS RESEARCH MODULE show. Fluxxlab is also working on a new prototype called 9i`Xe 9cXZbYlie Ê'/ Powerslide that converts the sliding motion of common Interviews and research show that Baby and Echo Boomers building components such as doors, windows, and drawers create demographic waves that coincide with ideal ages to into a source of energy.
live in multifamily housing creating a more demand for that product type. An opportunity exists to develop new housing in dense areas to accommodate the specific needs of boomers living in city centers.
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METRICS RESEARCH MODULE
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Research collected in collaboration with Cushman and Wakefield revealed that higher density CBDs lead to: higher
..' ..- ... ../ ..0 The CHDD is a Research Lab found- rents, higher sales, lower cap rates and lower volatility in ed in 2003 within the Master of Science in Real Estate asset values. Development Program to explore the benefits of density. The Center’s objective is to encourage high density develop- POLICY RESEARCH MODULE ment by promoting research and analysis of both benefits IXZ_\c JleX# ?fccp N`cc`Xdj# E`Zb ?Xcjk\X[ Ê'/ and critical success factors for urban and suburban high Interviews, research and case studies revealed that cities density development, to demonstrate that developments of that implemented policies to stimulate density achieved high density are the most economically fertile, operationally increased property values and fiscal revenues and spawned effective, fiscally responsive, environmentally responsible, additional development. and culturally supportive environments. The work of the Center is carried out in the CHDD seminar, each of which builds upon the research done the previous year. This year, students were organized into teams to
of the conditions of possibility of the discipline of architec-
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ture and (2) problems as well as opportunities induced by
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the emergence of demiurgic capitalism — radicalization of
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the concept of culture through capitalization of the logic of evolution. To this end, the Institute functions as a catalyst
0, 0+* 0++ 0+. The convergence of computation and biogenet- and venue for research and development into the formaics, an unprecedented phenomenon in the history of human tion of new concepts and formal models for the generative civilization, has ushered in a new ontology of existence — construction of possible worlds. The ambition is to foster a one that entails a new modality of architectural thought symbiosis enabled by the ecology of computation with the and production. The Institute for Genetic Architecture is a aim to engender diverse species of genetic architecture: one response to this challenge, bringing forward a new paradigm that is viable and essential in the formation of a brave new of architecture: genetic architecture based on the philo- world that is utopic in its aspiration. sophical notion of genesis understood in the most general and far-reaching sense of the term with references to both abstract and concrete domains of instantiation. Theoretical impetus for the Institute is founded upon the idea that information is the currency that underlies ev-
-(* <HENF;B: E:;HK:MHKR ?HK :K<ABM><MNK:E ;KH:=<:LMBG@ !<&E:;"
erything; it manifests itself in various scalar and specifica- A\]]i\p @eXYX# ]bk^\mhk tion regimes of organization. The general economy of infor- K>L>:K<A E:;HK:MHKR mation ranges from one bit, conceived as a minimal unit of a self-replicating system, to the dynamics of co-evolutionary +0 (.' -,+ -,, -,- --' --- C-Lab, is an experimental resystems such as the Internet with its second-order phase search unit devoted to the development of new forms of comtransition looming in the near future — a Global Ubiquitous munication in architecture, set up as a semi-autonomous Computing (GUC) System that will, once it is fully incorpo- think and action tank at the Graduate School of Architecture, rated into its infrastructure, saturate the planet Earth with Planning and Preservation. a monadic concept of the global brain. With this in mind,
Since 2005, C-Lab has collaborated with Archis and
the Institute for Genetic Architecture is directed toward the AMO on Volume, an independent bimonthly for architecture generative construction of possible worlds engendered as to go beyond itself. The first issue edited exclusively by Cwell as mediated by computation. The Institute is a multi- Lab, Volume 10: Agitation!, was released in January 2007, disciplinary enterprise with a two-fold intention: research followed by Volume 13: Ambition in September 2007. and development into genetic architecture and its dissemi-
Since then, C-Lab has moved into other media. The lab
nation into the cultural domain. The program for research created an immersive graphic for the New Museum that viand development focuses on (1) theoretical issues pertaining sualizes charitable donations to arts and culture around the to a philosophical genetics of architecture, (2) formal meth- world, as well as an installation for the Walker Art Center in ods of computational morphogenesis, and (3) construction Minneapolis about waste management in suburbia. C-Lab of physical as well as virtual proto-species of genetic archi- has also contributed to the magazines Urban China, Domus, tecture. At the level of morphogenesis, genetic architecture and Perspecta. is concerned with the instigation of the autonomy of the gen-
C-Lab is currently editing a forthcoming issue of Volume
erative, which serves as the constitutive basis for the logic on “Content Management.” Similar to online content manof appearance or emergence: self-replication and mutation agement, architecture is designed to have a public surface that are the basis for the formation of complex organization. and a protected interior, to encourage visitors and at the As such, it is informed by developments in automata theory, same time limit the use of the property inside, to provide artificial life, artificial intelligence, algorithmic information problem-free navigation yet direct and track visitor movetheory, complex adaptive systems, molecular and develop- ment, and to mark out what content is accessible and what mental biology as well as by complex forces that led to the isn’t. The issue will be available in the fall of 2008. history of architectural production. The program for communicative action addresses (1) cultural and philosophical issues raised by the new paradigm including a reconception K>L>:K<A E:;L
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)- (.- (00 )') )'/ Over the next 25 years, it is projected that .) (.0 (00 )'* 0,' 0,) 0,* 0,+ 0,, 0,. 0,/ 0,0 0-' 0-( China will account for 50% of the world’s new construction. The Spatial Information Design Lab was created in 2004, as The majority of this construction will occur in existing cities an interdisciplinary research unit in the Graduate School or newly formed urban areas. It is the mission of the China of Architecture, Planning and Preservations at Columbia Lab to become actively engaged with this rapid urbaniza- University. It is a think- and action-tank specializing in the tion and spatial production occurring in China, through both visual display of spatial information about contemporary research and design. By forming strategic collaborative rela- cities and events. Spatial Information Design is a name for tionships with institutions, private practitioners, developers, new ways of working with the vast quantity of statistical and governments, etc., the lab intends to cultivate a productive other data available about the contemporary city. By reorexchange that has the potential to yield unpredictable and ganizing tabular data using unique visualization techniques vital outcomes that will provide alternative urban strategies and locating it geographically, the goal is to correlate disfor the increasingly urbanized world.
parate items of information and picture the patterns and networks they create. Putting data on a map can open new
GOLF CITY, HAINAN, CHINA
spaces for action and new options for intervention, as the
.)) .)* .)+ .), .)- .). .)/ .)0 .*' During the summer of often-unseen shapes and forms of life in the city become 2007, China Lab participated in an urban design workshop visible through this process. organized by USC Dean, Qingyun Ma. Three institutions (USC,
Over the last year the Spatial Information Design Lab
Tongji University and Columbia University) collaborated on has exhibited widely, developed a series of publications rethe master plan of a new resort city for 30,000 inhabitants lated to ongoing work, and developed new collaborations. on the tropical Chinese island of Hainan. China Lab was rep- “Architecture and Justice” was exhibited in Design and resented by five GSAPP students (Johnna Cressica Brazier, the Elastic Mind at MoMA in February and was acquired Tat Lam, Sid Wichienkuer, Egbert Chu and Tom Wu) and two for the permanent collection. This work was also exhibpost-graduates (Mercy Wong, MArch 07, and Li Xu, MArch 07) ited in JUST SPACE(S) at the Los Angeles Contemporary and was directed by Jeffrey Johnson.
Exhibitions(LACE), and at the THINC gallery in Syracuse New York. “Architecture and Justice” has also resulted in three
EXPORTING CHINA FORUM
SIDL/GSAPP publications that are available for distribution at
)- (). (/0 China Lab organized its first symposium during the GSAPP. SIDL is currently completing an extensive report the spring 2008 semester. China Lab invited three influential on “Justice Reinvestment” in Central City, outlining a plan for Chinese architects (Yung Ho Chang, Qingyun Ma, and Doreen Prisoner Reentry and Community Rebuilding in Post-Katrina Heng Liu) and a leading critical thinker on Chinese culture New Orleans. The team testified before the New Orleans City (Ackbar Abbas) to discuss the influence of Chinese architec- Council in July of 2007, and as part of the Crime Summit in ture, urbanism and culture on global spatial practices.
August 2007 and has also initiated an extensive social networking project to facilitate participatory design strategies
MEGA-BLOCK STUDENT COMPETITION .*' China Lab sponsored its first student competition during
linking policy initiatives to design initiatives. SIDL is near completion of a GIS database for Nairobi,
the spring 2008 semester. The objective of the competition Kenya. This database will have a profound impact on the Naiwas to reconsider the Chinese mega-block development. robi planning community as it will be provided at no-cost, Mega-block housing developments — at a rate of over 10 allowing stakeholders to work easily with rarely accessible new superblocks completed each day — are taking over the data. The release of this data will set a precedent for inforfabric of Chinese cities. Twenty-three student teams from a mation provision in the developing country context by putting half-dozen institutions submitted alternative proposals for data directly in the hands of those who can make decisions Mega-Block development?
about its future. The Lab has also started a new research initiative that looks at the unique spatial clustering patterns
of cultural industries. Relationships continue to be made urban fabrics as change agents in a collaborative, interdisciwith New York City agencies regarding data sharing and plinary working model that involves feedback, exchange, and recommendations for spatial analysis, including a project monitoring efforts with scientists and engineers. that analyzed the spatial patterns of services complaints for
Projects range from retrofitting existing patterns of
the New York City Department of Sanitation. GSAPP GIS re- land settlement with habitat and wildlife corridors, to the search continues to be supported by the Spatial Information public reclamation of brownfields and restoration of wetDesign Lab. New tutorials have been developed for the web lands, to green roofs and mitigation of heat island effects, site, workshops have been provided for Architecture and Ur- to the visualization of new development models for waste ban Design Studios, and the Lab has acquired new datasets handling and processing. Issues are explored through joint, for world cities including Las Vegas and Beijing.
interdisciplinary studio formats, and through funded research projects in partnership with scientists, government
Research Fellows: ChaggZ <k^llb\Z ;kZsb^k !@L:II% F':k\a +))1"% Lm^o^g <Zinmh !@L:II% LBI:% F':k\a <Zg]b]Zm^"
agencies, and community activists. A parallel goal is to evolve the design disciplines at the GSAPP in response to current environmental contexts and technologies, and to marshal the design expertise of the
Research Assistants:
GSAPP toward the engagement of policy makers and the
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public in the reshaping of the 21st-century urban landscape.
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The Lab completed a report for the National Parks
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Conservation Society as part of an effort to revitalize Gateway
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National Park, a 26,000 acre recreation area in the NY-NJ
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harbor under Federal jurisdiction. The project explored what it means to be a national park today, and how to create a new interface between one of the most vital cities in the world and its immediate environment. The research involved mapping
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critical habitat, transport, and historic fabric, among other
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components, and explored the larger potential of Gateway
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as an ecological, cultural, and recreational resource for the region. The study delineated future directions for the
)( (+*( (+*+ The Urban Landscape Research Lab is an inter- Park’s transformation and is targeted towards both decision disciplinary applied research group at Columbia University makers and the public-at-large. Van Alen Institute was intein the City of New York. It focuses on the role of design in the grated into the process and subsequently hosted an internaanalysis and transformation of the joint built-natural envi- tional design competition. These efforts were underwritten ronment and studies ecological processes and urban sys- by the Tiffany & Co. Foundation. tems as hybrid phenomena through targeted pilot projects, practical strategies, and experiments.
AUDUBON DESIGN GUIDELINES
This landscape/ecology-based approach to urbanism The Lab, through a grant from the US Fish and Wildlife brings together a wide range of disciplines such as archi- Service, directed the production and publication of Bird Safe tecture, landscape architecture, urban design, preservation, Building Design Guidelines in collaboration with the NYC civil engineering, conservation biology, economics, climate, Audubon Society. As researcher Daniel Klem has observed, and public health, to focus on specific environmental and collisions occur “wherever birds and glass coexist,” although development issues as they relate to built form.
night lighting, transparency to vegetation indoors or to sky
The Lab’s teaching and research interests share a com- beyond, and the mirroring of adjacent habitats are primary mon objective: to effect positive change in the urban land- indicators of potential strikes. As the popularity of glass as scape in terms of biodiversity, climate change, water quality a building material continues to rise in urban and suburban and access, waste, and sanitation. The Lab focuses on the areas, it becomes ever more urgent to find ways to mitigate physical design of infrastructures, landscapes, and dense this impact on neo-tropical migrants, a population already K>L>:K<A E:;L
in severe decline due to habitat loss and other factors. The precedents of the past only to increase the perspective of the Guidelines examine the apparent causes of bird mortality in present and to take part in shaping the future. the built environment; convey the ecological, economic, ethi-
The Lab draws from the widest possible range of prac-
cal, and legal justifications for bird conservation; advocate a titioners, both within the US and abroad, individuals and orseries of preventative and rehabilitative strategies describe ganizations alike. From this it participates in and encourages precedents for regulatory initiatives; and explore new glaz- an ever-widening sphere of practice that furnishes the Lab ing technologies. They are intended for use by architects, not only with its knowledge base, but enables its members landscape architects, planners, glass technicians, build- to articulate subjects of common interest. In this way, the ing managers, the construction industry, state and federal members themselves help direct the functioning and proagencies, and the general public. The Bird-Safe Building gramming, as well as its publications, colloquia, exhibitions, Guidelines received the 2007 NY Chapter ASLA Award in the and seminars. field of Planning, Analysis, Research and Communications.
Programs, competitions, and specific projects are eval-
Kate Orff addressed the 2008 USGBC’s National GreenBuild uated and analyzed on an ongoing and comparative basis. Conference on this topic.
The various projects, exhibitions, and events are accompanied by publications. Already slated and in the process of being executed is an exhibition on the work of Austrian architect and artist Walter Pichler, to open at the end of 2008.
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(,) ,-. ,-/ AAR(ie)L is an international forum for archi- K>L>:K<A E:;HK:MHKR tects, artists, critics, curators, and theoreticians whose primary aim is to establish points of intersection between ()+0 (),' (),( (),) The Technological Change Lab is a redifferent disciplines and domains of knowledge. By engaging search and advisory program associated with Columbia’s faculty and students at all levels and from different depart- University’s Urban Planning program within the Graduate ments and disciplines both within Columbia and beyond, School of Architecture, Planning and Preservation. The AAR(ie)L simultaneously provides a locus for intellectual research and philosophical engagement of the Lab is with ferment, encounter and exchange and an opening to the the nature of technological and industrial change, and the broader architectural and art community. AAR(ie)L seeks to manner in which efficiency, equality, and conceptions of increase the scope and enhance the non-linear perspective equity are instituted and play out in practice. The Lab’s focus of both art and architecture. This will serve to enrich and is on the social and employment relationships within which amplify the modes of knowledge that constitute these dis- technological change is embedded — from pharmaceuticiplines, both as they are translated across and within their cals to construction to communication technologies — and respective fields and in relation to other areas of inquiry.
the nature of markets and corresponding regulation of the
AAR(ie)L reflects and at the same time fosters the inter- economy. The Technological Change Lab emerged from Prof. action that occurs amongst individual artists and architects. Smita Srinivas’ research on several aspects of technological Case studies of architect collaborations with artists is a fo- change in India and Europe and has since expanded rapidly. cal point for ongoing post-graduate student involvement and TCL’s research aims to engage several practice, theory, and research (e.g. Richard Serra and Peter Eisenman; Frederick philosophical dilemmas that affect national and city-regional Keisler and Richard Hamilton; Walter De Maria and Steven economic development and social policies. Holl; Le Corbusier, Edgar Varese and Yannis Xenakis). The Lab not only provides a framework for the study of past in- RESEARCH PROJECTS stances of such interaction but even more so, is dedicated to Currently, projects exist on multiple industrial sectors and the initiation of future points of intersection between artists their employment and welfare realities, and regions with and architects. At the core of the Lab is not a historical or ongoing and planned projects across several countries. archaeological outlook but instead, a look towards important There are three ongoing core projects at the TCUSP Lab
using quantitative, qualitative, and visual techniques: 1) the Institute workshop in Washington D.C, Sept. 2007 on India, Employment and Social Protection Institutions study engag- China, U.S. es the economic, spatial, and industrial sectors and is part of an ongoing book project of Prof. Srinivas; 2) the Cooperation International AIDS vaccines Initiative, New York: completion by Design study integrates technology, cooperation, and of work in 2007 on Vaccine R&D Models of all vaccines to date diffusion models, economics, planning, computer science, and organisational and industrial implications and engineering and is led by Prof. Srinivas and Fred Weber of the Earth Institute; 3) the Technology Employment and Advisory Board Regional Inequality project study in India and Brazil looks Gif]% Cfli[\j 9\e\i`X :fie\cc # ;i% DXik_X :_\e ?XimXi[ # at economics, statistics, employment and health analysis, Gif]% I`Z_Xi[ C\jk\i D@K # Gif]% I`Z_Xi[ E\cjfe :fcldY`X # and regional indicators and is led by Prof. Srinivas and Dr. Gif]% D`Z_X\c G`fi\ D@K # Gif]% 9`j_nXgi`pX JXepXc D@K # Gif]% <cc`fkk JZcXi :fcldY`X # Gif]% 8cXb_ J_XidX
Luciana Pereira.
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PRESENTATIONS AND PUBLICITY There have been many speaking invitations and invited plenary
presentations in the U.S. and overseas for Prof. Srinivas and the Student Research Affiliates Technological Change Lab, including the following events:
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Joseph
Stiglitz’s
Columbia
University
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Development and Globalization Third Annual Symposium to Ob\mhkbZ Knbs speak on “Globalization and Labor Standards”, April 2008 Special thanks to Dean Mark Wigley and Associate Dean United Nations/UNESCO (Latin America and Caribbean David Hinkle for their support and enthusiasm for the Lab’s Region), a plenary presentation in Montevideo on Science, continued expansion and impact and to the GSAPP Finance Technology, Innovation, and Social Inclusion, March 2008
office for its assistance.
International Labour Organisation, as an invited speaker to For more information, please see: workshop in Bangalore, India, Nov 2007 and as contributor to http://www.columbia.edu/cu/TCL a book on Global Production Networks and Decent Work Rutgers University Centre for Innovation Studies, to speak on Health access, and Pharmaceuticals and Biotechnology
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sectors in India, April 2008.
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The Centre for the Advanced Study of India, University of Pennsylvania, an invited op-ed for “One in six globally, but ((0( ((0+ ((0, ((0- ((0/ ((00 ()'' ()'* In a complex is India counting its own workers?” (India in Transition); the city in which cultural scenarios overlap, interconnect, and editorial is syndicated in the Hindustan paper with an approx. sometimes collide; in which the temporal dimensions of circulation of 5–10 million readers
each citizen’s experience are dissimilar; in which local and global, physical and virtual dimensions co-exist, it is nec-
Harvard University’s Graduate School of Design, as a panelist essary to identify a set of design tools that could respond for the Women in Design ”International Practice” panel with to design complexity. In the last fifteen years, architects Saskia Sassen, Farshid Moussavi and others, March 2008
adopted advanced digital tools such as algorithms, dynamic relationships, parametric systems, mapping, morphogen-
National Academies of Science, Prof. Srinivas spoke on esis, cellular automata, and bifurcation with broken symS&T vs. Social Policy in the Global Economy: Challenges of metry in order to address this need. The goal of the NSU National Industrial Governance to the NSF sponsored Urban is to consolidate research in the field of complex systems in architecture. K>L>:K<A E:;L
NSU encourages large-scale, interdisciplinary efforts The research project was developed as a partnership with in which architects, urban planners, engineers, acoustic Impresa Rosso, creating a direct connection between the engineers, mathematicians, computer scientists, and neu- advanced computational design techniques studied in an roscientists can be brought together for collaboration. In academic setting and the reality of professional practice. The its theoretical analysis and development of research tools, project focused on the qualitative and quantitative underthe NSU has focused on using Complex Adaptive Models for standing of algorithmic responsive devices as applied to the architecture and on the digital implementation of previously constructed reality of a women’s hospital façade system. developed computation methodologies and their transfor- The goal of this study was to develop a project responding, mation into simple architectural modelling tools. By means simultaneously, to interior programmatic shifts as well as of concrete examples and simplified case studies, inter- to external site information. The solutions were combined disciplinary teams evaluate individual tools that have the and mediated between mathematical performance data and capability to respond to formal, managerial, and structural empirical architectural applications. problems in an architectural context. The research work is integrated into the GSAPP curriculum; research seminars, <nkZmhkl3 <Zm^kbgZ MbZsshe]b $ <akblmhia^k Pabm^eZp% symposia, and publications act as the environment for es- Z]oblhkl sential components of the experiments.
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RECENT PROJECTS
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PROTOTYPING THE CITY The Politecnico di Torino, the Architectural Association, PARAMETRIC BOOKSHELVES and Columbia University worked together to produce this This project was developed for the Italian Fashion Firm architectural design project. The project involved students GB Sportelli, in collaboration with Nuova Ordentra. It was in workshops at the Torino World Design Capital Summer a system of aggregated units responding physically to a School and culminated in the invention and production of variety of spatial requirements. The project investigated a temporary structure for the event Designing Connected the relationship between a conceptual model and its local Places. Parametric design systems were used to conceive application. The Bookshelves were made using very simple this experimental public space.
techniques (2D CNC cuts), allowing for the production of endless configurations.
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APPLIED RESPONSIVE DEVICES: MESUREABLE AND
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NON-MESURABLE FIELDS OF ARCHITECTURE
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ARD‘s objective is to develop a direct connection between
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the expression of a specific expectation (functional, formal,
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and aesthetic) and its achievement through the development
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of a code-based model. ARD innovation includes the way in
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which quantitative and qualitative parameters (i.e. social,
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physical, sensorial, cultural, and economic) are aggregated
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in order to emphasise the concept of formal adaptation.
From a methodological point of view the ARD process L>IM>F;>K +))1 takes advantage of research done in other scientific fields. University College Falmouth In ARD methodology the first step consists of articulating Network of Design goals, analyzing existing conditions, and translating them www.networksofdesign.co.uk into inputs for a digital model. From an epistemological perspective ARD’s research operates as an heuristic device L>IM>F;>K +))1 aiming to challenge the boundary existing between the mea- Creating an atmosphere surable and non-measurable dimensions in architecture.
http://www.conferencealerts.com/seeconf.mv?q=ca1x0xsm
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(*. ((/( ((/+ ((/, ((/- ((/0 Established in September 2006,
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the Network Architecture Lab investigates how computation, communications, and changing social networks impact
CONFERENCES + EXHIBITIONS
architecture and the city. Over the last quarter-century as
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technology, economics, the public sphere, culture, urban-
Politecnico di Torino
ism — even subjectivity — have mutated, the network has
Non Linear Design Strategies, Architecture and Complexity emerged as the dominant cultural logic. The Netlab seeks to www.polito.it
understand the consequences of these changes and develop appropriate architectural and urbanistic responses. In doing
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so, the Netlab embraces the studio and the seminar as
Emerging Possibilities of Testing and Simulation Methods venues for architectural analysis and speculation, explorand Techniques in Contemporary Construction Teaching,
ing new forms of research through publications, new media
Faculté Polytechnique de Mons
design, film production, and environment design.
http://www.eaae.be/eaae2/documents/event_associated/ event40CallForWorkshop.pdf
During the 2007–2008 academic year, the Netlab brought to fruition a sustained series of analytic projects. Published by ACTAR, Infrastructural City: Networked Ecologies
C:GN:KR +))1
in Los Angeles examines a radically changed urban landscape
Institut Architectura Avancada de Cataluna
of out-of-control complexity. Using Los Angeles as a case
Applied Responsive Devices
study, fifteen essays accompanied by maps by Netlab as-
www.iaacblog.com
sociate Leah Meisterlin examine the contemporary city at three scales of landscape, fabric, and objects. Throughout,
F:R +))1
we understand the city as the product of an assemblage of
Ghent University, International Conference
networked ecologies, e. g. dynamic systems composed of hu-
ANALOGOUS SPACES
man, biotic, and artificial agents linked not only by proxim-
http://www.analogousspaces.com/default_analog_hp.aspx ity but also by social, natural, and technological networks. Networked Publics, done in collaboration with the Annenberg CNG> +))1
Center for Communication at the University of Southern Cali-
Royal Danish Academy of Fine Arts, School of Architecture fornia and published by MIT Press, explores how new and EAAE/ARCC 2008: Changes of paradigms in the basic under- maturing networking technologies reconfigure the way that standing of architectural research
we interact with content, media sources, other individuals
http://www.karch.dk/uk/Menu/The+School/Events/EAAE+% and groups, and the world that surrounds us. Netlab director 2F+ARCC+2008:+Changes+of+paradigms+in+the+basic+und Kazys Varnelis also edited The Johnson Tapes: Conversations erstanding+of+architectural+researc K>L>:K<A E:;L
Between Robert Stern and Philip Johnson, an oral history
of the twentieth-century architect produced by the Temple and conservation techniques are also explored. Teaching Hoyne Buell Center for American Architecture.
methodologies include lectures, site visits and field dem-
While completing this series of projects, the Netlab is onstrations, training sessions, and laboratory testing and launching the Network City project. In collaboration with analysis. The Conservation Workshop focuses on siteACTAR, the Netlab will analyze the last decade of the con- specific field documentation of structures, materials, and temporary city, in particular how broadband and wireless their conditions, field and laboratory testing and analysis, networking technologies and the increasing forces of glo- and developing recommendations for treatment. In the past balization are transforming the way we regard the global two years, the Workshop has focused on properties in New urban condition. Increasingly, it is common for us to dwell York City’s Historic House Trust — The Bartow-Pell Mansion in multiple spatial conditions at once, to connect to mul- and The Van Cortlandt House Museum. The collaboration tiple, dispersed networks for purposes of work, information, has been supported Samuel H. Kress Foundation. The above consumption, (social) connection, and play as we physically core offerings are augmented by lectures, seminars, and navigate the space of the city. In a related book-length work laboratory courses in Conservation of Archaeological Sites, entitled Network Culture, Varnelis builds on his conclusion to Architectural Finishes in America, Analytical Methods in Networked Publics to explore how new socio-technical condi- Architectural Conservation, Architectural Metals and tions frame our world.
Conservation of Architectural Stone. In addition, a twelveweek summer internship and a thesis are required. A list of recent thesis titles is given below.
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Core Courses
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Structures Systems and Materials 1 + 2 History of Technology of Architecture
.+0 .,' .,( .,) .,* .,, .,- The Historic Preservation Program Principles of Materials Science for Architectural Materials was started by James Marston Fitch in 1964 and by 1974 had Principles of Engineering for Architecture grown to become an independent Master of Science in the Architecture Conservation 1, 2 + 3 Graduate School of Architecture, Planning and Preservation. Technology, Deterioration, Evaluation, and Conservation of In 1977, when Norman Weiss joined the program’s faculty,
Architectural Materials
architectural conservation was first established as an academic discipline in America. From those beginnings the Advanced Courses Conservation Sector now comprises eight faculty members, Architectural Metals led by its Director of Conservation, Dr. George Wheeler, and Technology, Deterioration, and Treatment offers over eleven courses.
Architectural Finishes in America
The broader goal of the sector is to provide students Technology and Conservation with a basic understanding of the historical technologies Conservation Archaeological Sites involved in the production and/or fabrication, modes and Problems of Conservation in Archaeological Environments manifestations of deterioration, and means and methods Analytical Methods in Architecture Conservation of maintenance, repair, and conservation of the materials Advanced Instrumental Analysis of architecture. Based on this broader knowledge, specific Conservation Workshop skills are developed in field examination and documentation, Documentation and Field Work analysis, and both laboratory and field testing and evaluation Conservation of Modern and Contemporary Architecture of conservation treatments and repair methods.
(in development) Engineering Diagnostics and Conservation of 20th
THE CURRICULUM Exposure to historic technologies and to the properties of materials of architecture begins in the two-semester Structures, Systems, and Materials sequence and is further developed in the three-semester Architecture Conservation sequence. In this later sequence, maintenance, repair,
Century Architecture
RECENT THESIS TITLES
Ethyl Silicates as an Alternative Binder for Grout and
Lime Mortar Models, Curing and Conservation: Fort
Mortar for Use with American Sandstones
Laramie National Historic Site, Wyoming
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A^e^g MahfZl Creep and Fatigue in Stone Adhesives Borates as a Wood Preservative
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From Buildings KZ\a^e <hglheehr
Cleaning Historic Building Interiors: The Question of Residue Using Arte Mundit® Cleaning Paste
The Electrical Resistance Moisture Meter and Infrared
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Thermography: Assessing the Effectiveness of Two Non-Destructive Techniques for Moisture Diagnosis in
Conserving Dalle de Verre: New Approaches to a
Structure Contaminated by Hygroscopic Salts
Modern Material
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Proprietary Alkoxysilane Systems and their Efficacy on
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('0 (0' (0. 0,- The Space/Time interface Lab was founded in 2007 as a means of experimenting with new temporal
Casein as a Modifier for Lime-Based Grouts
technologies that influence both the experience and pro-
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duction of space, whether architectural, urban, or virtual. As a research unit of the GSAPP, this interdisciplinary lab
Physical and Intangible Palimpsest: Making a Case for
brings together research and methods from the fields of
Graffiti Preservation
film and video, social history, visual cultural studies, infor-
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mation visualization and database design, and urban and spatial mapping to examine the changing role of percep-
Calcium Bicarbonate as a Consolidation Material for
tion, memory, and space in our current digital age. If the
Calcareous Stone
museological turn of today’s culture — that is the storage
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of massive quantities of information on-line and in hard drives, the archiving of images and artifacts by museums
Biological Growth and Historic Garden Sculpture: the
and individuals, and the preservation of entire urban dis-
Case of Villa La Pietra
tricts and pristine landscapes — has had a profound effect
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on how places are lived in and transformed, then how might a more nuanced understanding of these new temporal forces
Lincrusta-Walton: History of a Versatile Embossed
assist the architects, planners, and artists who shape our
Wallcovering
environment? The Space/Time interface Lab’s experimental
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projects seek to bring together institutions and designers to innovate new ways of visualizing and presenting the cultural
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memory and history of under represented publics.
VISIBLE HISTORY PROJECT A forthcoming STiL collaboration, the Visible History Project, creates a virtual museum whose database houses images and documents from little known nineteenth- and twentiethcentury black museums and expositions in the United States. Expandable and ďŹ&#x201A;exible, the navigable database extensively catalogues these previously invisible institutions and events from the period of Reconstruction to the present. The new virtual museum will re-present the curatorial ethic of those who crafted the exhibitions whose ideological messages ranged from racial uplift to Pan Africanism to Civil Rights to Black Nationalism. Detailed information will be available about particular exhibits, thus highlighting the relevance of visual and material culture in the development of black historiography. As a database the collection offers the prospect of navigating the virtual space of the exhibition and visualizing the content of the exhibits in ways unimagined by those who crafted the original expositions and buildings.
representing both the professional and academic communi-
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ties in each city. Students who elect the Architectural Design
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Studio pursue a series of increasingly complex studio projects that focus on the analysis, creation, and representation
The Shape of Two Cities: New York/Paris Program is designed of urban architecture. The Urban Studies Workshop engages to develop a student’s critical appreciation of urban forms, students with a studio-based approach to the issues and their genesis, and the role of architecture, preservation, and discourse of the contemporary city by exploring a variety of planning in the creation of the contemporary urban environ- conceptual, analytical, and design tools for understanding ment. As a one-year intensive liberal arts program with a and operating within urban contexts. strong studio component, the curriculum focuses on both
The Shape of Two Cities draws students from colleges
design issues and the urban history and theory of these two and universities across the nation, with new schools electcities. In addition the program provides an introduction to ing to participate each year. The program offers thirty-two the disciplines of architecture, urban studies, and planning course credits applicable toward Bachelor of Arts or Bachfor highly motivated undergraduates who have completed at elor of Architecture degrees granted by participating instituleast two years of study at their home institutions. Previous tions. Enrollment is limited to 35 students and provides an study in these disciplines is not required for admission to the excellent preparation for graduate and professional study. program, allowing students from a broad range of academic Upon graduating from their respective institutions, many and professional backgrounds to participate. The program’s students are admitted to graduate programs in architecture, curriculum is designed to provide students with a better urban planning, and historic preservation at universities inunderstanding of the design and urban studies disciplines cluding Columbia, Harvard, M.I.T., Pennsylvania, and Yale. as they are practiced in both New York and Paris, offering a unique context that engages students as well as critics and instructors from architecture, urban studies, and other fields with a critical dialogue across cultures using two of
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the world’s great cities.
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New York and Paris are important global cities, each G>P RHKD(I:KBL% ?:EE +))0 still representative of its highly unique culture. For students these cities offer an ideal opportunity to explore the histori- ,/- /-- 00, ('+0 (',* ()-- In the fall semester of the New cal, social, and political development of urban form, and to York/Paris program students created a dense emergent clarify the roles of architects, planners, and preservationists surface, a matrix of 16 panels that informed a final design upon it. During the first semester the students are enrolled proposal. The semester began with a one week design at the Graduate School of Architecture, Planning and Pres- problem: creating a path linking two of Central Park’s great ervation in New York and enjoy the resources of the School museums — the American Museum of Natural History and and Columbia University. In the following semester students the Metropolitan Museum of Art — and a pavilion housing are based at Reid Hall, Columbia University’s center for an artifact of interest to both: Olmstead’s Greensward comFrench cultural studies, located in the center of the Mont- petition entry drawing. At the end of the semester students parnasse district in Paris. Reid Hall offers reading rooms, revisited and transformed this path and pavilion, re-prolounges, a 4,000-volume library, administrative offices, and gramming it to house a café/bodega. an extensive network of activities to help students bridge the
Intervening between these two design projects was the
gap between American and French cultures. The program bulk of the students work, a matrix of panels. Each panel offers two studio options, Architecture and Urban Studies, represented one of twelve one-week analysis and design with a core curriculum supporting both concentrations. The projects. These projects, a tactical survey of drawing and core curriculum consists of lecture courses and seminars demonstrating, manufacturing and mapping, hopscotch that help ground research projects in the physical, intel- back and forth between two cities — an actual site in New lectual, historical, and cultural contexts of both New York York and a virtual site in Paris — and ascended and descendand Paris, providing students with critical analytical meth- ed along a scale of six different operational dimensions: ods with which to interpret the development of urban form. clothes, chair, room, building, street, and city. The project Course work is supplemented by visiting lecturers and critics emerged as one of sampling and re-mixing, sequencing and G>P RHKD (I:KBL
re-sequencing, figuration and reconfiguration, all at intimate and urban scales.
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A wide range of material practices and representational >X cc\ 9i\kfe " 8cX`e JXcfdfe# \kbmb\l techniques, from metal-forging to orthographic manipula- IfdX`e 9flij`\i# m^Z\abg` ZllblmZgm tion, were deployed. Inspired by Perec, Cortezar, Calvino, and G>P RHKD(I:KBL% LIKBG@ +))1 other literary practitioners of misdirection, students aimed for intensities, densities, and the shapes of two cities.
-/- /.( 0+, (',, (',/ ((0* ()+. This semester the Paris Design Studio reflected upon two orthogonal coordinates: X, represented by the Périphérique ring road and acting as a physical, cultural, and sociological demarcation line between
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the Paris Observatory and exemplifying the power of reason
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and abstract thought. Structured by these two physical and
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conceptual coordinates, a strip, two miles long and half a
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mile wide, was selected, starting at Place Denfert-Rochereau and ending in suburban Gentilly, beyond the Périphérique.
Using New York City as a model, the Urban Studies studio Tools were devised to observe, explore, and analyze the site aimed to investigate and challenge limitations of the con- in view of establishing a programmatic and spatial scenario temporary instigators impacting the development of the for design: 1) layers of factual and phenomenological maps new urban landscape. Twentieth-century New York enjoyed leading to geographic, historical, and perceptual briefs for a reputation as a prototype for urban life, in all of its cultural selected urban “moments;” 2) machines that are the codiand industrial manifestations. However, in the current global fied and abstracted spatial and tectonic transcription, and environment New York’s status is being challenged against the manifestation of the architectural DNA of four iconic a new set of localized conditions. These include changes in Parisian buildings; 3) the figura, an urban profile intended land value, use, and zoning, shifts in various levels of policy, to reveal and articulate the program’s typical spaces, atypistewardship, and ownership (public, private, or public/pri- cal spaces, and structure, in relation to the site’s capacities vate) to the reconfiguration and implementation of complex and potential for saturation. Students selected a portion of and interrelated natural and synthetic systems. The studio’s their figura to be developed architecturally, using the mapinitial ecological and sociological research investigated the ping briefs and the machines as tools to inform the project role of these fields in the critical configuration and manipula- and test its spatial and urban assumptions. tion of both physical form and abstract space. From the consideration of natural ecologies and economic trends toward regulation of density and urban form or the negotiation of the history and culture of a place, New York’s Waterfront
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City in the making today allowed the Urban Studies studio to AXd\j Eaff# \kbmb\ explore and test the potential impact of our environmental IfdX`e 9flij`\i# m^Z\abg` ZllblmZgm choices on the urban and the larger region facing ongoing G>P RHKD(I:KBL% LIKBG@ +))1 new transformations. The spring urban studies workshop aimed at developing critical tools to approach contemporary urban issues and site specific research. Through a sequence of exercises or “frames” combining different modes of analysis (empirical, iconographical, historical) students engaged with selected themes or issues related to chosen sites, but also with the manner in which perception of the city is conditioned by different forms of representation (maps, photography, cinema, advertising, etc.). This reflexive dimension of “reading” the city was a central
issue throughout the course of the studio, accompanying and informing each studentâ&#x20AC;&#x2122;s personal site research. Investigations focused on the Saint Blaise quarter in the 20th arrondissement of Paris, which is currently part of a major urban renewal project sponsored by the French State. The task was to observe and analyze the interplay of different actors, uses, and social and spatial conditions so as to elaborate critical models for future development. Special attention was devoted to community-based initiatives as they pertain to the design and use of public space.
and theory of architecture, and is more strongly allied with
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the Art History departments.
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troductory design studios, Architectural Representation:
The required sequence of courses begins with two inAbstraction and Perception, and the introductory lecture
(,, )() Architecture holds a unique position in a liberal course Perceptions of Architecture. Together, these coursarts curriculum, and a liberal arts education in architecture es provide a foundation of material both majors continue to holds a unique position in relationship to the discipline. In build upon. The studio-based major requires Architectural recent years, architecture has expanded its role in the world Design I and II, a two-semester design studio that introduces to become as much an intellectual practice as a technical students to more rigorous conceptual, social, and theoretipractice. If the goal of a professional education in archi- cal study through comprehensive design projects. Senior tecture is to prepare students to participate in the world as course work includes senior seminars, an advanced elective practicing architects, a liberal arts education in architecture design studio, or independent research, and a thesis for stuintroduces the student to the scope and range by which that dents completing a history/theory major. The curriculum for is possible. It explores the vast and continuously evolving both majors requires that students complement their work landscape of architectural ideas and practices, whether in the major with related course work in other disciplines, related to the built environment or to related disciplines. It providing a link between architecture and other social and establishes a mind-set; an intellectual foundation for under- cultural issues. standing architecture before the practice of architecture
All departmental courses are developed by faculty in
even begins. The purpose of an undergraduate education is relationship to overall curricular goals and evolving departto teach students to think about and through architecture as mental pedagogy, with many courses team-taught. While a way to understand the world.
most courses are longstanding traditions, each year the
In architecture courses, we establish an intellectual department is intentionally infused with new input from context for students to participate in the ongoing construc- the Special Topics in Architecture courses and the interests tion of knowledge about the relation of form, space, and fore-grounded by the Emergent Architect Visiting Faculty pomaterials to human life and thought. We cultivate models sition. The department is committed to continually strengthof inquiry that engage speculation on the built environment ening its relationship to NYC and has therefore developed and its potentials and teach students how to use many dif- this adjunct visiting teaching position as a bridge to the city ferent media to represent their ideas. Students learn to see — an opportunity to expand our dialogue with our colleagues architecture as one of many forms of cultural production, and a chance to support emerging architectural talent. and their work as inquiry into the larger ideas and issues
The major, while independently directed by Barnard
that animate a liberal arts curriculum: what is the relation College, is closely linked to the Graduate School of Archiof people and the structures they make to nature and the tecture, Planning and Preservation through both on-going environment, to specific sites and needs, to the micro and pedagogical discussions as well as through our teaching macro forces that influence our experiences, to the forces assistants who are current students from various graduof history, politics, or economics, and to the ideologies and ate programs. Courses in the major, as well as field trips aesthetics of the day?
and other events, take full advantage of our location in
Barnard and Columbia Colleges offer a major in archi- New York City, and many of our students gain experience tecture introduced through a series of studio and academic through internships in the city. The major has an active stucourses that explore the multiple relationships between ar- dent club, Architecture Society, that supports workshops chitectural design, history, theory, and criticism. Students for students and links students to the larger community. are expected to develop technical skills, design excellence, Those majors who choose to apply to graduate school are and a critical understanding of architecture as part of our regularly accepted at the most competitive graduate provisual, social, and political history and culture. There are grams in the country. two tracks to the architecture major: the first, while incorporating lectures, seminars, and scholarly research, is more strongly studio-based and; the second, while incorporating introductory level design studios, is focused on the history ;:KG:K= :G= <HENF;B: <HEE>@>L
The course posed a series of challenges that allowed for
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and projects, all sections of this course incorporated a proj-
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ect that used either an existing building or urban space as
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the subject for a field of inquiry concerning the making and the meaning of abstract architectural representation. That
)', (((- (((/ (*(0 (*)( (++' (++( This course served as investigation involved three projects designed as a process an introduction to architectural design as an analytical, for critical analysis and production: documentation, analyrepresentational, and productive act. Emphasis was placed sis, and invention/intervention. All projects required creative on an understanding of iterative and informed process and thinking and precise execution with refined craft in the serthe development of a methodology for both working and cri- vice of ideas. tique. Students were asked to work through various analytical and conceptual approaches in order to critique existing and potential visual, spatial, and programmatic conditions. Students worked through various modes of representation
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(collage, sketching, orthographic drawing, physical model BX[XdYXi` 9Xo`# DXi`X >iXp etc.) and were encouraged to experiment with ways of " DX[\c`e\ JZ_nXikqdXe# \kbmb\l making. Ultimately, the class explored the “what,” “why,” A\jlj ;feX`i\ " <c\eX G\i\q >l\dY\# m^Z\abg` ZllblmZgml and “how” involved in the generation of design.
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This course was specifically designed for students majoring in departments other than architecture. Students )'* .(/ (''* ('+' (',) ((,' ()0' This course introduced were encouraged to fold their individual academic interests visual perception as a catalyst for the critique, representainto their work and class discussions, in the hope that a tion, and design of architecture. Students learned to use and cross-pollination of ideas and perspectives would enrich the analyze various spatial media to invent and represent archioverall architectural discourse in its various contexts (social, tectural space. Emphasis was placed on developing a critihistorical, spatial etc.).
cal understanding of how space is perceived as well as how different media can be deliberately manipulated, controlled, and constructed as part of a creative and inventive design process. While the course reflected on the historical and cul-
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tural production of visual perception, it primarily conducted
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of inhabiting and experiencing a specific space, such as the
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activities performed, the perception of that performance,
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and the physical attributes of the space, were explored as
this inquiry through making, drawing, and building. Issues
part of the creative development of projects. )', 0)0 ('*/ ()/' This course explored the conventions of
Source media included photographs, drawings, films,
the representational language of architecture. Both two- videos, models, objects, games, texts, and virtual and real dimensional orthographic projection (plan, section, eleva- spaces. This material provided both the focus and the metion) and three-dimensional elaborations (axonometric, dium of the analysis and design. The multiple methods of model) were used to analyze space and were investigated for analytical and representation skills that students developed their abilities to reveal and conceal relationships in space. functioned as generative tools in continued design work, Particular emphasis was placed on the revelatory value and forming the basis for critiquing existing space and media, limitation of this abstract language — a language that is both and for generating new spaces and their representations. a concise method for abstracting architectural space (as an analytical tool) and a generative method for speculating on design (a conceptual ignition).
ARCHITECTURAL DESIGN 2: THE EXPANDED LIBRARY
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(,, )() In this two-semester sequence, students investi- m^Z\abg` ZllblmZgml gate architectural design as a mode of cultural communica- ;:KG:K= $ <HENF;B: <HEE>@>L% LIKBG@ +))1 tion as well as imaginative experimentation. As the studio sequence evolved, emphasis was increasingly placed on the ()( (,, (,- (// )'- )() ,** -/+ .-' 0+' 0-, 0-- 00+ ()0- ()00 relationship between material, tectonic, and programmatic (*'' The New York Public Library branch system, planned organization and the social and cultural contexts of a site and built with money from Andrew Carnegie in 1901, exempliof investigation.
fied, at its best, an ideal of distributed access to knowledge that would “improve” those that partook of a library’s offer-
ARCHITECTURAL DESIGN 1: CENTER, PERIPHERY,
ings. Today, the 85 branch libraries are perhaps one of the
DENSITY + DISPERSAL, END/BEGIN?
rare instances of (legally) public interior space, and these
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facilities are used by a wide cross section of the population.
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In addition to their traditional role of offering books and peri-
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odicals, the branches serve as community information nodes
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and computer centers. These new roles challenge, redefine,
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and enrich the tradition of local access to knowledge. This semester was intended to push further the ongoing changes
“It is not given to every man to take a bath of multitude...” and possibilities for the branch library in an increasingly glo—Charles Baudelaire, “Crowds,” Paris Spleen, 1869 “The sound of gates gives way to the clatter of data banks...” — Paul Virilio, “The Overexposed City,” 1991
balized social realm. The programmatic detail is a small-scale design investigation into the connections among material, program, and physical and psychological space. The programmatic
(/* )'* ,./ .+) .,0 0.' 00' ()(0 (+)0 (+*' The city of den- detail is the transformation of static, determined program sity and proximity may not be the only way to understand elements into integrated, dynamic space(s) that materially cities like New York, but Baudelaire’s image of the urban engage and chart the relationship between the body in space intensity remains at the heart of many urban and non-urban and its movement in time. It may be a building block or morprojects, even as a simulation. Yet lest we fall into the trap of phological code and is generative of a more complex spatial romance by taking Virilio’s statement as a mere lament that system or architecture; it may be one instance of a larger the drastic changes to the physical and social fabric of the whole yet to be determined. Building on their programmatic city somehow signal the “end” of the city, architects must details, students designed an expanded branch library that continually reconsider how the older layers of the city will would not only provide all the opportunities of a branch lioperate under new ways of looking and thinking. Mindful of brary in the New York Public Library System but also include the changes wrought by telematics, we might still look upon facilities for a unique program, the Center for Urban Pedathe unavoidable if not quite knowable corporeality of the city gogy (CUP), that would engage students, the larger public, with a new sense of possibility. The spaces and politics of and professionals in projects about the urban environment. the city might still generate new interventions. This semes- Sited in Lower Manhattan, this project transfigured the ter examined two of the many layers that make up cities students’ research into the activities of a library — readand regions — the dense fabric of the mid-block passages ing, searching, consuming, borrowing, meeting — and the of midtown Manhattan and the frayed edges of the island’s building systems that support them — enclosure, structure, changing waterfront. What is possible in these familiar yet aperture, security, display. The programmatic detail was an changing sites? Students took on the tensions and possi- intensification of these relationships, un-sited and fragmenbilities first of the mid-block passages with the design of an tary. The expanded library project was the development of insertion for a new type of exchange or interaction, then at those relationships into a sited whole. the water’s edge with the design of a bike-share station.
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-/. ./- (*(* (+,* (+.* The development of new technologies and the design strategies they have fostered have allowed two prevalent notions of design practice to be challenged. Architectural documentation no longer needs to be understood as representing a designer’s intentions. More than ever before, architects have the opportunity to simulate their virtual intentions and test them prior to actualization. Simulation packages allow for virtual testing, such as finite element analysis (FEA), and computer numerically controlled machines (CNC) allow for the scaled physical output of ideas. These possibilities allow the architects greater control over the materials and resistances the work will encounter when actualized. These opportunities allow for closer collaboration with the consultants and trades that, previously, assumed responsibility for integrating building systems, such as structure, the conditioning of air, life-safety, etc. into the architect’s design intentions. The result many times was a compromised or value-engineered built condition. This notion of systems integration had largely been outside of the academy’s scope of architectural education. Can a building be thought of as a measured construct of the multiple systems that give it form — a calibrated and performance-based organization? The idea here is that architecture is not a slave to building systems; rather, each system becomes architectural in its spatial configuration and its ability to produce effects.
Panel Discussion
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*. (0( --/ -.' -.( -.) -.* -.+ -., -.- -.. -./ -.0 -/( -/) -/* The Temple Hoyne Buell Center for the Study of American Debate + Book Launch Architecture was founded in 1982. Its mission is to advance >n\e[fcpe Ni`^_k# I\`e_fc[ DXik`e# =\c`Z`kp ;% JZfkk# AfXe the study and appreciation of American architecture, urban- FZbdXe# 8e[i\n ;fcbXik# Afi^\ Fk\if$GX`cfj1 NL:3 Fh]^kg ism, and landscape. A separately endowed entity within the :k\abm^\mnk^l bg Ablmhkr Graduate School of Architecture, Planning and Preservation, it sponsors lecture series, conferences, exhibitions, publica- Book Launch tions, fellowships, and awards programs.
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Over the last two years, the Buell Center’s program has 9i`Xe FË;f_\ikp# Jm\e$Fcfm NXcc\ejk\`e# DZB\eq`\ NXib# Xe[ been focused on the FORuM Project, dedicated to rethink- fk_\ij1 ?bgZe ?HKnF ing the relationship of architectural form to urban and contemporary life. The project culminated this spring with the launch of a six-book publication series, the presentation of an exhibition entitled “Form as Strategy,” and a symposium. A highlight of the exhibition was Guy Debord’s original Game
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of War, shown for the first time in the United States. The Buell Center also inaugurated the Paul and Naomi >\iXc[ 9\Xjc\p# =bk^\mhk Goodman Fellowship this year, an award of up to $20,000 B`kkp :_`Ye`b# :llh\bZm^ =bk^\mhk Zg] A^Z] h_ :\\^ll for a graduating student to carry out a project of social :cXl[`X =leb\# KZk^ ;hhdl <nkZmhk(Bg]^q^k significance related to the interests of Percival Goodman GXlcX >XYYXi[# L^gbhk ;b[ebh`kZia^k in the year after graduation. Goodman (1904–89) was an K\[ >ff[dXe# @^g^kZe >]bmhk% :o^kr Bg]^q architect, planner, and social thinker who taught at Colum- AXe\k GXibj# <nkZmhk h_ =kZpbg`l :k\abo^l bia for twenty-five years. The fellowship is underwritten by A\]] Ifjj# Bg]^q^k(K^_^k^g\^ Eb[kZkbZg Raymond Lifchez, a GSAPP alumnus. The first recipient is :_i`jk`e\ JXcX# :k\abm^\mnk^ ;b[ebh`kZia^k(Bg]^q^k Avik Maitra, whose project, “Radecology: Malawi,” is aimed A\Xe\kk\ J`cm\ik_fie\# :llblmZgm =bk^\mhk h_ ma^ at finding new ways to prevent and contain malaria in Malawi PZeeZ\a :km @Zee^kr through improvements in organizational systems and build- 9XiYXiX Jpb\j$8ljk`e# Bg]^q^k(K^_^k^g\^ Eb[kZkbZg ing techniques.
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Joan Ockman stepped down as director of the Buell JXccp N\`e\i# =bk^\mhk h_ ma^ PZeeZ\a :km @Zee^kr(<nkZmhk Center in June after fourteen years. Reinhold Martin was h_ :km Ikhi^kmb^l named her successor. ,/) Located on the lower floors of Avery Hall and its extenBUELL EVENTS
sion, the world’s leading architectural library supports the
Lectures
work of students and faculty at the School by providing,
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within a series of spaces designed for study and learning, a
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wealth of research materials and outstanding reference and access services. Orientation tours of the library, offered to
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students at the beginning of the fall and summer semesters,
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are strongly recommended.
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following a gift to Columbia by Samuel Putnam Avery. The
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university’s Fine Arts Library was added in 1978 and the re-
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named Avery Architectural and Fine Arts Library now holds
The Avery Architectural Library was founded in 1890,
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over 400,000 non-circulating books and periodicals related to architecture, urban planning, art history, archaeology,
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historic preservation, and the decorative arts.
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The Library’s recently updated web site offers the best introduction to its collections and services (www.columbia. ((, (./ (*+. (*+/ (*+0 (*,' (*,( (*,) (*,* (*,+ (*,, (*,- edu/cu/lweb/indiv/avery/index.html). The book collection (*,. (*,/ (*,0 (*-' (*-( (*-) (*-* (*-+ (*-, (*-- (*-. (*-/ begins with the first printed text devoted to architecture, (*-0 (*.' (*.( (*.) (*.* (*.+ (*., (*.- (*.. (*./ (*.0 (*/' Leon Battista Alberti’s De re aedificatoria (Florence, 1485), (*/( (*/) (*/* (*/+ (*/, (*/- (*/. (*// (*/0 (*0' (*0( (*0) and continues with holdings of unique depth and extraordi- (*0* (*0+ (*0, (*0- (*0. (*0/ (*00 (+'' (+'( (+') (+'* (+'+ nary range through to the present. Avery also includes the (+', (+'- (+'. (+'/ The School is the beneficiary of a considWare Memorial Library, a circulating collection of over 9,000 erable bequest from the late William Kinne Fellows and has books on architecture, urban planning, and real estate.
at its purpose the enrichment of students’ education through
Over one million documents make up Avery’s Draw- travel. Traditional procedures of disbursement include indiings and Archives collection, including original drawings vidual, non-competitive grants for summer travel for second by masters such as Frank Lloyd Wright and Le Corbusier; year architecture and first year preservation and planning original photographs by Lewis Hine, Joseph Molitor, Samuel students, third year achitecture studio trips, and a limited Gottscho and others; and the complete or partial archives of number of competitive scholarships for two to three months many major American practices, such as Richard Upjohn, of travel open to all graduating students in the school. Alexander Jackson Davis, Greene & Greene, Warren & Wet-
The GSAPP Committee on Fellowships and Awards
more, Harold van Buren Magonigle, Stanford White, Wal- decides each year how to disburse the annual interest of lace K. Harrison, Gordon Bunshaft, Philip Johnson and the the William Kinne Fellows Trust, according to the following Guastavino Fireproof Construction Company. The collection procedure: available funds are divided among the programs is a major source for historical exhibitions and for primary in the school, proportionate to the length of each program research in architecture. Available by appointment, the col- and the number of students enrolled. lection welcomes students, scholars, and professionals. Avery Library also produces the Avery Index to Architectural Periodicals, now an operating program of the J. Paul Getty Trust. Begun in 1934, it is the most extensive periodical
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index in the field of architecture, and provides citations to A\Xee`\ B`d# ]bk^\mhk over 600,000 articles in architectural and related periodicals. The Avery Index is accessible to students as one of the (// )() (),* (),+ (),, (),- (),. (),/ This year the databases offered on LibraryWeb.
Publications Department of the GSAPP produced a series
Avery Library began a long-awaited process of reno- of publications that together represent the interdisciplinary vation and expansion in 2003. Phase one mainly consisted activity of the school and its embrace of experimental pracof the creation of a new Miriam and Ira D. Wallach Study tices. Major publications include Living Archive 7: Ant Farm Center for Art and Architecture, equipped with new storage, (ACTAR), edited by Felicity Scott as part of a series of publiprocessing and study facilities for Avery’s Drawings and cations that reassess prominent archives related to seminal Archives collection and for the University’s art properties. moments in architectural production. Avery’s ground floor reading room, designed in 1911 by Wil-
The New Urbanisms series also continued with the
liam Mitchell Kendall of the McKim, Mead and White firm, publication of New Urbanisms 10: Designing Patch Dynamics, has also been renovated and renamed the Miriam and Ira edited by Brian McGrath, Victoria Marshall, Richard Plunz, D. Wallach Reading Room. It is linked to the Wallach Study Joel Towers, M.L. Cadenasso, J. Morgan Grove, and S.T.A. Center by a 1970s underground extension designed by the Pickett. The work of the Spatial Information Design Lab led late Professor Alexander Kouzmanoff.
by Laura Kurgan published three pamphlets of their innovative research: Scenario Planning Workshop, The Pattern, and Architecture and Justice. Serial publications include Volume, produced by C-LAB, Archis, and AMO as well as Future Anterior, and the Real Estate Roundtable series. The publications
program also continues to support the work of GSAPP stu- production, and how their early projects would begin to endents in studios and seminars, as characterized by Kathryn gage and subvert official media networks to offer alternaDean’s Constructive Practices — Between Economy and De- tives to an emerging telecommunications space saturated sire and the latest in the series of collaborations between with administered images. Appropriating both military and the Department of Architecture and Historic Preservation, media strategies Ant Farm waged an “image war” through Building on Templo Mayor. Forthcoming publications include various “image technologies.” Among other targets, obsoEngineered Transparency — The Technical, Visual and Spatial lete spaces, infrastructures, and outmoded forms of inhabiEffects of Glass (Princeton Architectural Press), a volume tation were under attack. generated by the interdisciplinary conference held in the fall
Reflecting the wide-reaching practice of Ant Farm, the
of 2008; Part Animal, a book that emerges from dialogues exhibition included 35 mm slides, video footage, projected generated by two conferences convened by Catherine Ingra- films, do-it-yourself manuals, and plans for van conversions, ham; Living Archive 5: Gordon Matta-Clark, the next volume in as well as the “linear media” of architectural drawings, bluethe Living Archive series which invites reexamination of the prints, photo collages, letters, mail art, and other archival Anarchitecture group; the launch of the Research Notebook materials. The exhibition brought together documents from series, a publication generated by the research initiatives the collection of Ant Farm patron, Marilyn Oshman, from the of the Ph.D. program which begins with a reconsideration Ant Farm archive at the Berkeley Art Museum, and from Ant of Shadrach Woods’ Paris-Nord project; and The Colors of Farm members Chip Lord and Curtis Schreier. the Brain, a book that represents the three-part collabora-
At the core of the exhibition were thirteen early Ant Farm
tion between The Museum of Modern Art and Studio Olafur video projects, from the diaristic Ant Farm’s Dirty Dishes, to Eliasson in the spring of 2008.
the environmental data recording of World’s Longest Bridge to the Ant Farm collaboration with TVTV (Top Value Television) and their alternate coverage of the 1972 Republican and Democratic conventions. An important opportunity for
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the exhibition was to participate in the Ant Farm video res-
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toration project with Berkeley Art Museum and Pacific Film
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Archive. Several of the videos appeared in the exhibition as result of this shared project.
(+- (., )') The major exhibitions mounted at the GSAPP
Through the video work and other early projects the
this year continued two series of projects. Ant Farm: exhibition focused on the imbrication of Ant Farm’s media Radical Hardware and “Build in Uncertainty”: Unpacking practices and their spatial propositions. In Electronic Oathe Shadrach Woods Archive exhibited in the Arthur Ross sis psychedelic images were projected as background for Architecture Gallery add to The Living Archive, a growing Ant Farm’s performances. In Truckstop Network, inflatable body of exhibitions that interrogate and open pivotal archi- nodes, animated by 35 mm slides and video images, would tectural archives to public view and to conceptual reexami- help organize alternate communities and economies built on nation. Michael Meredith: Glimmering Noise continues a set “energy credits.” In The House of The Century the domestic of exhibitions of contemporary architectural experiments interior was infiltrated by communication devices and media with media forms and strategies.
archives. Yet Ant Farm image technology not only posited spaces intensely occupied by images but also offered a rec-
ANT FARM: RADICAL HARDWARE
ognition of a newly formed media environment distributed
.. (., /), /)- /)/ /)0 Ant Farm: Radical Hardware presented across several networks and regimes of power. Ant Farm’s an early period of work by the experimental architecture col- projects claimed their own image power and argued the nelective Ant Farm. Curated by Felicity Scott and Mark Wasiuta, cessity of occupying the temporal, spatial flux of the media the exhibition tracked Ant Farm’s prescient and critical environment, while proposing a recoding of those networks encounter with the spaces and apparatuses of the “video- and infrastructures, out of which would emerge new ecologisphere” across a range of projects and media ecologies.
cally oriented spaces and for which radical hardware would
The exhibition pursued the question of how this young have to continually evolve. group of radical architects would begin to experiment with video as a form of environmental research and architectural <>GM>KL% >O>GML% :ENFGB% @K:=N:M>L ?:<NEMR
“BUILD IN UNCERTAINTY”: UNPACKING THE SHADRACH
MICHAEL MEREDITH: GLIMMERING NOISE
WOODS ARCHIVE
(. /)) /). Michael Meredith’s video project, Glimmering Noise,
* +' -+ ('+ (+( /*' /*, “Build in Uncertainty” marked the recalls the media experiments of architectural practices from arrival of the Shadrach Woods papers at Avery Library from the 1960’s and 1970’s, and their critical encounters with film the generous donation of Val Woods. The exhibition col- and video. At the same time the project is equally in conversalected key documents from this archive, sampling a range tion with a more conventional form of media — network televiof material from the early years of Woods collaboration with sion — and associated forms of public performance. his partners at the office Candilis-Josic-Woods, to his own later writing and independent design practice.
The video stages an anachronistic encounter between Meredith and a television talk show host, modeled on Wil-
The curators stressed that for Woods the call to “build liam F. Buckley from the 1960’s era of his program, Firing in uncertainty” was a provocation to work within an uncer- Line. A conceit of the project is that the host’s dialogue is tain social and urban environment and toward an uncertain assembled from quotations of Meredith’s own texts. The host future. The exhibition allowed an additional uncertainty: the appears both as Meredith’s other voice, and as throwback to relation between Woods’ large scale planning and architec- the fraught political era of late 1960s. Meredith cites his “retural projects, and his later speculations on the social role pulsive fascination” for Buckley and his aggressive telegenic of architecture, articulated in his theoretical texts, Urbanism performance. The video plays on this ambivalence through is Everybody’s Business and Man in the Street.
the asymmetry of the dialogue; the Buckley character deliv-
The tensions among these various uncertain rela- ers a stream of Tafuri citations, exhortations to beauty and tions and modes of work helped structure the exhibition. lamentations on architecture’s obscurity while Meredith, Documents around the perimeter of the gallery mapped the hesitant and uncertain, sits in near mute response. historical evolution of Woods’ work through several major
The project at once establishes and erodes a connec-
phases and projects. A timeline beginning with work for the tion between the two characters and between historical peAtelier des Batisseurs (ATBAT) moved through designs for riods. While the video is entranced by the performance of the housing in France, the Berlin Free University, major urban host, by his generational power, and by the conviction of his planning schemes, and other episodes of the Candilis-Josic- declarations, the interruptions register most clearly. GlimWoods office, and ended with Woods’ own practice, his stud- mering Noise is ultimately positioned around questions and ies of the Lower Manhattan Expressway, and other projects expressions of doubt. Acting through the gaps, stammers, for New York City in the late 1960’s and early 1970’s. At the and breaks in Meredith’s dialogue, this doubt impinges on center of the gallery documents exhibited the development the formation of architectural knowledge and the techniques of the “stem,” the “web” and other of Woods’ most impor- and spaces of self promotion and publicity into which architant conceptual and formal strategies. These documents tects are increasingly interpolated. reveal Woods as not only an important architect, but also as an important intellectual contributor to pressing post-war CONFERENCE INSTALLATIONS debates on the questions of form, urban organization and ()/) Two installations in Avery Hall, conceived in relation social space. A collection of related documents and texts to GSAPP conferences, served as important critical supplefrom Woods’ research, lectures, and other writings opened ments. In conjunction with, Engineered Transparency, AAR up Woods’ role as pedagogue.
student Rosana Rubio-Hernández designed and installed,
Curated by doctoral students Elsa Lam and Brad Wal- Through Glass, an exhibition that traced a genealogy of ters the exhibition benefited from the contributions of many recent “post-industrial glass.” The project examined the participants. The initial impetus for the exhibition came from transition from early glass technologies to recent Advanced Mary McLeod and was given important direction through the Optical Glasses and commented on the architectural signifiwork of students in her doctoral seminar, organized around cance of the evolution toward the dynamic, transformable study of the Woods archive. A series of contemporary pho- character of new glass material. The exhibition asserted that tographs of projects by Candilis-Josic-Woods, taken by Mat- new forms of glass reveal a range of optical conditions and thew Worsnick in conjunction with a research trip for the scopic possibilities that question the presumed inertness seminar, was exhibited in Avery Hall concurrent with the and simple transparency of architectural glass in both its exhibition in Ross Auditorium.
modern and recent incarnations.
/*( For the symposium, The Colors of The Brain, faculty guests, faculty, and students together to discuss issues of member and Director of publications Jeannie Kim, with the timely and historical importance. There are also impromptu help of M.Arch students Troy Therrien and Cheryl Wing-zi lunchtime lectures scheduled throughout the semester feaWong, installed a complex geometric landscape. The sym- turing the recent work of important visitors to New York City posium examined current theories and scientific studies of or young practitioners and scholars. color in and around the work of artist Olafur Eliasson. Where
In the 2007-2008 academic year the main GSAPP events
Eliasson might work with retinal after-images or other per- program alone featured roughly 30 lectures, 20 debates, 10 ceptual effects, the installation manipulated space percep- conferences, colloquia and symposia, and book launches tion by overlapping, and interleaving competing perspectival and screenings in addition to many other specialized events views, creating a space of optical illusion that altered and sponsored by the school’s various programs. It is a testafluctuated as viewers moved past the installation and came ment to the energetic culture of the school that, despite the into focus only from certain defined locations.
fact that (out of necessity) the events are held in the evening, on weekends, and during lunch, they are typically filled to ca-
Exhibitions Crew:
pacity, often even exceeding the space that they are intended
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constructing and refining their own curriculum. FALL Lectures
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There are more than 250 guest speakers at the school */ JXek`X^f :`il^\[X1 Lh\bZe :k\abm^\mnk^3 Ma^ >g] h_ ma^ in a typical semester. The Wednesday evening lecture series <hehk^] <n\nf[^kl brings internationally prominent practitioners, historians, (++ ;Xm`[ 8[aXp\# K_\cdX >fc[\e1 In[eb\ >g`Z`^f^gm' and theorists to the school to speak on issues of architec- IkboZm^ K^mk^Zml ture, planning, development, and urbanism. Often live feeds )/ 8i`e[Xd ;lkkX1 Lmhkf <ehn]l h_ ma^ Gbg^m^^gma <^gmnkr3 broadcast the lectures to many of the rooms throughout the P^Zma^k% <ZibmZe% :k\abm^\mnk^ building and informal receptions follow so that the audience (', N`ep DXXj1 LiZ\^Ö`am^k can continue their discussions on the issues presented. Monday nights typically feature public debates on major Book Launches questions facing the disciplines or discussions of recent )) (*( (*. BX[XdYXi` 9Xo`# I\`e_fc[ DXik`e# ;Xe`\cX exhibitions, books, and films. In addition, the Architecture, =XYi`Z`lj# BXqpj MXie\c`j# D`Z_X\c BlYf1 Ma^ <bmr Ngien``^] Urban Design, Planning, Preservation, and Real Estate Development programs maintain their own lecture series Screenings + Debates that are open to the entire school community. The school +- GXd\cX ?f^Xe# KXdXiX Ifj\eY\i^1 Ma^ LZg] <Zlme^ and its programs sponsor special symposia and large-scale (-+ )(+ EXk_Xe`\c BX_e# AXd\j M\ekli`# <ei`hl\ NXcb\i1 conferences — often in collaboration with other universities, @khpbg` Ni Pbma :k\abm^\ml museums, and cultural institutions — drawing prominent <>GM>KL% >O>GML% :ENFGB% @K:=N:M>L ?:<NEMR
Debates:
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Development and Alumni Relations, established in 2005, is
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munication, collaboration, and networking, and to establish-
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its programs.
F^mah]heh`r _hk Bgm^`kZmbhg GSAPP ALUMNI SCHOLARSHIP FUND AND THE AVERY Screening + Debate
HALL SOCIETY
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The Avery Hall Society was created in recognition of GSAPP annual donors. All Avery Hall society members are acknowl-
Discussion + Exhibition Opening
edged in the annual GSAPP Alumni Scholarship Fund
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Newsletter, and Alumni Leaders receive a special invitation
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to the annual Alumni Leaders Dinner with Dean Wigley and the scholarship recipients. Alumni Contributors donated
Buell Debate + Book Launch
$250-$499, Alumni Patrons $500-$999, Alumni Leaders
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$1000+, and GSAPP Partners $10000+.
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Gsapp Alumni At A Glance ~ 9,060 living GSAPP alumni
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Alumni by Program
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M.Arch + B.Arch: 2,628+
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MsAAD: 1,420+
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MsAUD: 681+ MsUP: 956+
Buell Lecture
MsHP: 802+
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MsRED: 914+
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Ms ArchTech: 254+
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Certificate HP: 5+ Ms Planning/Housing Design: 60+ Ms Health Services Planning/Design: 30+
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Alumni by City
EVENTS AND PARTICIPANTS INCLUDED
2373 New York City
Keynote Lecture & Reception: On Community
143 San Francisco, CA
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123 Los Angeles, CA 92 Chicago, IL
Alumni Leaders Dinner
86 Washington, D.C.
(,. Special annual event for the Alumni Leaders of the
63 Philadelphia, PA
GSAPP Alumni Scholarship Fund
63 Seattle, WA 60 Miami, FL
Panel: Forty Years After the Insurrection
48 Portland, OR
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42 Atlanta, GA
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THE ONLINE ALUMNI DIRECTORY
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The GSAPP Online Alumni Directory was launched in Af_e F% G_`cc`gj# F':k\a *2// September, 2006. Membership in the community is free and IfY\ikX NXj_`e^kfe# ?:B:(F':k\a *20* available exclusively to GSAPP alumni. The directory allows ;Xm`[ ?l^_\j# F':k\a *20alumni to stay in touch with each other, conduct professional networking, and update their contact and employment infor- Panel: Manhattanville: The Columbia Expansion mation. For more information, visit: www.arch.columbia. DXo`e\ >i`]Ôk_# fh]^kZmhk"# >q^\nmbo^ Ob\^ Ik^lb]^gm h_ edu/alumni
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2007-2008 GSAPP ALUMNI EVENTS
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Alumni Weekend, October 26-27, 2007
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During Alumni Weekend 2007, alumni and friends returned DXi`cpe KXpcfi# IZkmg^k% Ldb]fhk^ Hpbg`l Zg] F^kkbee to Columbia for the School’s third annual Alumni Weekend. The Class of 1957 celebrated its 50th anniversary alongside Panel: GSAPP: Urban/ism and Community? members of the most recent graduating class; the Cohort Featuring GSAPP faculty: of 1968–1975 came back to celebrate their time at GSAPP D`Z_X\c 9\cc !hk`Zgbs^k" and share their extraordinary accomplishments; and we cel- CXeZ\ =i\\dXe ebrated Associate Dean Loes Schiller’s commitment to the CXli`\ ?Xnb`ejfe School and to our students over the last 37 years. This special I\`e_fc[ DXik`e event emphasized this important relationship, and several Afi^\ Fk\if$GX`cfj new scholarship funds were launched by our ever-generous I`Z_Xi[ Gcleq alumni to help support current and future students.
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The closing dinner was an emotional and unforgettable evening. As each of the new scholarship funds was DISCUSSIONS & TOURS announced, especially those devoted to underrepresented Avery Library communities, a sense of history and a deep bond between >\iXc[ 9\Xjc\p# =bk^\mhk h_ :o^kr :k\abm^\mnkZe Zg] generations of graduates of the school intensified. It culmi- ?bg^ :kml Eb[kZkr nated with the presentation of the Loes Schiller Endowed Scholarship Fund and a series of moving tributes to Loes Avery Digital Fabrication Laboratory and her dedication to the School.
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Dinner Honoring Associate Dean Loes Schiller
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(-, Included a dinner celebration, the announcement of new Fbgrhng` Lhg`% F':k\a +))0 awards and scholarship funds and the presentation of the MZmbZgZ ohg Ik^nll^g% F':k\a +))0 Loes Schiller Endowed Scholarship Fund.
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DEBATE The Enlightened Developer?
Special thanks to Associated Fabrication for their generous
An exploration of the cutting edge where development donation to GSAPP in support of the Team Gleam project. meets design.
Thanks to Phillip Anzalone, Danny O’Shea, and 160 Glass.
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STRUCTURES AND SURFACES
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“The Furniture of Poul Kjaerholm and Selected Artwork”
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Gallery Talk with the Curator
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LECTURE + BOOK LAUNCH + RECEPTION
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“Modern Architecture: A Critical History, 4th edition:
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Architecture in the Age of Globalization”
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CAREER DAY
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,,' ,,+ GSAPP’s second annual Architecture Career Day
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took place on Friday, March 28 and Saturday, March 29. Sixteen firms from across the country came back to Avery
The Class of 1957
Hall to meet and interview current students. Thank you to
(-- The Architecture Class of 1957 celebrated its 50th all the alumni and firms who joined us and to GSAPP Career Anniversary during Alumni Weekend 2007. GSAPP would like Services Assistant, Amy Finley (M.Arch 2008). to acknowledge this milestone and thank the Class for their generous contributions to the Class of 1957 Scholarship.
Alumni and representatives from the following firms attended: 5Design, Gensler, Brennan Beer Gorman, Kondylis Design, Cetra/Ruddy Incorporated, Panelite, dbox, Perkins
Team Gleam
+ Will, Ehrenkrantz Eckstut & Kuhn, SB Architects, FLAnk,
,-* For one night only, 120 blown glass lanterns were SMWM, Freelon Group, Stephen Yablon Architects PLLC, FXassembled to light the Alumni Weekend Dinner, honor- Fowle, workshop/apD. ing Associate Dean Loes Schiller. The glass pieces were distributed among the departing guests at the end of the MsRED ALUMNI CAREER EVENT night. The project formed part of an ongoing investigation (0/ MsRED Class of 2008 officers co-organized an MsRED into the meeting of digital design and artisan production. Alumni Career Event on April 14th at Havana Central (forTeam Gleam is interested in those qualities and effects, merly The West End). MsRED alumni in various sectors parwhich, whilst digitally generated, have a material richness ticipated in round-table discussions with the students. Many and depth that lie beyond the anemia of digital rendering. thanks to the MsRED alumni who attended, and congratulawww.gleamlab.com
tions to the 2008 class officers, Rachael Gray Shipkin and Bryan Ramm, for organizing such a successful event.
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Alumni from the following firms attended: The Hudson Companies, Athena, Jonathan Rose Companies, Forest City
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Ratner Companies, Rockrose Development Company, The Drivin Group (formerly Pulte Homes), The Setai Group, The Master of Architecture Leading Hotels of the World, Ltd., ESPAIS New York Corpo- FZk`Zk^m =^Zk[hkg :g]k^pl ration, The Related Group of Florida, SL Green Realty Corp., LnsZg F' ;Z[ZZ Vornado.
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GSAPP IN PARIS
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,,* Alumni Reception with Dean Mark Wigley
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Sunday, September 30
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Pierre Chareau’s Maison de Verre
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“No house in France better reflects the magical promise of GZmaZgb^e KrZg <Zkm^k 20th-century architecture than the Maison de Verre. Tucked Chag =Zob] <^khg^ behind the solemn porte-cochere of a traditional French M^kkb IZh&Mb^g <abZh residence on Rue Saint-Guillaume, a quiet street in a wealthy C^ggb_^k Fb KZ^ <ang` Left Bank neighborhood, the 1932 house designed by Pierre FbeZg Obglhg =Ze^ Chareau challenges our assumptions about the nature of GZmZeb^ >ebsZ[^ma =^ En\Z Modernism. For architects it represents the road not taken: Chk]Zg :g]k^p =b\dbglhg a lyrical machine whose theatricality is the antithesis of the C^llb\Z Khl^ =h[dbg dry functionalist aesthetic that reigned through much of the ChlanZ PbeebZf An`h =kZi^k 20th century.”
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—Nicolai Ouroussoff/M.Arch 1992, “The Best House in @^hk`bZ Fheeb^ >p^g&<Zfi^g Paris”, The New York Times, August 26, 2007
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A special thank-you to Robert Rubin/GSAS 1989, Architecture ChgZmaZg :e^qZg]^k @hgsZe^s Ph.D. Candidate, and Stéphane Samuel for their hospitality FZkd MahfZl @k^^g and generosity.
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GSAPP IN BOSTON
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,,) During the AIA National Convention Alumni Tour and ;^gcZfbg Kh[^km Ahp^ee Reception with Dean Mark Wigley and Charles Renfro :g]k^Z C^Zg Chaglhg (MsAAD 1994), Partner, Diller Scofidio + Renfro May 15, 2008 =hkZ SlnslZggZ D^ee^ Boston Institute of Contemporary Art (ICA)
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GSAPP IN SAN FRANCISCO
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June 4, 2008
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San Francisco Museum of Modern Art
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Chosen by each critic for best design problem in final semes-
Fb\aZ^e :g]k^p Kbms
ter of Advanced Studio, (open to M. Arch, AAD, UD).
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Bangkok Carbon Studio: Living Thai-pologies
:g]k^p LZehfhg
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Fb\aZ^e L LZllhngb
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Bangkok Carbon Studio: Amphibious Bangkok
CZf^l Iabebi Le^mm^eZg]
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Slum Lab — 002 Micro Ideas for a Big World
:kb^ F^r^k Mhihkholdr
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LZkZ FZk`Zk^m Mhpg^k
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Saemangeum Urban Planning Proposal
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Closing the Loop, Energy and the Development of
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Public Lands
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D^ee^gZ Ebgg^Z Pbelhg
MZbang` M^kkr <a^g !::="
Knb_^g Qn Bangkok Carbon Studio: Delta Ecotone D`Z_X\c :feXi[# :_ffe :_f`# M`Zkfi`X DXij_Xcc# 9i`Xe DZ>iXk_ " BXk\ Fi]]# \kbmb\l C^ggr <ahn !N=" LZfZg CZfZe !N=" AlbZg`&CZg^ DZh !N=" D^obg P^b !N=" Anarchitecture 2 Jk\m\e ?fcc# \kbmb\ Lm^_ZgbZ ?e^\d !::=" =bfbmkZ MlZ\ak^ebZ !::="
A library for the Multitude
UN on Ice
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The Discreet and the Continuous
Building Virtual Realities — Dubai Studio III,
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Closing the Loop, Energy and the Development of
Wild Horses/Educated Men: Club Hippodrome
Public Lands
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CXli`\ ?Xnb`ejfe# \kbmb\
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Drn L^hg Ahg` !F':k\a" WILLIAM KINNE FELLOWS MEMORIAL Think Tank 2.2: Money
TRAVELING PRIZES
I\`e_fc[ DXik`e# \kbmb\
Experiments in “New” Living: Documenting the
<aZ] D^eeh`` !F':k\a"
Sustainable City (or “Our Utopia?”) LnsZg ;Z[ZZ !F':k\a"
Systemic Skins BXk_ipe ;\Xe# \kbmb\
InBetween: Nuanced Conditions in the US-Mexico
R^Z ApZ Dbf !F':k\a"
Border Zone LZaZk ;Z`aZbb !F':k\a"
Resort China
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Glass & Architecture: Intersection in Glass Technologies
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Between the Industrial and Artisanal
LOT-EK Monograph Studio
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Spectrum of Control: Digital and Handcraft in Japanese Building Culture
Central Areas of Mixed Use in the Periphery
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AlXe ?\ii\ifj# \kbmb\
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F^bk Eh[Zmhg <hkhgZ !::=" Go West: Crises of Megacity Identity and the Great Annex: Brasilia 2010
Opening of China’s West
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MZm EZf !F':k\a"
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Cool Aid v 2.0 — Crisis Ethics
Post-Olympics Boom: The Projected Development of the
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Architectural Identity of Beijing after the 2008 Olympics
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The Dictionary of Received Ideas
The Reciprocal Urban Scenarios in Japanese Cities
<ei`hl\ NXcb\i# \kbmb\
Shao W. Deng (AAD)
MaZgZllbl FZgbl !::="
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The Disappearance of the Façade in 20th Century
Wading the Waters: Exploring Malawi’s Infrastructure of
Architecture Through the Lens of Japanese Essentialism
Water and Health
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C' FZmma^p MahfZl !N="
Dirt and Domesticity: Hakka Earthen Structures
BUILDING TECHNOLOGIES HONOR AWARD
Lm^iaZgb^ Alb^ !::="
To the student who most demonstrates an ability to incorporate building technologies into the issues of architectural design
What can brown(field) do for you?
@^hk`bZ >p^g&<Zfi^g !F':k\a"
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VISUAL STUDIES HONOR AWARD For innovative use of computing media in architectural or
Paving for Development
urban research, design, and fabrication
CnZg FZgn^e FZglreeZ !N="
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AlbZg` CZg^ DZh !N="
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SCHOOL-WIDE KINNE AWARDS
SCHOOL SERVICE AWARDS
Invisible Urbanism in West Africa
For outstanding service to the School and contribution to
Ldr^ ;^Z\a !F':k\a" $ DZma^kbg^ L\hmm !F':k\a% FLNI"
student life.
New Domestic Landscapes: Urban Innovation in the Era of School Service Suburban Decay
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Cb^ng RZg` !F':k\a"
Preservation of Fascist Architecture in Contemporary Italy Student Life IZmkb\d <b\\hg^% <Zkehl An[^k% Ebssb^ Helhg !Zee FLAI"
Chla =kZi^k !F':k\a" :fr ?bge^r !F':k\a"
Some Disassembly Required: An Investigation into the Local Impact of Teak Procurement in Northwestern Thailand
HONOR AWARDS FOR EXCELLENCE IN DESIGN
LZg` ApZ E^^ !F':k\a" $ Lb] Pb\ab^gdn^k !F':k\a"
In recognition of the high quality of work in the design studios during the student’s program of studies
TRASH: Economy of Waste in Garbage City, Cairo
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Watering the Thirsty: Preserving the Sabils of
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Historic Cairo
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Experiments in Water Management in Peru: One nation,
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Three diverse geographies
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E^^ :emfZg !N=" $ @Z[kb^eeZ ?hebgh !N="
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Crossing the Line: The Qinghai-Tibet Railway
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The Theme of Death in Italian Architecture from WWII to
GSAPP PRIZE FOR EXCELLENCE IN URBAN DESIGN
the Early 1970s
To recognize the student whose work in the Urban Design
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ALI JAWAD MALIK MEMORIAL HISTORY AND THEORY
BUELL CENTER FOR THE STUDY OF AMERICAN
HONOR AWARD
ARCHITECTURE AWARDS
In recognition of high quality of work in the history and Catherine Hoover Voorsanger Writing Prize theory sequence.
Awarded by the Temple Hoyne Buell Center for the Study
Gi\j\ek\[ Yp ;i% I`]]\k 9XanX DXc`b Xe[ [Xl^_k\ij
of American Architecture for an outstanding essay on
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American architecture IZmkb\d <b\\hg^ !AI"
CHARLES MCKIM PRIZE FOR EXCELLENCE IN DESIGN/ SAUL KAPLAN TRAVELING FELLOWSHIP
PERCIVAL AND NAOMI GOODMAN FELLOWSHIP
To recognize the student whose work throughout the stu- To carry out a project of social significance related to the dios has been outstanding, funded by a bequest from Saul interests of Percival Goodman Kaplan (M.Arch ‘57); the prize is for travel and study follow- Radecology: Malawi ing graduation
:obd FZbmkZ !F':k\a"
Drn L^hg Ahg` !F':k\a" CATHERINE HOOVER VOORSANGER WRITING WILLIAM WARE PRIZE AND SAUL KAPLAN
COMMENDATION (a School-wide award)
TRAVELING FELLOWSHIP
Awarded by the Temple Hoyne Buell Center for the Study
To recognize the student in the Advanced Architectural Design of American Architecture for an outstanding essay on Program whose work throughout the studios has been out- American architecture standing, funded by a bequest from Saul Kaplan (M.Arch ‘57). FZkmbg A^gg !::=" The prize is for travel and study following graduation. Chl Enbl I^k^s&@kb__h Objn^bkZ !::="
STUDENT NOMINATED AWARDS To the student whose dedication and resiliency within an
Alpha Rho Chi Medal
urban design collaboration has significantly contributed to
For leadership and service to the School and promise of the team’s collective efforts, and in doing so has earned the professional merit
respect of the graduating class
DZma^kbg^ L\hmm !F':k\a% FLNI"
Chl^ia Abm^ ;bee^l !N="
New York Society Of Architects’ Matthew Del
To the student whose ridiculous commitment within studio
Gaudio Award
and the School at large has earned the respect of the
For excellence in total design
student body
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American Institute Of Architects’ Certificate
To the students whose relentless optimism within the
In recognition of scholastic achievement, character, and studio and the School at large has earned the respect of the promise of professional ability
student body:
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American Institute Of Architects’ Medal In recognition of scholastic achievement, character, and To the student whose work questions the standards of archipromise of professional ability
tecture and promises to change the profession
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HISTORIC PRESERVATION PROGRAM AWARDS
URBAN PLANNING PROGRAM AWARDS
Robert C. Weinberg Prize for Excellence in Preservation
Outstanding Leadership Award
Planning and Design
For outstanding leadership in the Planning program
“Watering the Thirsty: Preserving the Sabils of
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Historic Cairo” GXd\cX A\ifd\# Z]oblhk
Charles Abrams Thesis Award
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For a masters thesis that best exemplifies a commitment to social justice
Robert Weinberg Prize for Historic Preservation Theory
“RE-ENTRY AND THE ROLES OF BRIDGE PROGRAMMING:
and Interpretation
RECONNECTING FORMER PRISONERS AND THEIR
“Mind the Gap: Historic Preservation and the Recent Past” COMMUNITIES” Afi^\ Fk\if$GX`cfj# Z]oblhk
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Conservation Sector Prize
Planning Challenge Award
“CLEANING HISTORIC BUILDING INTERIORS:
For a masters thesis that makes a substantive contribution
THE QUESTION OF RESIDUE USING ARTE MUNDIT
to our understanding of a contemporary planning issue
CLEANING PASTE”
“MUNICIPAL ENVIRONMENTAL SUSTAINABILITY
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PLANNING: MOTIVATIONS, IMPLEMENTATION,
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DOCUMENTS, AND IMPACTS IN HIGHLAND PARK, NEW JERSEY”
Historic Preservation and Oral History Prize
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“GROUND UP: ORAL HISTORY AND THE INTERPRETATION :gg PZgg^k ?hll !NI" OF LE HAVRE, FRANCE” 8e[i\n ;fcbXik# Z]oblhk
Planning Research Design Award
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For a thesis that exemplifies a commitment to research methodology and/or planning techniques
Historic Preservation Design Prize
“THE FRESHDIRECT EFFECT: HOW DOES FOOD CHOICE
“THE FRAMING OF PATRONAGE IN MEXICO CITY’S
AFFECT A NEIGHBORHOOD’S APPEAL?”
HISTORIC CENTER: PROJECT FOR THE CENTRO
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FOUNDATION IN THE EX-ROYAL CONVENT OF
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JESUS MARIA” Afi^\ Fk\if$GX`cfj# Z]oblhk
American Institute Of Certified Planners Outstanding
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Student Award For outstanding attainment in the study of Planning
Preservation Planning Prize
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“DORMANT SMOKESTACKS AND SILENT TURBINES: THE ADAPTIVE REUSE OF EARLY TO MID-TWENTIETH
New York Chapter Of The American Planning
CENTURY POWER STATIONS”
Association’s Robert C. Weinberg Award
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For academic excellence in Urban Planning
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Historic Preservation Student Peer To Peer Award
Urban Planning Student Peer To Peer Award
To the student whose wild participation in Preservation has To the student whose dedication, reliability, and sheer earned the respect of the student body
willingness to help others has earned the respect of the
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student body Anf[^kmh K^g^ LZebgZl !NI"
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:]cng\m :llblmZgm Ikh_^llhk h_ :k\abm^\mnk^
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:]cng\m :llh\bZm^ K^l^Zk\a L\aheZk DXp`e\ C% Pl >\fi^\ N_\\c\i
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<>GM>KL% >O>GML% :ENFGB% @K:=N:M>L ?:<NEMR
This catalog has been produced through the OfďŹ ce of
Editor: Scott Marble
the Dean, Mark Wigley. The archive of the student work,
Assistant Editors: Katie Shima, Brian Brush
containing documentation of projects selected by the studio critics at the conclusion of each semester, is
Design: Sagmeister Inc., New York
utilized in the making of ABSTRACT. Photographers: Mark Bearak, Jong Seo Kim Copyright 2008 by the Trustees of Columbia University in the City of New York
Printing: Asia PaciďŹ c Offset, China
All rights reserved.
(ISBN) 1-883584-56-6
Published by the Graduate School of Architecture, Planning and Preservation of Columbia University. New York, NY 10027
:FCLD9@8 LE@M<IJ@KP @K:=N:M> L<AHHE H? :K<ABM><MNK>% IE:GGBG@ :G= IK>L>KO:MBHG 89JKI8:K '.&'/ PHKD
-++ LZeer :\^o^]h% :k\abm^\mnkZe =^lb`g + ,)( -+, ;kbZg :\de^r% DZk^g Dn[^r% =Zgb^e Kns^n% Mkhr Ma^kkb^g% ;nbe]bg` Lrlm^fl * )0- -+- ;kbZg :\de^r% DZk^g Dn[^r% =Zgb^e Kns^n% Mkhr Ma^kkb^g% ;nbe]bg` Lrlm^fl * )0-
-+. ;kbZg :\de^r% DZk^g Dn[^r% =Zgb^e Kns^n% Mkhr Ma^kkb^g% ;nbe]bg` Lrlm^fl * )0- -+/ SZ\aZkr :]^kl% Mbeebg` >]n\Zmbhg *--
-+0 SZ\aZkr :]^kl% DZmb^ LabfZ% Khmalm^bg Lmn]bh , )*. -+1 Ibqb^ :e^qZg]^k% Mre^k ?Zbk[Zbkg% <Zma^kbg^ Dbf% DZmakrg Ebib^\db% RnZg MZg`% <akblmb^ PZednldb% =Zggb PZg`% Ebg SaZg`% Nk[Zg IeZggbg` Lmn]bh +-( -,( SZ\aZkr :]^kl% DZmb^ LabfZ% Khmalm^bg Lmn]bh , )*. -,) :g]k^Zl :b`g^k% KrZg :mdbg% KrZg >]fhg]lhg% :]Zf A^ee^k% Khl^fZkr DZg`% LZlaZ Fh[ZkZd% D^g]kb\d Fhkkblhg% KZ\a^e Lhff^k&Pbglmhg% <ang` ?Zb RZg`% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++
-,* SZ\aZkr :]^kl% DZmb^ LabfZ% Khmalm^bg Lmn]bh , )*. -,+ :g]k^Zl :b`g^k% KrZg :mdbg% KrZg >]fhg]lhg% :]Zf A^ee^k% Khl^fZkr DZg`% LZlaZ Fh[ZkZd% D^g]kb\d Fhkkblhg% KZ\a^e Lhff^k&Pbglmhg% <ang` ?Zb RZg`% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++ -,, SZ\aZkr :]^kl% Fb\aZ^e <hgm^gmh% LpZkf Bgm^eeb`^g\^ */+
-,- Ibqb^ :e^qZg]^k% Mre^k ?Zbk[Zbkg% <Zma^kbg^ Dbf% DZmakrg Ebib^\db% RnZg MZg`% <akblmb^ PZednldb% =Zggb PZg`% Ebg SaZg`% Nk[Zg IeZggbg` Lmn]bh +-( -,. Ibqb^ :e^qZg]^k% Mre^k ?Zbk[Zbkg% <Zma^kbg^ Dbf% DZmakrg Ebib^\db% RnZg MZg`% <akblmb^ PZednldb% =Zggb PZg`% Ebg SaZg`% Nk[Zg IeZggbg` Lmn]bh +-( -,/ :fbkahll^bg :ebZfbkb% E^^l^k ::= Lmn]bh ),)
-,0 Ibqb^ :e^qZg]^k% Mre^k ?Zbk[Zbkg% <Zma^kbg^ Dbf% DZmakrg Ebib^\db% RnZg MZg`% <akblmb^ PZednldb% =Zggb PZg`% Ebg SaZg`% Nk[Zg IeZggbg` Lmn]bh +-(
-,1 E^^ :emfZg% FZgn^e :obeZ% @Z[kb^eeZ ?hebgh% C' FZmma^p MahfZl% Nk[Zg =^lb`g Lmn]bh * +,- --( <Zk^^k =Zr% Likbg` +))1 ,)0 --) @L:II :enfgb bg LZg ?kZg\bl\h ,)0 --* @L:II :enfgb bg ;hlmhg ,)0
--+ @L:II :enfgb bg IZkbl ,)0 --, <Zk^^k =Zr ,)0 --- E^^ :emfZg% FZgn^e :obeZ% @Z[kb^eeZ ?hebgh% C' FZmma^p MahfZl% Nk[Zg =^lb`g Lmn]bh * +,-
--. E^^ :emfZg% FZgn^e :obeZ% @Z[kb^eeZ ?hebgh% C' FZmma^p MahfZl% Nk[Zg =^lb`g Lmn]bh * +,- --/ :enfgb E^Z]^kl =bgg^k ,)0
--0 E^^ :emfZg% RndZ M^kZ]Z% C' FZmma^p MahfZl% Nk[Zg =^lb`g Lmn]bh , +,/ --1 :enfgb P^^d^g] >o^gm3 D^gg^ma ?kZfimhg E^\mnk^ Zg] ;hhd EZng\a ,)0
-.( RZlaZZk :fbg% LhnkZrZ =Zhnd% :ob ?bla^k% CZf^l ?hg`% Fb`n^e @Zk\bZ&Jnblfhg]h% Kb\aZk] @khii^k% CZfb^ L\ab__% KZ\aZ^e -.+ <akblmZ Fhag% Fbgrhng` Lhg`% MZmbZgZ ohg Ik^nll^g% Labidbg% :g]r RnZg% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++ <akblmbg^ Rh`bZfZg% :enfgb P^^d^g] =bgg^k ,)0 -.) :enfgb E^Z]^kl =bgg^k -.* RZlaZZk :fbg% LhnkZrZ =Zhnd% :ob ?bla^k% CZf^l ?hg`% Fb`n^e @Zk\bZ&Jnblfhg]h% Kb\aZk] @khii^k% CZfb^ L\ab__% KZ\aZ^e Labidbg% :g]r RnZg% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++
-., :lbl :ffZkZiZeZ% :]bmrZ <aZnaZg% IZmkb\bZ LZ[Zm^k% Nk[Zg =^lb`g Lmn]bh + +,. -.- :k\abi^eZ`h ?bef ?^lmboZe ,)/
-.. :k\abi^eZ`h ?bef ?^lmboZe ,)/
-./ :km Zg] :k\abm^\mnk^ K^l^Zk\a EZ[hkZmhkr3 KrhZgcb m^fie^ `Zk]^g% Drhmh ,'- -.0 :km Zg] :k\abm^\mnk^ K^l^Zk\a EZ[hkZmhkr3 FZk\^e ;khh]maZ^kl Zm ma^ ^qab[bmbhg Fnl ^ ] :km Fh]^kg^% = iZkmf^gm ]^l :b`e^l% L^\mbhg <bg f % =nll^e]hk_% *20+ !iahmh`kZia [r Khf^kh ?kbZl" ,'- -.1 :k\abi^eZ`h ?bef ?^lmboZe ,)/
-/( FZkbZ :kkZlZm^% KZ\a^e Lmb`e^k% =b`bmZe :ll^f[er3 ?Z[ ?bgblabg` *-.
-/) :ghg] :]kbZg :knglfbma% IanmmbiZg :lpZdhhe% MbZg @Zh% MZh Ebn% Ebobg` :k\abm^\mnk^ *,/ -/* :ghg] :]kbZg :knglfbma% =Zgb^el Lmn]bh . )-) -/+ IanmmbiZg :lpZdhhe% Pbelhg Lmn]bh . ).) -/, KbffZ :ladbgZ]s^% :]oZg\^] @BL *0'
-/- :ghg] :]kbZg :knglfbma% B`gZ\bh Gb^mh% <hglmkn\mbhg Makhn`a F^\aZgblf *,* -/. :ghg] :]kbZg :knglfbma% =Zgb^el Lmn]bh . )-) -// IanmmbiZg :lpZdhhe% Pbelhg Lmn]bh . ).)
-/0 :lae^r :m^g\bh% :k\abm^\mnkZe =^lb`g * ,)( -/1 DZmb^ :mpZm^k% <ang Lmn]bh * ))) -0( FZgn^e :obeZ% ?kZg\bl\Z ;khl^ EhalZ% >e^gZ OZgs% Nk[Zg =^lb`g Lmn]bh + +,. -0) :o^kr AZee
-0* :o^kr Eb[kZkr ,)+
-0+ FZgn^e :obeZ% <aZke^l <abZg`% Kb\aZk] @hgsZe^s% B&<ang MlZb% Nk[Zg =^lb`g Lmn]bh , +,/ -0. =Zgb^e :rZm% G^p Rhkd(IZkbl3 G^p Rhkd =^lb`g -0, NkZZs ;Zae% ;khhdl <khpe^r% FZnkb\bh =hihkmh% <akblmhia^k DZeeZg% =hkZ D^ee^% Fb\aZ^e EZsb^k% :Z[bk FZebd% =^gbl^ KZfsr% Lmn]bh ,(* Aheer PbeebZfl% ;krZg Rhkd^% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++ -0- LnsZg ;Z[ZZ% Cb Rhng` Dbf% R^Z ApZ Dbf% <Zmb^ Ebd^g% ;nbe]bg` Lrlm^fl + )0.
-0/ Rhng`cb ;Z^% @beebZg <hgg^ee% Chag =neZ\% <a^el^Z @e^bl% GZhfb A^kllhg&Kbg`ldh`% DZl^r EZ?eZf% LZkZa Ebmme^\abe]% -1( Rhng`cb ;Z^% @beebZg <hgg^ee% Chag =neZ\% <a^el^Z @e^bl% GZhfb A^kllhg&Kbg`ldh`% DZl^r EZ?eZf% LZkZa CbnrnZg Ebn% LhhgfZag IZkd% Bk^g^ L^h% Nk[Zg IeZggbg` Lmn]bh +-' Ebmme^\abe]% CbnrnZg Ebn% LhhgfZag IZkd% Bk^g^ L^h% -00 LnsZg ;Z[ZZ% Cb Rhng` Dbf% R^Z ApZ Dbf% <Zmb^ Ebd^g% ;nbe]bg` Lrlm^fl + )0. Nk[Zg IeZggbg` Lmn]bh +-' -01 Rhng`cb ;Z^% @beebZg <hgg^ee% Chag =neZ\% <a^el^Z @e^bl% GZhfb A^kllhg&Kbg`ldh`% DZl^r EZ?eZf% LZkZa Ebmme^\abe]% CbnrnZg Ebn% Lhhg FZag IZkd% Bk^g^ L^h% Nk[Zg IeZggbg` Lmn]bh +-'
-1) DZm^ ;Zkg^l&=hfhmhk% CZf^l <h\dl% DZkhebgZ @k^[hpb^\&AZee% >be^^g E^ng`% Lm^iaZgb^ Ebf% A^^ L^hd IZkd% :[]ne LZ[hhk% -1- LZaZk ;Z`aZbb% AZkkblhg Lmn]bh / ).0 -1. <akblmhia^k ;Zke^r% Mkhr Ma^kkb^g% FbecZ\db JbZgjb La^g% Ik^^mb Lh]ab% Ebg SaZg`% Nk[Zg IeZggbg` Lmn]bh +-+ -1* Rhng`cb ;Z^% @beebZg <hgg^ee% Chag =neZ\% <a^el^Z @e^bl% GZhfb A^kllhg&Kbg`ldh`% DZl^r EZ?eZf% LZkZa Ebmme^\abe]% Lmn]bh , )*- -1/ DZm^ ;Zkg^l&=hfhmhk% CZf^l <h\dl% DZkhebgZ CbnrnZg Ebn% LhhgfZag IZkd% Bk^g^ L^h% Nk[Zg IeZggbg` Lmn]bh +-' @k^[hpb^\&AZee% >be^^g E^ng`% Lm^iaZgb^ Ebf% A^^ -1+ DZm^ ;Zkg^l&=hfhmhk% CZf^l <h\dl% DZkhebgZ @k^[hpb^\&AZee% >be^^g E^ng`% Lm^iaZgb^ Ebf% A^^ L^hd IZkd% :[]ne LZ[hhk% L^hd IZkd% :[]ne LZ[hhk% JbZgjb La^g% Ik^^mb Lh]ab% JbZgjb La^g% Ik^^mb Lh]ab% Ebg SaZg`% Nk[Zg IeZggbg` Lmn]bh +-+ Ebg SaZg`% Nk[Zg IeZggbg` Lmn]bh +-+ -1, <akblmhia^k ;Zke^r% ;kb`^mm^ ;hk]^kl% ?hkk^lm C^ll^^% =ZaebZ Kh[^kml% >g\ehlnk^l $ >gobkhgf^gml + )0,
-10 <akblmhia^k ;Zke^r% >`[^km <an% SZ\aZkr <he[^km% =^[hkZa Kb\aZk]l% ;nbe]bg` Lrlm^fl * )0- .(* MbZ`h ;Zkkhl% g:k\abm^\ml Lmn]bh / )., -11 MahfZl ;Zll^mm% <akblmhia^k ;ZnfZg% ;kbZg @Zk]g^k% Lm^_Zgb^ @Zkkr% Fb\aZ^e Dhe[^k% :e^q FZblnkZ]s^% :g]k^Z FZkibee^kh& .(+ =hfbgb\ ;Zkma% F^ebllZ @he]fZg% MZerZ DZaZg^% CnebZg IZg\hZlm% :eeblhg IZmkb\d% >g\ehlnk^l $ <hehfbgZ% C^ggb_^k I^ak% C^llb\Z OZg Ahnm^g% Nk[Zg IeZggbg` Lmn]bh +-* >gobkhgf^gml * )0+ .(( <akblmhia^k ;Zke^r% >`[^km <an% SZ\aZkr <he[^km% =^[hkZa Kb\aZk]l% ;nbe]bg` Lrlm^fl * )0- .() MahfZl ;Zll^mm% <akblmhia^k ;ZnfZg% ;kbZg @Zk]g^k% Lm^_Zgb^ @Zkkr% Fb\aZ^e Dhe[^k% :e^q FZblnkZ]s^% :g]k^Z FZkibee^kh& .(, MbZ`h ;Zkkhl% g:k\abm^\ml Lmn]bh / )., <hehfbgZ% C^ggb_^k I^ak% C^llb\Z OZg Ahnm^g% Nk[Zg IeZggbg` Lmn]bh +-*
.(- DZm^ ;Zkg^l&=hfhmhk% CZf^l <h\dl% DZkhebgZ @k^[hpb^\&AZee% >be^^g E^ng`% Lm^iaZgb^ Ebf% A^^ L^hd IZkd% :[]ne LZ[hhk% .(0 MahfZl ;Zll^mm% <akblmhia^k ;ZnfZg% ;kbZg @Zk]g^k% Lm^_Zgb^ @Zkkr% Fb\aZ^e Dhe[^k% :e^q FZblnkZ]s^% JbZgjb La^g% Ik^^mb Lh]ab% Ebg SaZg`% Nk[Zg IeZggbg` Lmn]bh +-+ :g]k^Z FZkibee^kh&<hehfbgZ% C^ggb_^k I^ak% C^llb\Z .(. MahfZl ;Zll^mm% <akblmhia^k ;ZnfZg% ;kbZg @Zk]g^k% Lm^_Zgb^ @Zkkr% Fb\aZ^e Dhe[^k% :e^q FZblnkZ]s^% :g]k^Z FZkibee^kh& OZg Ahnm^g% Nk[Zg IeZggbg` Lmn]bh +-* <hehfbgZ% C^ggb_^k I^ak% C^llb\Z OZg Ahnm^g% Nk[Zg IeZggbg` Lmn]bh +-* .(/ MahfZl ;Zll^mm% <akblmhia^k ;ZnfZg% ;kbZg @Zk]g^k% Lm^_Zgb^ @Zkkr% Fb\aZ^e Dhe[^k% :e^q FZblnkZ]s^% :g]k^Z FZkibee^kh& .(1 FZkd ;^ZkZd% :fr ?bge^r% =hkZ D^ee^% AZgnr IZkd% ;nbe]bg` Lrlm^fl + )0. <hehfbgZ% C^ggb_^k I^ak% C^llb\Z OZg Ahnm^g% Nk[Zg IeZggbg` Lmn]bh +-*
.)( FZmab^n ;^eZg`^k% <Zkhebg^ >gkbe^% FZmma^p Ahp^ee% <akblmhia^k DZeeZg% Ob\mhkbZ Eh`obgldr% ;khhd^ Eho^ee% :g]k^l Fb^k&r& M^kZg% Fb\aZ^e GngsbZmZ% :`nlmbg IZeZ\bhl ;Z\jn^% CZlhg Kh`^kl% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++ .)) CZ\h[ ;^grb% KZdZmZgldr Lmn]bh + ))/
.)* FZkd ;^ZkZd% Kh\a^ Lmn]bh . )-. .)+ =Zgb^e ;^k`^k% Qn <a^g% Dre^ =Zgb^el% Ma^k^l^ =b^]^% Bg[Zk Dblahgb% :ggZ EZg% D^obg E^b\ag^k% LZ]Zfbmln LZdh`n\ab% FZmma^p L\apZkms% IZmkb\d Lmk^^m^k% Nk[Zg IeZggbg` Lmn]bh +-) .), Chl^ia Abm^ ;bee^l% SborZ ?neefZg ?kb^]^k% Cng`dn DZg`% K^b Rndbgh% Nk[Zg =^lb`g Lmn]bh * +,-
.)- =Zgb^e ;^k`^k% Qn <a^g% Dre^ =Zgb^el% Ma^k^l^ =b^]^% Bg[Zk Dblahgb% :ggZ EZg% D^obg E^b\ag^k% LZ]Zfbmln LZdh`n\ab% FZmma^p L\apZkms% IZmkb\d Lmk^^m^k% Nk[Zg IeZggbg` Lmn]bh +-) .). Chag ;^\d^k% <ang Lmn]bh * ))+ .)/ Chl^ia Abm^ ;bee^l% Anb&Kng` AnZg`% RndZ M^kZ]Z% Nk[Zg =^lb`g Lmn]bh + +,. .)0 =Zgb^e ;^k`^k% Qn <a^g% Dre^ =Zgb^el% Ma^k^l^ =b^]^% Bg[Zk Dblahgb% :ggZ EZg% D^obg E^b\ag^k% LZ]Zfbmln LZdh`n\ab% FZmma^p L\apZkms% IZmkb\d Lmk^^m^k% Nk[Zg IeZggbg` Lmn]bh +-)
.)1 =Zgb^e ;^k`^k% Qn <a^g% Dre^ =Zgb^el% Ma^k^l^ =b^]^% Bg[Zk Dblahgb% :ggZ EZg% D^obg E^b\ag^k% LZ]Zfbmln LZdh`n\ab% FZmma^p L\apZkms% IZmkb\d Lmk^^m^k% Nk[Zg IeZggbg` Lmn]bh +-)
.*( Hmbl ;^kdbg% Fb\aZ^e <ZoZg]^k% EHM&>D Lmn]bh , )*+ .*) A^kgZg ;^mZgshl% DZkZg ;heZkbZ% =Zgb^e ?^bg% :ob ?bla^k% Kb\aZk] @khii^k% Kh[^km Aheer% Khl^fZkr DZg`% ;khhd^ Eho^ee% Fb\aZ^e Ghkmhg% HebobZ KZfhl% LnfZ L\kh``bgl% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++
.** Hmbl ;^kdbg% Fb\aZ^e <ZoZg]^k% EHM&>D Lmn]bh , )*+ .*+ Hmbl ;^kdbg% Fb\aZ^e <ZoZg]^k% EHM&>D Lmn]bh , )*+
.*, Chl^ia Abm^ ;bee^l% SborZ ?neefZg ?kb^]^k% Cng`dn DZg`% K^b Rndbgh% Nk[Zg =^lb`g Lmn]bh * +,- .*- A^kgZg ;^mZgshl% DZkZg ;heZkbZ% =Zgb^e ?^bg% :ob ?bla^k% Kb\aZk] @khii^k% Kh[^km Aheer% Khl^fZkr DZg`% ;khhd^ Eho^ee% Fb\aZ^e Ghkmhg% HebobZ KZfhl% LnfZ L\kh``bgl% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++
.*. Hmbl ;^kdbg% :]Zimbo^ ?hkfneZmbhgl *-0 .*/ Knma ;^gcZfbg% M^\agbjn^l h_ ma^ NemkZk^Ze *-* .*0 <^lZk^ ;bkb`gZgb% Ia'=' Ikh`kZf3 Zee^`hkb\Ze ob`g^mm^ _khf Gb\heZl ]^ EZ FZk^ l ÊMkZbm ]^ eZ Iheb\^%Ë IZkbl% *0). *0+ .*1 Chl^ia Abm^ ;bee^l% Cng`dn DZg`% Rhn Cng` Dbf% Nk[Zg =^lb`g Lmn]bh , +,/
.+( AZkkblhg ;eZbk% :k\abm^\mnkZe =Zreb`ambg` *') .+) ;kb`^mm^ ;hk]^kl% ?hkk^lm C^ll^^% FZk[e^ Lmn]bh , )*, .+* AZkkblhg ;eZbk% :k\abm^\mnkZe =Zreb`ambg` *') .++ =^k^d ;hbkng% :g]kZl^d Lmn]bh + ))*
.+, Chl^ia Abm^ ;bee^l% M^\agbjn^l h_ ma^ NemkZk^Ze *-* .+- AZkkblhg ;eZbk% Chag <^khg^% Cngahg` <ahb% :fr ?bge^r% ChgZmaZg @hgsZe^s% <akblmbg^ E^OZll^k% BgZ[Z Lmn]bh / )/* .+. ;kb`^mm^ ;hk]^kl% ?hkk^lm C^ll^^% FZk[e^ Lmn]bh , )*,
.+/ AZkkblhg ;eZbk% Chag <^khg^% Cngahg` <ahb% :fr ?bge^r% ChgZmaZg @hgsZe^s% <akblmbg^ E^OZll^k% BgZ[Z Lmn]bh / )/* .+0 :ggZ FZk Z ;h`Z] mmbk% :k\abm^\mnkZe Iahmh`kZiar *,. .+1 :ggZ FZk Z ;h`Z] mmbk% Bg]^i^g]^gm K^l^Zk\a +'. .,( =^k^d ;hbkng% :g]kZl^d Lmn]bh + ))*
.,) =^k^d ;hbkng% :g]kZl^d Lmn]bh + ))* .,* :ggZ FZk Z ;h`Z] mmbk% Bg]^i^g]^gm K^l^Zk\a +'. .,+ AZkkblhg ;eZbk% Chag <^khg^% Cngahg` <ahb% :fr ?bge^r% ChgZmaZg @hgsZe^s% <akblmbg^ E^OZll^k% BgZ[Z Lmn]bh / )/*
.,, ChaggZ <k^llb\Z ;kZsb^k% Nk[Zg Mabgd MZgd Lmn]bh / ).+ .,- DZkZg ;heZkbZ% ;khhdl <khpe^r% CZbf^ ?hgZee^]Zl% Kb\aZk] AZ[^klaZf% LZkZg` DnedZkgb% G^Ze DnfZk% C^ggb_^k Fbe[nkg% LnfZ L\kh``bgl% ?k^]^kb\ Ng]^kphh]% Kb\aZk] Pabm^% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++ .,. ChaggZ <k^llb\Z ;kZsb^k% Nk[Zg Mabgd MZgd Lmn]bh / ).+
.,/ ;kb`^mm^ ;hk]^kl% :]Zimbo^ ?hkfneZmbhgl *-0
.,0 ChaggZ <k^llb\Z ;kZsb^k% LZkbmZ @ngZkZmgZ% Dbarh Dbf% <akblmhia^k La^ee^r% ;nbe]bg` Lrlm^fl + )0. .,1 LZfn^e ;kbl^mm^% Chl^ia F\@kZma% EZnk^g\^ LZkkZsbg% >g\ehlnk^l $ >gobkhgf^gml + )0, .-( ChaggZ <k^llb\Z ;kZsb^k% LZkbmZ @ngZkZmgZ% Dbarh Dbf% <akblmhia^k La^ee^r% ;nbe]bg` Lrlm^fl + )0. .-) LZfn^e ;kbl^mm^% =bZs :ehglh Lmn]bh - )+(
.-* LZfn^e ;kbl^mm^% <ebgmhg Fbee^k% LpZkf Bgm^eeb`^g\^ */+ .-+ MahfZl ;kh]ldr% CZbf^ ?hgZee^]Zl% ChlanZ @he]fZg% Gb\aheZl AZelm^Z]% C^ggb_^k Fbe[nkg% FZkd Fnk]h\d% D^obg IZmm^klhg% CZlhg Kh`^kl% Bk^g^ L^h% =hfbgbd M^ganf[^k`% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++
.-, <henf[bZ EZ[hkZmhkr _hk :k\abm^\mnkZe ;khZ]\Zlmbg`3 bglmZeeZmbhg ob^p h_ =hghk AZee Zm ma^ G^p Fnl^nf% G^p Rhkd ,') .-- <henf[bZ EZ[hkZmhkr _hk :k\abm^\mnkZe ;khZ]\Zlmbg`3 iZ`^l _khf Ohenf^ *,3 :f[bmbhg ,') .-. <henf[bZ EZ[hkZmhkr _hk :k\abm^\mnkZe ;khZ]\Zlmbg`3 bglmZeeZmbhg ob^pl h_ =hghk AZee Zm ma^ G^p Fnl^nf% G^p Rhkd ,') .-/ :fZg]Z ;khhdbgl% =Zgb^el Lmn]bh . )-)
.-0 :fZg]Z ;khhdbgl% FZm^kbZe Ihm^g\r *,) .-1 :fZg]Z ;khhdbgl% =Zgb^el Lmn]bh . )-) ..( <henf[bZ EZ[hkZmhkr _hk :k\abm^\mnkZe ;khZ]\Zlmbg`3 bglmZeeZmbhg ob^pl h_ MkZla Zm ma^ PZed^k :km <^gm^k% Fbgg^Zihebl ,')
..) ?kZg\bl\Z ;khlZ Ehal^% @Z[kb^eeZ ?hebgh% Cbah IZkd% Nk[Zg =^lb`g Lmn]bh , +,/ ..* FZkeh ;khpg% :]Zimbo^ ?hkfneZmbhgl *-0 ..+ ;kbZg ;knla% Rhg` Cn E^^% =b`bmZe :ll^f[er3 ?Z[ ?bgblabg` *-.
.., ?kZg\bl\Z ;khlZ Ehal^% @Z[kb^eeZ ?hebgh% Cbah IZkd% Nk[Zg =^lb`g Lmn]bh , +,/ ..- FZkeh ;khpg% >fber Chaglhg% Dnk`Zg Lmn]bh , )** ... <henf[bZ EZ[hkZmhkr _hk :k\abm^\mnkZe ;khZ]\Zlmbg`3 iZ`^l _khf Ohenf^ *,3 :f[bmbhg ,') ../ ;kbZg ;knla% Rhg` Cn E^^% =b`bmZe :ll^f[er3 ?Z[ ?bgblabg` *-.
The Temple Hoyne Buell Center for the Study of American Architecture Columbia University
FORUMPROJECT FINALE Friday, April 4
Saturday, April 5
6:30pm Wood Auditorium, Avery Hall Columbia University
3:30pm Wood Auditorium, Avery Hall Columbia University
BIOPOLITICS AND THE EMERGENCE OF MODERN ARCHITECTURE
FORuMPROJECT PUBLICATIONS BOOK LAUNCH
Buell Evening Lecture sponsored by Skidmore, Owings & Merrill
Sven-Olov Wallenstein Professor of Philosophy, University College of Södertörn, and of Architectural Theory, Royal Institute of Technology, Stockholm Author, Den moderna arkitekturens filosofier (The Philosophies of Modern Architecture, 2004); Bildstrider: Föreläsningar om estetisk teori (Image Wars: Lectures on Aesthetic Theory, 2001); editor-in-chief, SITE magazine
with presentations by Pier Vittorio Aureli, Svetlana Boym, Brian O’Doherty, McKenzie Wark and Alex Galloway, Brian Evenson and Deborah Natsios, David Reinfurt of Dexter Sinister, Enrique Walker and the Automatic Architecture School (Marcella del Signore, Aimee Duquette, Cristina Goberna, Chris Kroner) and excerpts by Pellegrino D’Acierno from THIRTEEN WAYS OF CROSSING THE PIAZZA
with responses by Reinhold Martin, John Rajchman, and Anthony Vidler 6:30pm South Gallery, Buell Hall Columbia University
FORM AS STRATEGY EXHIBITION OPENING AND RECEPTION Exhibition dates: April 7 through April 26
with works by Archizoom, Alice Becker-Ho and Guy Debord, Peter Eisenman, Will Insley, Ilya Kabakov, Brian O’Doherty (Patrick Ireland), Hermann Nitsch, Radical Software Group, Martha Rosler, and Bernard Tschumi
The FORuMPROJECT Publications are copublished by The Temple Hoyne Buell Center for the Study of American Architecture and Princeton Architectural Press. For information and book orders, please go to www.papress.com.
..0 ;n^ee In[eb\Zmbhg ,)* ..1 EZ\^r ;n[gZla% >kb\Z FhkZll^m% <hgl^koZmbhg Phkdlahi +)(
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Design: Willi Kunz Studio
The FORuMPROJECT is a two-year program dedicated to exploring the relationship of architectural form to politics and urban life. It was initiated in fall 2006 and has been carried out under the auspices of the Graduate School of Architecture, Planning and Preservation, Columbia University, and the Berlage Institute, Rotterdam. Project conceptualization: Joan Ockman and Pier Vittorio Aureli
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.1+ Fb\aZ^e <ZoZg]^k% Dnk`Zg Lmn]bh - )+* .1, Fb\aZ^e <ZoZg]^k% Dnk`Zg Lmn]bh - )+* .1- R^ng >n <aZg`% FZiibg` ?khgmb^kl */' .1. I^]kh <Zk]hlh% GbgZ <aZpeZ% Lm^o^g @Zk\bZ% Gb\aheZl AZelm^Z]% LZkZ E^o^glhg% Kh[ Ebimhg% M^kkr FZkmbghee^% LZlaZ Fh[ZkZd% ;krZg KZff% =^gbl^ KZfsr% <ang` ?Zb RZg`% K^Ze >lmZm^ =^o^ehif^gm <Zl^ Lmn]r Lmn]bh +++
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/(/ MZbang` M^kkr <a^g% AZpdbglhg Lmn]bh / )/' /(0 MZbang` M^kkr <a^g% Iengs Lmn]bh . )--
/(1 MZbang` M^kkr <a^g% <abg` Rb <ahn% K^mabgdbg` ;BF *-( /)( Sabrbg` <a^g% =Z^apZg <ang`% Cng`dn DZg`% Nk[Zg =^lb`g Lmn]bh + +,.
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/)+ <aZke^l <abZg`% <a^g <ahn% Cbah IZkd% D^obg P^b% Nk[Zg =^lb`g Lmn]bh * +,- /), <aZke^l <abZg`% <a^g <ahn% Cbah IZkd% D^obg P^b% Nk[Zg =^lb`g Lmn]bh * +,-
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/)/ M^kkb <abZh% =^[hkZa @khll[^k`% AZpdbglhg Lmn]bh . )-( /)0 =Zgb^ee^ <abe]l% :k\abm^\mnkZe K^ik^l^gmZmbhg3 I^k\^imbhg ,)' /)1 M^kkb <abZh% C^llb\Z =h[dbg% =^[hkZa @khll[^k`% :ffk OZg]Ze% ;nbe]bg` Lrlm^fl + )0.
/*( M^kkb <abZh% =^[hkZa @khll[^k`% @kZiab\ GZkkZmbo^l *./ /*) M^kkb <abZh% C^llb\Z =h[dbg% =^[hkZa @khll[^k`% :ffk OZg]Ze% ;nbe]bg` Lrlm^fl + )0. /** <abgZ EZ[3 @he_ <bmr ObeeZ`^ FZi ,'*
/*+ <abgZ EZ[3 @he_ <bmr ObeeZ`^ f^^ml @he_ <hnkl^ ,'* /*, <abgZ EZ[3 P^eeg^ll <^gm^k FZi ,'*
/*- <abgZ EZ[3 @he_ <bmr ObeeZ`^ Eb_^ ,'*
/*. <abgZ EZ[3 @he_ <bmr <bk\neZmbhg ,'* /*/ <abgZ EZ[3 Lmn]^gm MkZo^e mh AZbgZg ,'* /*0 <abgZ EZ[3 F^`Z[eh\d <aZkk^mm^ Pbgg^k3 F>@:<EHN= [r :fZg]Z ;khhdbgl% <a^g <ahn% D^obg P^b ,'* /*1 <abgZ EZ[3 Lmn]^gm MkZo^e mh AZbgZg ,'*
/+( <abgZ EZ[3 F^`Z[eh\d <aZkk^mm^ Pbgg^k3 ARI>KF>LA [r FZkd ;^ZkZd !F' :k\a"% =hkZ D^ee^ !F' :k\a"% L^ma Kn``b^kh !Nk[Zg IeZggbg`"% Zg] =ZgZ ?ZgmZnssh !K^Ze >lmZm^" ,'*
/+) Phhlng` <ahb% E^^l^k ::= Lmn]bh ),) /+* Arng <aZg` <ah% F^labg` *-' /++ Phhlng` <ahb% A^kk^khl Lmn]bh / )/( /+, Arng <aZg` <ah% Cng ah <ah% >ng Db DZg`% LpZkf Bgm^eeb`^g\^ */+
/+- Arng <aZg` <ah% F^labg` *-' /+. Phhlng` <ahb% FZ\GZbk Lmn]bh . )-, /+/ Phhlng` <ahb% FZ\GZbk Lmn]bh . )-,
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/-* <hgl^koZmbhg L^\mhk3 ma^ Ablmhkb\ Ik^l^koZmbhg <hgl^koZmbhg EZ[hkZmhkr pa^k^ e^\mnk^l% ]^fhglmkZmbhgl% ^qi^kbf^gmZe phkd% Zg] k^ieb\Zmbhg h_ ablmhkb\ m^\agheh`b^l mZd^ ieZ\^ ,(' /-+ <hgl^koZmbhg L^\mhk3 ma^ fZbg [nbe]bg` lmhg^ h_ ma^ OZg <hkmeZg]m Ahnl^ Fnl^nf bl l\ablm% ib\mnk^] a^k^ lahpbg` jnZkms% [bhmbm^% Zg] fnl\hobm^ fb\Zl ,('
/-, Fb\aZ^e <hgm^gmh% =bZs :ehglh Lmn]bh - )+( /-- <hgl^koZmbhg L^\mhk3 \hg]bmbhg fZiibg` h_ ma^ lhnma ^e^oZmbhg h_ ma^ OZg <hkmeZg]m Ahnl^ Fnl^nf [r ?ZblZe :eb KZci^k ,(' /-. <hgl^koZmbhg L^\mhk3 FZlm^k Ma^lbl k^l^Zk\a [r F^kl^]^a ChkcZgb3 ma^kfhieZlmb\ Z]a^lbo^l aZo^ i^k_hkf^] Zl p^ee hg _kZ\mnk^] <ZkkZkZ fZk[e^ lZfie^l Zl ma^kfhl^mmbg` k^lbgl bg bgm^k_Z\bZe _kZ\mnk^ mhn`ag^ll m^lmbg` ,(' /-/ :ggb^ <hhf[l% :k\abm^\mnkZe =kZpbg` * *.(
/-0 Fb\aZ^e <hgm^gmh% =bZs :ehglh Lmn]bh - )+( /-1 C^ggb_^k <hoZkkn[bZl% :k\abm^\mnkZe =^lb`g * ,)( /.( :e^q <hhd% :k\abm^\mnkZe =^lb`g + ,)(
/.) >kg^lmh <kns% ?ng]Zf^gmZel h_ =b`bmZe =^lb`g *// /.* FbeZg =Ze^% F^labg` *-' /.+ FbeZg =Ze^% ;^gcZfbg Lmn]bh . ),-
/., FbeZg =Ze^% ;^gcZfbg Lmn]bh . ),-
/.- =pZrg^ =Zg\r% :]Zf ?k^bl^% IZoebgZ @Zgm\a^oZ% FZmma^p K' IZner% @^hk`^ JnZbo^k% BgZ[Z Lmn]bh / )/* /.. =pZrg^ =Zg\r% :]Zf ?k^bl^% IZoebgZ @Zgm\a^oZ% FZmma^p K' IZner% @^hk`^ JnZbo^k% BgZ[Z Lmn]bh / )/* /./ =pZrg^ =Zg\r% DZl^fZg ::= Lmn]bh ),' /.0 =pZrg^ =Zg\r% DZl^fZg ::= Lmn]bh ),'
/.1 =pZrg^ =Zg\r% :]Zf ?k^bl^% IZoebgZ @Zgm\a^oZ% @^hk`^ JnZbo^k% FZmma^p K' IZner% BgZ[Z Lmn]bh / )/*
//( <^gm^k _hk Ab`a =^glbmr =^o^ehif^gm ,'' //) :Zkhg =Zobl% LaZkb_ DaZec^% FbecZ\db Lmn]bh , )*- //* :e^cZg]kh ]^ <Zlmkh FZsZkkh% ChlanZ =kZi^k% FZkbZ FbeZgl ]^e ;hl\a% OZkg^ebl Lmn]bh . ).'
//+ :Zkhg =Zobl% LaZkb_ DaZec^% FbecZ\db Lmn]bh , )*- //, :Zkhg =Zobl% LaZkb_ DaZec^% FbecZ\db Lmn]bh , )*-
//- :e^cZg]kh ]^ <Zlmkh FZsZkkh% ChlanZ =kZi^k% FZkbZ FbeZgl ]^e ;hl\a% OZkg^ebl Lmn]bh . ).' //. <^gm^k _hk Ab`a =^glbmr =^o^ehif^gm ,'' /// <^gm^k _hk Ab`a =^glbmr =^o^ehif^gm ,''
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0)( >g] h_ R^Zk Lahp% Likbg` +))1 ,)/ 0)) >g] h_ R^Zk Lahp% Likbg` +))1 ,)/ 0)* >g] h_ R^Zk Lahp% Likbg` +))1 ,)/
0)+ >g] h_ R^Zk Lahp% Likbg` +))1 ,)/ 0), Kr\ab^^ >libghlZ% ?hkgZ[Zb Lmn]bh - )+)
0)- Kr\ab^^ >libghlZ% <akblmbZg Knn]% Mnkg[nee Lmn]bh , )*/ 0). =^gbs B]be >k]^feb% PZed^k Lmn]bh / )0'
0)/ Kr\ab^^ >libghlZ% <akblmbZg Knn]% Mnkg[nee Lmn]bh , )*/ 0)0 @^hk`bZ >p^g&<Zfi^g% :]oZg\^] <nkmZbg PZeel *'(
0)1 @^hk`bZ >p^g&<Zfi^g% :]oZg\^] <nkmZbg PZeel *'( 0*( E^gZ ?Zg% LZmh Lmn]bh * ))) 0*) Kr\ab^^ >libghlZ% ?hkgZ[Zb Lmn]bh - )+)
0** Fb\aZ^e F^k^]bma >qab[bmbhg ,). 0*+ En\Z ?Zkbg^eeb% Khmalm^bg Lmn]bh + ))0
0*, E^gZ ?Zg% LZmh Lmn]bh * )))
0*- :gm ?Zkf >qab[bmbhg ,). 0*. :gm ?Zkf >qab[bmbhg ,). 0*/ Fb\aZ^e F^k^]bma >qab[bmbhg ,).
0*0 :gm ?Zkf >qab[bmbhg ,). 0*1 :gm ?Zkf >qab[bmbhg ,). 0+( ;nbe] Bg Ng\^kmZbgmr3 LaZ]kZ\a Phh]l >qab[bmbhg ,).
0+) HeZ_nk >ebZllhg BglmZeeZmbhg ,). 0+* :o^kr =b`bmZe ?Z[kb\Zmbhg EZ[ +0/ 0++ :o^kr =b`bmZe ?Z[kb\Zmbhg EZ[ +0/ 0+, :o^kr =b`bmZe ?Z[kb\Zmbhg EZ[ +0/
0+- ;nbe] Bg Ng\^kmZbgmr3 LaZ]kZ\a Phh]l >qab[bmbhg ,). 0+. :o^kr =b`bmZe ?Z[kb\Zmbhg EZ[ +0/ 0+/ :o^kr =b`bmZe ?Z[kb\Zmbhg EZ[ +0/ 0+0 :o^kr =b`bmZe ?Z[kb\Zmbhg EZ[ +0/
0+1 :o^kr =b`bmZe ?Z[kb\Zmbhg EZ[ +0/ 0,( En\Z ?Zkbg^eeb% Khmalm^bg Lmn]bh + ))0 0,) En\Z ?Zkbg^eeb% Mbeebg` >]n\Zmbhg *--
0,* :o^kr =b`bmZe ?Z[kb\Zmbhg EZ[ +0/ 0,+ <Zk^g :gg ?Zr^% >e]k^] Lmn]bh + )), 0,, <Zk^g :gg ?Zr^% >e]k^] Lmn]bh + )), 0,- FnlmZ_Z ?Zkndb% PZlbnmZ Lmn]bh * )))
0,. Bg^l ?^kgZg]^s LZ^gs ]^ LZg I^]kh% En\bZ I^k^s Fhk^gh% PZed^k Lmn]bh . ).( 0,/ Bg^l ?^kgZg]^s LZ^gs ]^ LZg I^]kh% Mnkg[nee ::= Lmn]bh ),, 0,0 <Zk^g :gg ?Zr^% PZlbnmZ Lmn]bh * ))) 0,1 Bg^l ?^kgZg]^s LZ^gs ]^ LZg I^]kh% Mnkg[nee ::= Lmn]bh ),,
0-( Bg^l ?^kgZg]^s LZ^gs ]^ LZg I^]kh% En\bZ I^k^s Fhk^gh% PZed^k Lmn]bh . ).( 0-) Bg^l ?^kgZg]^s LZ^gs ]^ LZg I^]kh% Chaglhg Lmn]bh / )/+ 0-* Bg^l ?^kgZg]^s LZ^gs ]^ LZg I^]kh% Chaglhg Lmn]bh / )/+
0-+ :fr ?bge^r% Ml\anfb Lmn]bh . )-0 0-, KZcbo ?^kgZg]^s% IZkd^k Lmn]bh + )). 0-- QlnlaZ ?eZg]kh% <akblmbg^ Ana% G^`bg FZe^db% FZkbZgZ LZkZg`h&FZgZ Zl% C^ggb_^k L\ahkd% Ablmhkb\ Ik^l^koZmbhg Lmn]bh + +(*
0-. KZcbo ?^kgZg]^s% IZkd^k Lmn]bh + )). 0-/ :b]Zg ?eZa^kmr% FZgbl Lmn]bh + ))- 0-0 QlnlaZ ?eZg]kh% <akblmbg^ Ana% G^`bg FZe^db% FZkbZgZ LZkZg`h&FZgZ Zl% C^ggb_^k L\ahkd% Ablmhkb\ Ik^l^koZmbhg Lmn]bh + +(*
0-1 Lm^_ZgbZ ?e^\d% =bfbmkZ MlZ\ak^ebZ% Ahee Lmn]bh / )/) 0.( @Z[kb^eeZ ?hebgh% Kb\aZk] @hgZe^s% C' FZmma^p MahfZl% Nk[Zg =^lb`g Lmn]bh + +,. 0.) @Z[kb^eeZ ?hebgh% Kb\aZk] @hgZe^s% C' FZmma^p MahfZl% Nk[Zg =^lb`g Lmn]bh + +,.
0.* @Z[kb^eeZ ?hebgh% Kb\aZk] @hgZe^s% C' FZmma^p MahfZl% Nk[Zg =^lb`g Lmn]bh + +,. 0.+ @Z[kb^eeZ ?hebgh% AZ\dbg` Makhn`a Lbm^ *0(
0., Cneb^ ?hlm^k% DkblmbgZ Gn`^gm% MZkZ KZla^^]% <Zkhebg^ Lm^ia^glhg% KhlZebg] Lmk^^m^k% Ablmhkb\ Ik^l^koZmbhg Lmn]bh + +(* 0.- Lm^_ZgbZ ?e^\d% =bfbmkZ MlZ\ak^ebZ% Ahee Lmn]bh / )/) 0.. Fbe^l ?ncbdb% G^p Rhkd(IZkbl3 G^p Rhkd =^lb`g Lmn]bh ,(*
0./ :]Zf ?k^bl^% Hk__ ::= Lmn]bh ),*
0.0 Ikbl\beeZ ?kZl^k% LaZkhg^ Ibhgmdhpldb% :rZeZ Khl^g% >g\ehlnk^l $ >gobkhgf^gml + )0, 0.1 :]Zf ?k^bl^% Hk__ ::= Lmn]bh ),*
0/( Cneb^ ?hlm^k% DkblmbgZ Gn`^gm% MZkZ KZla^^]% <Zkhebg^ Lm^ia^glhg% KhlZebg] Lmk^^m^k% Ablmhkb\ Ik^l^koZmbhg Lmn]bh + +(* 0/) Fbe^l ?ncbdb% G^p Rhkd(IZkbl3 IZkbl =^lb`g Lmn]bh ,(,
0/* :]Zf ?k^bl^% <an Lmn]bh . ),0 0/+ :]Zf ?k^bl^% <an Lmn]bh . ),0
0/, FZlZghkb ?ndnhdZ% LbfneZmbhg Zl ma^ Hkb`bg h_ MZg`b[e^ ?hkf */( 0/- GZf[b @Zk]g^k% D^ee^k Lmn]bh / )/,
0/. GZf[b @Zk]g^k% Ml\anfb Lmn]bh . )-0 0// <akblmhia^k @^^% Dbf Lmn]bh * )))
0/0 GZf[b @Zk]g^k% D^ee^k Lmn]bh / )/, 0/1 <akblmhia^k @^^% Dbf Lmn]bh * )))
00( <akblmhia^k @^^% Pbelhg Lmn]bh + )*' 00) <akblmhia^k @^^% Pbelhg Lmn]bh + )*'
00* :ggZ FZk Z ;h`Z] mmbk% FZkeh ;khpg% Lm^o^g @Zk\bZ% >fber Chaglhg% >g\ehlnk^l $ >gobkhgf^gml + )0,
00+ EZnkZ @hgsZe^s ?b^kkh% Lm^iaZgr LZgmbZ`h L^ee^l% Ahee Lmn]bh / )/) 00, EZnkZ @hgsZe^s ?b^kkh% Lm^iaZgr LZgmbZ`h L^ee^l% Ahee Lmn]bh / )/) 00- :e^qZg]kZ @hgsZe^s% Ahhglnd E^^% FZgn^e FZglreeZ% Cn`Ze Fblmkb% Nk[Zg =^lb`g Lmn]bh , +,/
00. :e^qZg]kZ @hgsZe^s% Ahhglnd E^^% FZgn^e FZglreeZ% Cn`Ze Fblmkb% Nk[Zg =^lb`g Lmn]bh , +,/ 00/ E^nrn <a^g% Lb]]aZkma CZ]aZo% Cn`Ze Fblmkb% ;^rhg] Ikhmhmri^ *-,
000 DZmakrg @k^^g% ?ng]Zf^gmZel h_ =b`bmZe =^lb`g *// 001 C^ggb_^k @kZr% Ia'=' Ikh`kZf3 Ebg\heg IZkd K^_^\mhkr% ablmhkb\ iahmh`kZia k^ikbgm^] bg CZg^ A' <eZkd^% ÊI^kdbgl bg ma^ IZkd%Ë BgeZg] :k\abm^\m !L^im^f[^k(H\mh[^k *22)" *0-
01( C^ggb_^k @kZr% Ia'=' Ikh`kZf3 <Zke L\anks Ab`a L\ahhe% <ab\Z`h ;hZk] h_ >]n\Zmbhg% k^ikbgm^] bg <Zke <hg]bm% Ma^ <ab\Z`h L\ahhe h_ :k\abm^\mnk^ !<ab\Z`h3 Ngbo^klbmr h_ <ab\Z`h Ik^ll% *2/-" *0- 01) FZkd @k^^g% Kb\aZk] Fhhk^% AZpdbglhg Lmn]bh . )-( 01* FZkd @k^^g% Kb\aZk] Fhhk^% AZpdbglhg Lmn]bh . )-(
01+ D^bma @k^^gpZe]% Chaglhg Lmn]bh * ))) 01, D^bma @k^^gpZe]% Chaglhg Lmn]bh * ))) 01- FZkd @k^^g% :]oZg\^] <nkmZbg PZeel *'(
01. D^bma @k^^gpZe]% FZgbl Lmn]bh + ))- 01/ FZkd @k^^g% @bee Lmn]bh / )./
010 D^bma @k^^gpZe]% FZgbl Lmn]bh + ))- 011 LZfn^e @k^gZ]^k% ;^ee Lmn]bh / ).*
1(( D^bma @k^^gpZe]% :k\abm^\mnkZe =kZpbg` * *.(
1() =^[hkZa @khll[^k`% FZkmbg Lmn]bh / )// 1(* M^kkb <abZh% =^[hkZa @khll[^k`% AZpdbglhg Lmn]bh . )-(
1(+ M^kkb <abZh% =^[hkZa @khll[^k`% @kZiab\ GZkkZmbo^l *./ 1(, EZnkZ @hgsZe^s ?b^kkh% Ml\anfb Lmn]bh . )-0
1(- LZkbmZ @ngZkZmgZ% <Zkehl An[^k% ;rZk](Dhgrd Lmn]bh . ),/ 1(. LZkbmZ @ngZkZmgZ% <Zkehl An[^k% ;rZk](Dhgrd Lmn]bh . ),/ 1(/ GhkbZdb AZgZhdZ% <an Lmn]bh . ),0
1(0 LZkbmZ @ngZkZmgZ% @bee Lmn]bh / )./ 1(1 GhkbZdb AZgZhdZ% <an Lmn]bh . ),0
1)( GhkbZdb AZgZhdZ% <an Lmn]bh . ),0 1)) @k^mZ AZgl^g% Drng` CZ^ Dbf% Dnk`Zg Lmn]bh , )** 1)* :lae^r AZgkZaZg% =^Zg Lmn]bh / ).. 1)+ :lae^r AZgkZaZg% =^Zg Lmn]bh / )..
1), :lae^r AZgkZaZg% =^Zg Lmn]bh / ).. 1)- @k^mZ AZgl^g% Drng` CZ^ Dbf% Dnk`Zg Lmn]bh , )** 1). @k^mZ AZgl^g% Drng` CZ^ Dbf% Dnk`Zg Lmn]bh , )**
1)/ <akblmhia^k AZrg^k% Bgmkh mh @BL *0) 1)0 DZma^kbg^ A^\d% D^ee^k Lmn]bh / )/, 1)1 FZkmbg A^gg% =bZs :ehglh Lmn]bh . )-'
1*( DZma^kbg^ A^\d% D^ee^k Lmn]bh / )/, 1*) FZkmbg A^gg% CZf^l Obg\^gm% <an Lmn]bh / ).- 1** FZkmbg A^gg% CZf^l Obg\^gm% <an Lmn]bh / ).-
1*+ FZkmbg A^gg% =bZs :ehglh Lmn]bh . )-' 1*, DZma^kbg^ A^\d% D^ee^k Lmn]bh / )/,
1*- FZkmbg A^gg% @bee(L\afb] ::= Lmn]bh )+0
1*. FZkmbg A^gg% @bee(L\afb] ::= Lmn]bh )+0 1*/ GhkbZdb AZgZhdZ% <an Lmn]bh / ).-
1*0 GhkbZdb AZgZhdZ% <an Lmn]bh / ).-
1*1 :eblhg Ah]`lhg% :k\abm^\mnkZe K^ik^l^gmZmbhg3 :[lmkZ\mbhg ,(0 1+( Drn L^hg Ahg`% AZpdbglhg Lmn]bh / )/'
1+) Ebobg` :k\abm^\mnk^% Cbg Phh A^h% =^[hkZa Kb\aZk]l% D^obg P^b% >]fng] Rn *,/ 1+* Drn L^hg Ahg`% AZpdbglhg Lmn]bh / )/' 1++ CnebZ Ahbgl% D^ee^k Lmn]bh / )/, 1+, Drn L^hg Ahg`% AZpdbglhg Lmn]bh / )/'
1+- ;^gcZfbg Ahp^ee% M^\agbjn^l h_ ma^ NemkZk^Ze *-* 1+. Lm^iaZgb^ Alb^% Pbelhg Lmn]bh . ).) 1+/ Drn L^hg Ahg`% Kh\a^ Lmn]bh . )-. 1+0 Drn L^hg Ahg`% AZpdbglhg Lmn]bh / )/'
1+1 Drn L^hg Ahg`% Kh\a^ Lmn]bh . )-. 1,( ?^ebq Alb^a% :k\abm^\mnkZe =^lb`g + ,)( 1,) Lm^iaZgb^ Alb^% Pbelhg Lmn]bh . ).)
1,* <Zkehl An[^k% LbfneZmbhg Zl ma^ Hkb`bg h_ MZg`b[e^ ?hkf */( 1,+ GhkbZdb AZgZhdZ% Bglmbmnm^ _hk @^g^mb\ :k\abm^\mnk^ ,'(
1,, GhkbZdb AZgZhdZ% Bglmbmnm^ _hk @^g^mb\ :k\abm^\mnk^ ,'( 1,- C^llb\Z Bokr% G^p Rhkd(IZkbl3 IZkbl =^lb`g Lmn]bh ,(,
1,. I^mkZ CZkhebfhoZ% Khmalm^bg Lmn]bh + ))0 1,/ GhkbZdb AZgZhdZ% Bglmbmnm^ _hk @^g^mb\ :k\abm^\mnk^ ,'( 1,0 Lb]]aZkma CZ]aZo% :]Zf F^k\b^k% FZm^kbZe Ihm^g\r *,)
1,1 Lb]]aZkma CZ]aZo% :]Zf F^k\b^k% >]fng] Rn% =b`bmZe =^mZbebg` *''
1-( LiZmbZe Bg_hkfZmbhg =^lb`g EZ[3 <enlm^kbg` h_ G^p Rhkd K^`bhg =^lb`g Bg]nlmkr% +)). ,'+ 1-) IeZmhg BllZbZl% A^kk^khl Lmn]bh / )/( 1-* LiZmbZe Bg_hkfZmbhg =^lb`g EZ[3 Z^kbZe iahmh`kZia h_ Db[^kZ% GZbkh[b l eZk`^lm lenf Zk^Z ,'+
1-+ LiZmbZe Bg_hkfZmbhg =^lb`g EZ[3 Lb`gbÖ\Zgm Ehp E^o^el h_ <Zee <hfieZbgml mh ,**% +))/&+))0 ,'+ 1-, LiZmbZe Bg_hkfZmbhg =^lb`g EZ[3 <enlm^kbg` h_ FZgaZmmZg =^lb`g Bg]nlmkr Ln[&Mri^l% +)). ,'+ 1-- LiZmbZe Bg_hkfZmbhg =^lb`g EZ[3 ;nbe]bg` =^glbmr FZil GZbkh[b% D^grZ ,'+
1-. LiZ\^(Mbf^ Bgm^k_Z\^ EZ[ ,(( 1-/ LiZmbZe Bg_hkfZmbhg =^lb`g EZ[3 In[eb\Zmbhgl 1-0 LiZmbZe Bg_hkfZmbhg =^lb`g EZ[3 bglmZeeZmbhg ob^p h_ ma^ ^qab[bmbhg =^lb`g Zg] ma^ >eZlmb\ Fbg]%Ã&#x2039; Fnl^nf h_ Fh]^kg :km% G^p Rhkd ,'+ 1-1 LiZmbZe Bg_hkfZmbhg =^lb`g EZ[3 Ikblhg :]fbllbhgl =^glbmr FZil% G^p Hke^Zgl IZkbla !Z\khll% _khf mhi e^_m mh [hmmhf kb`am"3 +)),% +)). !L^im^f[^k makhn`a =^\^f[^k"% +))/% +))0 ,'+
1.( LiZmbZe Bg_hkfZmbhg =^lb`g EZ[3 Cnlmb\^ K^bgo^lmf^gm <^gmkZe <bmr3 Lh\bZe Zg] LiZmbZe G^mphkd Pa^^e ,'+ 1.) LiZmbZe Bg_hkfZmbhg =^lb`g EZ[3 Cnlmb\^ K^bgo^lmf^gm <^gmkZe <bmr3 Hk^maZ <Zlme^ AZe^r G^mphkd An[ ,'+
1.* ;h[[r Chaglmhg% Hdb Lmn]bh * ))) 1.+ ?hkk^lm C^ll^^% Khr Lmn]bh - )++ 1., ?hkk^lm C^ll^^% Khr Lmn]bh - )++
1.- KrZg Chagl% :k\abm^\mnkZe =^lb`g + ,)( 1.. KrZg Chagl% :k\abm^\mnkZe =^lb`g + ,)(
1./ ;h[[r Chaglmhg% Hdb Lmn]bh * ))) 1.0 ;h[[r Chaglmhg% Hdb Lmn]bh * ))) 1.1 :g]k^Z Chaglhg% Ml\anfb Lmn]bh . )-0
1/( KrZg Chagl% :k\abm^\mnkZe =^lb`g * ,)( 1/) Frhg` Cng Chh% FZiibg` ?khgmb^kl */'
1/* Dhhah Cng`% Lhehfhgh__ Lmn]bh * ))) 1/+ FZkd ;^ZkZd% :fr ?bge^r% =hkZ D^ee^% AZgnr IZkd% ;nbe]bg` Lrlm^fl + )0.
1/, Dhhah Cng`% Lhehfhgh__ Lmn]bh * ))) 1/- Dhhah Cng`% Lhehfhgh__ Lmn]bh * )))
1/. Fb\aZ^e DZ Zbghgb% KZdZmZgldr ::= Lmn]bh ),+ 1// Cngdhh DZg`% ;^ee Lmn]bh / ).*
1/0 FZkd ;^ZkZd% :fr ?bge^r% =hkZ D^ee^% AZgnr IZkd% ;nbe]bg` Lrlm^fl + )0. 1/1 Fb\aZ^e DZ Zbghgb% KZdZmZgldr ::= Lmn]bh ),+
10( ;hkb DZg`% :k\abm^\mnkZe =kZpbg` * *.( 10) FZkmbg <aZ] D^eeh``% FZkmbg Lmn]bh / )//
10* FZkmbg <aZ] D^eeh``% ;^gcZfbg Lmn]bh . ),- 10+ FZkmbg <aZ] D^eeh``% ;^gcZfbg Lmn]bh . ),-
10, FZkmbg <aZ] D^eeh``% FZkmbg Lmn]bh / )// 10- Labg Dhhd DZg`% E^^l^k ::= Lmn]bh ),) 10. Labg Dhhd DZg`% Lhehfhgh__ Lmn]bh / )/0
10/ Labg Dhhd DZg`% Lhehfhgh__ Lmn]bh / )/0 100 Labg Dhhd DZg`% Lhehfhgh__ Lmn]bh / )/0 101 FZkmbg <aZ] D^eeh``% FZkmbg Lmn]bh / )//
11( FZk`Zk^m D^eer% :k\abm^\mnkZe =^lb`g * ,)( 11) PbeebZf D^fi^k% PbeebZf Kh^]b`^k&Kh[bg^mm^% K^mabgdbg` ;BF *-(
11* FZk`Zk^m D^eer% :k\abm^\mnkZe =^lb`g + ,)( 11+ PbeebZf D^fi^k% PbeebZf Kh^]b`^k&Kh[bg^mm^% K^mabgdbg` ;BF *-( 11, FZk`Zk^m D^eer% :k\abm^\mnkZe =^lb`g + ,)(
11- :gg^ D^fi^k% G^p Rhkd(IZkbl3 G^p Rhkd =^lb`g Lmn]bh ,(* 11. ;kb`^mm^ ;hk]^kl% =Zgb^e Db]]% KZob KZc% :]oZg\^] Mhib\l bg :k\abm^\mnk^ M^\agheh`b^l )0/ 11/ ;kb`^mm^ ;hk]^kl% ?ng]Zf^gmZel h_ =b`bmZe =^lb`g *//
110 ;kb`^mm^ ;hk]^kl% =Zgb^e Db]]% KZob KZc% :]oZg\^] Mhib\l bg :k\abm^\mnk^ M^\agheh`b^l )0/ 111 PbeebZf D^fi^k% M^\agbjn^l h_ ma^ NemkZk^Ze *-* )((( BebZgZ D^k^lm^msb% Dbf ::= Lmn]bh ),(
)(() BebZgZ D^k^lm^msb% ;kbZg FZggbg`&Libg]m% ?^kgZg]h IZg]h% ;^rhg] Ikhmhmri^ *-, )((* :lbrZ DaZdb% :k\abm^\mnkZe Iahmh`kZiar *,. )((+ :lbrZ DaZdb% :k\abm^\mnkZe K^ik^l^gmZmbhg3 I^k\^imbhg ,)'
)((, PbeebZf D^fi^k% MlnknfZdb Lmn]bh - )+- )((- PbeebZf D^fi^k% MlnknfZdb Lmn]bh - )+- )((. =Zgb^e Db]]% Chg MnkdneZ% ;^ee Lmn]bh , )*)
)((/ BebZgZ D^k^lm^msb% Dbf ::= Lmn]bh ),( )((0 LaZkb_ DaZec^% Dnk`Zg Lmn]bh - )+* )((1 >ng Drhng` Dbf% Chaglhg Lmn]bh * )))
)()( =Z R^hg Dbf% :k\abm^\mnkZe =kZpbg` * *.( )()) LaZkb_ DaZec^% ?ng]Zf^gmZel h_ =b`bmZe =^lb`g *// )()* >ng Drhng` Dbf% Chaglhg Lmn]bh * )))
)()+ C^^&Ar^ Dbf% L^ma F\=hp^ee% EHM&>D Lmn]bh , )*+
)(), C^^&Ar^ Dbf% L^ma F\=hp^ee% EHM&>D Lmn]bh , )*+
)()- C^^&Ar^ Dbf% L^ma F\=hp^ee% EHM&>D Lmn]bh , )*+ )(). Cb Rhng` Dbf% M^\agbjn^l h_ ma^ NemkZk^Ze *-*
)()/ Drng` CZ^ Dbf% ?hkgZ[Zb Lmn]bh - )+)
)()0 Dbarh Dbf% E^okZm Lmn]bh . )-+ )()1 Drng`lb\ Dbf% E^okZm Lmn]bh / )/- )(*( Drng`lb\ Dbf% <an Lmn]bh . ),0
)(*) Drng`lb\ Dbf% E^okZm Lmn]bh / )/- )(** KZbgZ Dbf% =bZs :ehglh Lmn]bh - )+(
)(*+ L^hd Ang Dbf% KZdZmZgldr Lmn]bh + ))/ )(*, L^hd Ang Dbf% Phg Lahd E^^% Cb Rhhg Ha% Dbl^hd Ha% L^ng` Phg Lhg`% ;nbe]bg` Lrlm^fl * )0-
)(*- Drng`lb\ Dbf% E^okZm Lmn]bh / )/-
)(*. L^hd Ang Dbf% Phg Lahd E^^% Cb Rhhg Ha% Dbl^hd Ha% L^ng` Phg Lhg`% ;nbe]bg` Lrlm^fl * )0- )(*/ L^hd Ang Dbf% KZdZmZgldr Lmn]bh + ))/
)(*0 Lng`Z[ Dbf% <ang Lmn]bh * ))) )(*1 Drng` CZ^ Dbf% ?hkgZ[Zb Lmn]bh - )+)
)(+( R^Z ApZ Dbf% =^Zg Lmn]bh / ).. )(+) Drng` CZ^ Dbf% ?hkgZ[Zb Lmn]bh - )+) )(+* LaZkhg Dbf% =Zgb^e Kns^n% FbecZ\db Lmn]bh , )*- )(++ R^Z ApZ Dbf% =^Zg Lmn]bh / )..
)(+, L^hd Ang Dbf% KZdZmZgldr Lmn]bh + ))/ )(+- LaZkhg Dbf% =Zgb^e Kns^n% FbecZ\db Lmn]bh , )*- )(+. Dbarh Dbf% E^okZm Lmn]bh . )-+ )(+/ Lng`Z[ Dbf% <ang Lmn]bh * )))
)(+0 Chag DkZnll% :k\abm^\mnkZe K^ik^l^gmZmbhg3 :[lmkZ\mbhg ,(0 )(+1 DZk^g Dn[^r% FZmma^p Ohll% ;^ee Lmn]bh , )*)
)(,( ChagZmaZg DkZnll% :k\abm^\mnkZe K^ik^l^gmZmbhg3 I^k\^imbhg ,)'
)(,) :gg^ Dnkmbg% IZkd^k Lmn]bh + )). )(,* :gg^ Dnkmbg% IZkd^k Lmn]bh + )).
)(,+ DZk^g Dn[^r% FZmma^p Ohll% ;^ee Lmn]bh , )*) )(,, =^obg EZ_h% LZmh Lmn]bh * ))) )(,- MZm EZf% Iengs Lmn]bh . )-- )(,. =^obg EZ_h% LZmh Lmn]bh * )))
)(,/ MZm EZf% ;k^m JnZ`ebZkZ% Chaglhg Lmn]bh / )/+ )(,0 >ebsZ[^ma EZlZm^k% Pbelhg Lmn]bh + )*' )(,1 Mb__Zgr EZn% G^p Rhkd(IZkbl3 G^p Rhkd =^lb`g Lmn]bh ,(*
)(-( ;hkb DZg`% =^obg EZ_h% <ZfbeeZ EZg\Zlm^k% LZkZg`Z GZdahh]Z% Fhk`Zg K^rghe]l% >g\ehlnk^l $ >gobkhgf^gml * )0+ )(-) >ebsZ[^ma EZlZm^k% Pbelhg Lmn]bh + )*' )(-* C^ggb_^k EZmaZf% :k\abm^\mnkZe K^ik^l^gmZmbhg3 I^k\^imbhg ,)'
)(-+ Mb__Zgr EZn% G^p Rhkd(IZkbl3 G^p Rhkd =^lb`g Lmn]bh ,(* )(-, MZm EZf% ;k^m JnZ`ebZkZ% Chaglhg Lmn]bh / )/+ )(-- <a^g`&Albg E^^% G^p Rhkd(IZkbl3 IZkbl =^lb`g Lmn]bh ,(,
)(-. ;hkb DZg`% =^obg EZ_h% <ZfbeeZ EZg\Zlm^k% LZkZg`Z GZdahh]Z% Fhk`Zg K^rghe]l% >g\ehlnk^l $ >gobkhgf^gml * )0+ )(-/ ;hkb DZg`% =^obg EZ_h% <ZfbeeZ EZg\Zlm^k% LZkZg`Z GZdahh]Z% Fhk`Zg K^rghe]l% >g\ehlnk^l $ >gobkhgf^gml * )0+ )(-0 <a^g`&Albg E^^% G^p Rhkd(IZkbl3 IZkbl =^lb`g Lmn]bh ,(,
)(-1 >ng Fb E^^% EHM&>D Lmn]bh / )/. )(.( Ah Drng` E^^% Khmalm^bg Lmn]bh + ))0 )(.) Phh Cbg E^^% ?ng]Zf^gmZel h_ =b`bmZe =^lb`g *//
)(.* >ng Fb E^^% FZ\GZbk Lmn]bh . )-, )(.+ :fZg]Z Ahef^l <kZpe^r% EZnkZ E^^% ;rZk](Dhgrd Lmn]bh . ),/
)(., :fZg]Z Ahef^l <kZpe^r% EZnkZ E^^% ;rZk](Dhgrd Lmn]bh . ),/ )(.- EZnkZ E^^% @kZiab\ GZkkZmbo^l *./ )(.. EZnkZ E^^% @kZiab\ GZkkZmbo^l *./
)(./ EZnkZ E^^% @kZiab\ GZkkZmbo^l *./ )(.0 Lng` Rhg` E^^% LZmh Lmn]bh - )+,
)(.1 Phg Lahd E^^% :k\abm^\mnkZe =kZpbg` * *.( )(/( ;kbZg ;knla% Rhg` Cn E^^% FZk[e^ Lmn]bh - )*,
)(/) Lng` Rhg` E^^% LZmh Lmn]bh - )+, )(/* Lng` Rhg` E^^% LZmh Lmn]bh - )+, )(/+ ;kbZg ;knla% Rhg` Cn E^^% FZk[e^ Lmn]bh - )*,
)(/, Rhng`\aZ^ E^^% :k\abm^\mnkZe =kZpbg` * *.( )(/- <akblmbg^ E^OZll^k% Chl^ia Ob]b\a% KZr PbeebZfl% :]oZg\^] Mhib\l bg :k\abm^\mnk^ M^\agheh`b^l )0/ )(/. <akblmbg^ E^OZll^k% Chl^ia Ob]b\a% KZr PbeebZfl% :]oZg\^] Mhib\l bg :k\abm^\mnk^ M^\agheh`b^l )0/
)(// Rhng`\aZ^ E^^% >e]k^] Lmn]bh + )), )(/0 Rhng`\aZ^ E^^% >e]k^] Lmn]bh + )), )(/1 <akblmbg^ E^OZll^k% Chl^ia Ob]b\a% KZr PbeebZfl% :]oZg\^] Mhib\l bg :k\abm^\mnk^ M^\agheh`b^l )0/
)(0( <akblmbg^ E^OZll^k% Mbeebg` >]n\Zmbhg *-- )(0) <a^g`&Ebg` Ebg% Pbelhg Lmn]bh . ).) )(0* <a^g`&Ebg` Ebg% Nk[Zg Mabgd MZgd Lmn]bh / ).+
)(0+ <Zmb^ Ebd^g% =bZs :ehglh Lmn]bh . )-' )(0, <Zmb^ Ebd^g% =bZs :ehglh Lmn]bh . )-' )(0- <a^g`&Ebg` Ebg% Pbelhg Lmn]bh . ).) )(0. <a^g`&Ebg` Ebg% Nk[Zg Mabgd MZgd Lmn]bh / ).+
)(0/ =^[[b^ Ebg% :k\abm^\mnkZe =kZpbg` * *.( )(00 =^[[b^ Ebg% KZdZmZgldr Lmn]bh * ))) )(01 MZh Ebn% ;^gcZfbg Lmn]bh . ),- )(1( MZh Ebn% F^labg` *-'
)(1) =^[[b^ Ebg% KZdZmZgldr Lmn]bh * ))) )(1* MZh Ebn% ;^gcZfbg Lmn]bh . ),-
)(1+ Ebobg` :k\abm^\mnk^ EZ[3 Ebobg` Eb`am +00 )(1, Ebobg` :k\abm^\mnk^ EZ[3 K^lihglbo^ Dbg^mb\ Lrlm^fl3 >`[^km <an% Lm^_ZgbZ ?e^\d% Ebg]l^r La^kfZg +00 )(1- Ebobg` :k\abm^\mnk^ EZ[3 Ebobg` Eb`am +00 )(1. Ebobg` :k\abm^\mnk^ EZ[3 Ebobg` <bmr +00
)(1/ Ebobg` :k\abm^\mnk^ EZ[3 K^lihglbo^ Dbg^mb\ Lrlm^fl +00 )(10 Ebobg` :k\abm^\mnk^ EZ[3 K^lihglbo^ Dbg^mb\ Lrlm^fl3 >`[^km <an% Lm^_ZgbZ ?e^\d% Ebg]l^r La^kfZg +00 )(11 Ebobg` :k\abm^\mnk^ EZ[3 K^lihglbo^ Dbg^mb\ Lrlm^fl3 >`[^km <an% Lm^_ZgbZ ?e^\d% Ebg]l^r La^kfZg +00 ))(( Ebobg` :k\abm^\mnk^ EZ[3 Ebobg` Eb`am +00
))() Ebobg` :k\abm^\mnk^ EZ[3 K^lihglbo^ Dbg^mb\ Lrlm^fl +00 ))(* Ebobg` :k\abm^\mnk^ EZ[3 K^lihglbo^ Dbg^mb\ Lrlm^fl +00 ))(+ Ebobg` :k\abm^\mnk^ EZ[3 Ebobg` <bmr +00 ))(, Ebobg` :k\abm^\mnk^ EZ[3 Ebobg` Eb`am +00
))(- Ebobg` :k\abm^\mnk^ EZ[3 K^lihglbo^ Dbg^mb\ Lrlm^fl% KhlZgZ Kn[bh&A^kgZg]^s +00 ))(. Ebobg` :k\abm^\mnk^ EZ[3 K^ohenmbhg =hhk +00 ))(/ Ebobg` :k\abm^\mnk^ EZ[3 Ebobg` <bmr +00
))(0 F^bk Eh[Zmhg <hkhgZ% LZ_kZg Lmn]bh . )-/ ))(1 F^bk Eh[Zmhg <hkhgZ% A^kk^khl Lmn]bh / )/( )))( <akblmh Eb Eh`Zg% :k\abm^\mnkZe =kZpbg` * *.( )))) Ebobg` :k\abm^\mnk^% :fZg]Z ;khhdbgl% SZ\aZkr <he[^km% :lae^r AZgkZaZg% Mhffr FZgn^e *,/
)))* F^bk Eh[Zmhg <hkhgZ% LZ_kZg Lmn]bh . )-/ )))+ <akblmh Eb Eh`Zg% Chaglhg Lmn]bh * ))) ))), <akblmh Eb Eh`Zg% >e]k^] Lmn]bh + )),
)))- <akblmh Eb Eh`Zg% >e]k^] Lmn]bh + )), ))). FZ]^e^bg^ Ehi^fZg% Bgmkh]n\mbhg mh :k\abm^\mnkZe =^lb`g Zg] OblnZe <nemnk^ ,(/
)))/ <akblmh Eb Eh`Zg% Chaglhg Lmn]bh * ))) )))0 FZ]^e^bg^ Ehi^fZg% Bgmkh]n\mbhg mh :k\abm^\mnkZe =^lb`g Zg] OblnZe <nemnk^ ,(/
)))1 IkZ^ Ehkob]aZrZ% g:k\abm^\ml Lmn]bh / )., ))*( IkZ^ Ehkob]aZrZ% =Zgb^el Lmn]bh . )-) ))*) IkZ^ Ehkob]aZrZ% =Zgb^el Lmn]bh . )-)
))** IkZ^ Ehkob]aZrZ% FZm^kbZe Ihm^g\r *,) ))*+ IkZ^ Ehkob]aZrZ% :g]k^l Fb^k&r&M^kZg% =b`bmZe =^mZbebg` *'' ))*, IkZ^ Ehkob]aZrZ% :g]k^l Fb^k&r&M^kZg% =b`bmZe =^mZbebg` *''
))*- :obd FZbmkZ% C^ggb_^k Ik^lmhg% ;k^m JnZ`ebZkZ% KZ\a^e Lmb`e^k% ;nbe]bg` Lrlm^fl + )0. ))*. :obd FZbmkZ% AZkkblhg Lmn]bh / ).0 ))*/ :obd FZbmkZ% AZkkblhg Lmn]bh / ).0 ))*0 B`gZ\bh FZeehe% E^^l^k ::= Lmn]bh ),)
))*1 IZb`^ FZ]^k% :k\abm^\mnkZe =kZpbg` * *.( ))+( :obd FZbmkZ% C^ggb_^k Ik^lmhg% ;k^m JnZ`ebZkZ% KZ\a^e Lmb`e^k% ;nbe]bg` Lrlm^fl + )0. ))+) Sh^ FZeebZkhl% :k\abm^\mnkZe =kZpbg` * *.(
))+* MaZgZllbl FZgbl% @bee(L\afb] ::= Lmn]bh )+0 ))++ MaZgZllbl FZgbl% LZ_kZg Lmn]bh . )-/ ))+, MaZgZllbl FZgbl% @bee(L\afb] ::= Lmn]bh )+0
))+- MaZgZllbl FZgbl% :k\abm^\mnkZe Iahmh`kZiar *,. ))+. B`gZ\bh FZeehe% A^kk^khl Lmn]bh / )/(
))+/ E^Za F^blm^kebg% PbeebZf D^fi^k% Mnkg[nee Lmn]bh , )*/ ))+0 MaZgZllbl FZgbl% PZed^k Lmn]bh / )0' ))+1 MaZgZllbl FZgbl% LZ_kZg Lmn]bh . )-/
)),( MaZgZllbl FZgbl% LZ_kZg Lmn]bh . )-/ )),) MaZgZllbl FZgbl% PZed^k Lmn]bh / )0' )),* E^Za F^blm^kebg% PbeebZf D^fi^k% Mnkg[nee Lmn]bh , )*/
)),+ ;kbZg FZggbg`&Libg]m% >e^gZ I^k^s @n^f[^% Chk]Zg MkZ\am^g[^k`% =b`bmZe =^mZbebg` *'' )),, L^ma F\=hp^ee% LZmh Lmn]bh - )+,
)),- >oZg`^ebZ FZkhneb% E^^l^k ::= Lmn]bh ),) )),. L^ma F\=hp^ee% LbfneZmbhg Zl ma^ Hkb`bg h_ MZg`b[e^ ?hkf */( )),/ Chl^ia F\@kZma% MlnknfZdb Lmn]bh - )+-
)),0 F^`Zg F^r^kl% FZiibg` ?khgmb^kl */' )),1 FZkd ;^ZkZd% =hkZ D^ee^% :]Zf F^k\b^k% Bg]^i^g]^gm K^l^Zk\a +'- ))-( CZ\jn^ebg^ F^r^k% :k\abm^\mnkZe K^ik^l^gmZmbhg3 I^k\^imbhg ,)'
))-) Chl^ia F\@kZma% MlnknfZdb Lmn]bh - )+- ))-* FZkd ;^ZkZd% =hkZ D^ee^% :]Zf F^k\b^k% Bg]^i^g]^gm K^l^Zk\a +'- ))-+ :g]k^l Fb^k&r&M^kZg% A^kk^khl Lmn]bh / )/(
))-, :g]k^l Fb^k&r&M^kZg% A^kk^khl Lmn]bh / )/( ))-- <bkh Fb`n^e% A^kk^khl Lmn]bh / )/(
))-. :g]k^l Fb^k&r&M^kZg% E^okZm Lmn]bh . )-+ ))-/ :g]k^l Fb^k&r&M^kZg% E^okZm Lmn]bh . )-+
))-0 C^__k^r Fbee^m% ;^ee Lmn]bh , )*) ))-1 FZkbZ FbeZgl ]^e ;hl\a% En\bZ I^k^s Fhk^gh% Ahee Lmn]bh / )/) )).( FZkbZ FbeZgl ]^e ;hl\a% E^hgb]Zl MkZfihndbl% <hglmkn\mbhg Makhn`a F^\aZgblf *,* )).) <ebgmhg Fbee^k% Mbeebg` >]n\Zmbhg *--
)).* C^__k^r Fbee^m% Dnk`Zg Lmn]bh - )+* )).+ C^__k^r Fbee^m% Dnk`Zg Lmn]bh - )+* ))., FZkbZ FbeZgl ]^e ;hl\a% En\bZ I^k^s Fhk^gh% Ahee Lmn]bh / )/)
)).- Kb\aZk] Fhhk^% @bee Lmn]bh / )./ )).. Kb\aZk] Fhhk^% :]oZg\^] <nkmZbg PZeel *'( ))./ Kb\aZk] Fhhk^% M^\agbjn^l h_ ma^ NemkZk^Ze *-* )).0 Kb\aZk] Fhhk^% :]oZg\^] <nkmZbg PZeel *'(
)).1 Rhb\abkh Fbsngh% Ml\anfb Lmn]bh . )-0 ))/( Rhb\abkh Fbsngh% Ml\anfb Lmn]bh . )-0 ))/) Rnkb FbrZfhmh% ?ng]Zf^gmZel h_ =b`bmZe =^lb`g *// ))/* Kb\aZk] Fhhk^% @bee Lmn]bh / )./
))/+ I^m^k Fhk`Zg% ?ng]Zf^gmZel h_ =b`bmZe =^lb`g *// ))/, K^baZg^a FhsZ__Zkb =ZgZ% ?Z[kb\Zmbg` ma^ FZm^kbZe )00 ))/- K^baZg^a FhsZ__Zkb =ZgZ% ?Z[kb\Zmbg` ma^ FZm^kbZe )00 ))/. K^baZg^a FhsZ__Zkb =ZgZ% ?Z[kb\Zmbg` ma^ FZm^kbZe )00
))// I^m^k Fhk`Zg% :g]kZl^d Lmn]bh + ))* ))/0 I^m^k Fhk`Zg% :k\abm^\mnkZe =kZpbg` * *.(
))/1 =Zgbe GZ`r% Dbf Lmn]bh * ))) ))0( =Zgbe GZ`r% Dbf Lmn]bh * ))) ))0) G^mphkd :k\abm^\mnk^ EZ[3 Ma^ Bg_kZlmkn\mnkZe <bmr3 <' I' Mak^^ Ikhi Ahnl^% Ehl :g`^e^l [r Kh[^km Lnfk^ee ,'0
))0* =Zgbe GZ`r% Dbf Lmn]bh * ))) ))0+ =Zgbe GZ`r% Khmalm^bg Lmn]bh + ))0
))0, G^mphkd :k\abm^\mnk^ EZ[3 Ma^ Bg_kZlmkn\mnkZe <bmr3 ohee^r[Zee g^m hg =h\dp^be^k LmZm^ ;^Z\a pbma GK@ P^lmÍl >e L^`ng]h ))0/ =Zgbe GZ`r% Khmalm^bg Lmn]bh + ))0 ))00 =Zgbe GZ`r% Dbf Lmn]bh * ))) @^g^kZmbg` LmZmbhg% >e L^`ng]h% iahmh`kZia [r DZsrl OZkg^ebl ,'0 ))0- G^mphkd :k\abm^\mnk^ EZ[3 Ma^ Bg_kZlmkn\mnkZe <bmr3 \^ee iahg^ Êmk^^Ë maZm aZl lnkobo^] Z _hk^lm Ök^% LZg ;^kgZk]bgh ))01 G^mphkd :k\abm^\mnk^ EZ[3 Ma^ Bg_kZlmkn\mnkZe <bmr3 fZi h_ Ehl :g`^e^l Ikhi Ahnl^l Zg] Mabkmr Fbe^ FhngmZbgl% iahmh`kZia [r DZsrl OZkg^ebl ,'0 Shg^ [r E^Za F^blm^kebg ,'0 ))0. G^mphkd :k\abm^\mnk^ EZ[3 G^mphkd^] In[eb\l \ho^k3 ?b^e] h_ @k^r% [r BlkZ^e DZg]ZkbZg ,'0
))1( FbggZ GbghoZ% :]oZg\^] @BL *0' ))1) Ghgebg^Zk Lhenmbhgl Ngbm ,'/
))1* B`gZ\bh Gb^mh% =bfbmkZ MlZ\ak^ebZ% >bkbgb MlZ\ak^ebZ% =b`bmZe :ll^f[er *,, ))1+ Lhiab^ Gb\ahel% G^p Rhkd(IZkbl3 IZkbl =^lb`g Lmn]bh ,(, ))1, Ghgebg^Zk Lhenmbhgl Ngbm ,'/
))1- Enibg` RnZg% Ghgebg^Zk Lhenmbhgl Ngbm ,'/ ))1. PbeebZf MkZ\r% Ghgebg^Zk Lhenmbhgl Ngbm ,'/ ))1/ GZhfb H\dh% PZlbnmZ Lmn]bh * )))
))10 Ghgebg^Zk Lhenmbhgl Ngbm ,'/ ))11 Enibg` RnZg% Ghgebg^Zk Lhenmbhgl Ngbm ,'/ )*(( PbeebZf MkZ\r% Ghgebg^Zk Lhenmbhgl Ngbm ,'/
)*() Ar^ E^^ Ha% IZkd^k Lmn]bh + )). )*(* Arng Be Ha% MlnknfZdb Lmn]bh - )+-
)*(+ Ghgebg^Zk Lhenmbhgl Ngbm ,'/ )*(, GZhfb H\dh% PZlbnmZ Lmn]bh * )))
)*(- <aZke^l <abZg`% Rhn Cng` Dbf% Cbah IZkd% Nk[Zg =^lb`g Lmn]bh + +,. )*(. Ar^ E^^ Ha% IZkd^k Lmn]bh + )).
)*(/ Dbl^hd Ha% FZgbl Lmn]bh + ))- )*(0 Dbl^hd Ha% FZgbl Lmn]bh + ))-
)*(1 Arng Be Ha% MlnknfZdb Lmn]bh - )+- )*)( RhngCbg IZkd% ?hkgZ[Zb Lmn]bh - )+)
)*)) L^ Cng` Ha% F^labg` *-' )*)* RhngCbg IZkd% ?hkgZ[Zb Lmn]bh - )+) )*)+ <aZke^l <abZg`% Rhn Cng` Dbf% Cbah IZkd% Nk[Zg =^lb`g Lmn]bh + +,.
)*), L^ Rhhg IZkd% :k\abm^\mnkZe =Zreb`ambg` *') )*)- :eeblhg IZmkb\d% <ang Lmn]bh + ))+ )*). :eeblhg IZmkb\d% Hdb Lmn]bh * )))
)*)/ :eeblhg IZmkb\d% <ang Lmn]bh + ))+
)*)0 FZmma^p K' IZner% @bee(L\afb] ::= Lmn]bh )+0 )*)1 ChgZmaZg IZrg^% :k\abm^\mnkZe =^lb`g * ,)(
)**( FZmma^p K' IZner% @bee(L\afb] ::= Lmn]bh )+0 )**) FZmma^p K' IZner% Kh\a^ Lmn]bh . )-.
)*** Chk`^ I^k^bkZ% AZpdbglhg Lmn]bh . )-( )**+ E^nrn <a^g% =Zgb^e IZrg^% Dnk`Zg Lmn]bh , )**
)**, E^nrn <a^g% =Zgb^e IZrg^% Dnk`Zg Lmn]bh , )** )**- Chk`^ I^k^bkZ% AZpdbglhg Lmn]bh . )-(
)**. Chk`^ I^k^bkZ% Mnkg[nee ::= Lmn]bh ),, )**/ Chk`^ I^k^bkZ% AZpdbglhg Lmn]bh . )-(
)**0 Chk`^ I^k^bkZ% PZed^k Lmn]bh / )0'
)**1 Chk`^ I^k^bkZ% PZed^k Lmn]bh / )0' )*+( Chl^ Enbl I^k^s&@kb__h Objn^bkZ% Ob\mhkbZ Knbs% ;^rhg] Ikhmhmri^ *-, )*+) Chl^ Enbl I^k^s&@kb__h Objn^bkZ% KZdZmZgldr ::= Lmn]bh ),+
)*+* Chk`^ I^k^bkZ% Mnkg[nee ::= Lmn]bh ),, )*++ Chk`^ I^k^bkZ% PZed^k Lmn]bh / )0'
)*+, Chl^ Enbl I^k^s&@kb__h Objn^bkZ% KZdZmZgldr ::= Lmn]bh ),+ )*+- Chl^ Enbl I^k^s&@kb__h Objn^bkZ% Lhehfhgh__ Lmn]bh / )/0
)*+. Chl^ Enbl I^k^s&@kb__h Objn^bkZ% KZdZmZgldr ::= Lmn]bh ),+ )*+/ En\bZ I^k^s Fhk^gh% Hk__ ::= Lmn]bh ),*
)*+0 Chl^ Enbl I^k^s&@kb__h Objn^bkZ% Lhehfhgh__ Lmn]bh / )/0 )*+1 >e^gZ I^k^s @n^f[^% :]oZg\^] :k\abm^\mnkZe K^l^Zk\a +'+
)*,( >e^gZ I^k^s @n^f[^% :]oZg\^] :k\abm^\mnkZe K^l^Zk\a +'+ )*,) Chl^ Enbl I^k^s&@kb__h Objn^bkZ% Lhehfhgh__ Lmn]bh / )/0
)*,* @erd^kbZ Ihgmbdhihnehn% Nk[Zg Mabgd MZgd Lmn]bh . ),. )*,+ Lm^iaZgb^ Ihp^k% <ang Lmn]bh * )))
)*,, @erd^kbZ Ihgmbdhihnehn% Nk[Zg Mabgd MZgd Lmn]bh . ),.
)*,- <Zi IkZl\a% Pbelhg Lmn]bh + )*' )*,. C^ggb_^k Ik^lmhg% AZkkblhg Lmn]bh / ).0 )*,/ >ffZ Ikb\^% G^p Rhkd(IZkbl3 IZkbl =^lb`g Lmn]bh ,(,
)*,0 C^ggb_^k Ik^lmhg% AZkkblhg Lmn]bh / ).0
)*,1 M^\agheh`b\Ze <aZg`^ EZ[ ,'. )*-( M^\agheh`b\Ze <aZg`^ EZ[ ,'.
)*-) M^\agheh`b\Ze <aZg`^ EZ[3 LkbgboZl ^m Ze'% >nkhi^Zg IeZggbg` Lmn]b^l hg ?bgeZg]ﾃ考 m^\agheh`r% bg]nlmkr Zg] k^`bhgZe in[eb\ bglmbmnmbhgl ,'. )*-* M^\agheh`b\Ze <aZg`^ EZ[3 \hglmkn\mbhg phkd^kl% ;Zg`Zehk^% Bg]bZ% \hnkm^lr h_ EZ[hnkG^m ,'.
)*-+ <hglmkn\mbo^ IkZ\mb\^l ,)- )*-, G^p Nk[Zgblfl ,)- )*-- In[eb\Zmbhgl ,)-
)*-. In[eb\Zmbhgl ,)- )*-/ G^p Nk[Zgblfl ,)- )*-0 LiZbg hg LiZbg ,)-
)*-1 ;k^m JnZ`ebZkZ% K^Ze */0 )*.( AZkbikbrZ KZg`ZkZcZg% Nk[Zg Mabgd MZgd Lmn]bh . ),. )*.) AZkbikbrZ KZg`ZkZcZg% Nk[Zg Mabgd MZgd Lmn]bh . ),.
)*.* KZob KZc% LZmh Lmn]bh * ))) )*.+ GhkbZdb AZgZhdZ% :]Zf F^k\b^k% @^hk`^ JnZbo^k% <hglmkn\mbhg Makhn`a F^\aZgblf *,* )*., ;k^m JnZ`ebZkZ% K^Ze */0
)*.- ;^gcZfbg K^b\a% LZmh Lmn]bh - )+, )*.. OZg^llZ K^blbg% G^p Rhkd(IZkbl3 G^p Rhkd =^lb`g Lmn]bh ,(* )*./ Lmn]^gm Eb_^ )*.0 Lmn]^gm Eb_^
)*.1 SZ\aZkr <he[^km% =^[hkZa Kb\aZk]l% Mnkg[nee Lmn]bh , )*/ )*/( Lmn]^gm Eb_^ )*/) SZ\aZkr <he[^km% =^[hkZa Kb\aZk]l% Mnkg[nee Lmn]bh , )*/
)*/* PbeebZf Kh^]b`^k&Kh[bg^mm^% ;^gcZfbg Lmn]bh - )+' )*/+ PbeebZf Kh^]b`^k&Kh[bg^mm^% ;^gcZfbg Lmn]bh - )+'
)*/, PbeebZf Kh^]b`^k&Kh[bg^mm^% :]Zimbo^ ?hkfneZmbhgl *-0 )*/- PbeebZf Kh^]b`^k&Kh[bg^mm^% :]Zimbo^ ?hkfneZmbhgl *-0 )*/. CnebZ Ahbgl% F^bk Eh[Zmhg <hkhgZ% Bkf`Zk] K^bm^k% :g]kZl^d ::= Lmn]bh )+/ )*// PbeebZf Kh^]b`^k&Kh[bg^mm^% ?ng]Zf^gmZel h_ =b`bmZe =^lb`g *//
)*/0 :rZeZ Khl^g% :k\abm^\mnkZe Iahmh`kZiar *,. )*/1 KhlZgZ Kn[bh&A^kgZg]^s% :]oZg\^] :k\abm^\mnkZe K^l^Zk\a +', )*0( Ob\mhkbZ Knbs% :k\abm^\mnkZe K^ik^l^gmZmbhg3 :[lmkZ\mbhg ,(0
)*0) LaZke^g^ Kh]kb`n^s% :k\abm^\mnkZe =^lb`g + ,)( )*0* KhlZgZ Kn[bh&A^kgZg]^s% Bg]^i^g]^gm K^l^Zk\a +'/ )*0+ KhlZgZ Kn[bh&A^kgZg]^s% :]oZg\^] :k\abm^\mnkZe K^l^Zk\a +',
)*0, ChgZmaZg Knlafhk^% FZ\GZbk Lmn]bh . )-, )*0- ChgZmaZg Knlafhk^% :]oZg\^] <nkmZbg PZeel *'( )*0. ChgZmaZg Knlafhk^% :]oZg\^] <nkmZbg PZeel *'(
)*0/ ChgZmaZg Knlafhk^% AZkkblhg Lmn]bh / ).0 )*00 <akblmbZg Knn]% LZmh Lmn]bh - )+, )*01 <akblmbZg Knn]% LZmh Lmn]bh - )+,
)*1( Lm^ia^g LZebl[nkr% :k\abm^\mnkZe K^ik^l^gmZmbhg3 I^k\^imbhg ,)' )*1) ;^gcZfbg LZ[Zmbgb% Ablmhkb\ Ik^l^koZmbhg Lmn]bh * +() )*1* EZnk^g\^ LZkkZsbg% Ebg]l^r La^kfZg% Khmalm^bg Lmn]bh , )*.
)*1+ KbmZ LZbdZeb% :k\abm^\mnkZe Iahmh`kZiar *,. )*1, EZnk^g\^ LZkkZsbg% Ebg]l^r La^kfZg% Khmalm^bg Lmn]bh , )*. )*1- EZnk^g\^ LZkkZsbg% LZmh Lmn]bh - )+,
)*1. @Z[kb^e L\aZfZ% :k\abm^\mnkZe =^lb`g + ,)( )*1/ :ggb^ L\a^^e% FZ\GZbk Lmn]bh . )-, )*10 :ggb^ L\a^^e% FZ\GZbk Lmn]bh . )-,
)*11 @Z[kb^e L\aZfZ% :k\abm^\mnkZe =^lb`g + ,)( )+(( @Z[kb^e L\aZfZ% :k\abm^\mnkZe =^lb`g + ,)( )+() L\ahhe Eb_^3 ;n^ee
)+(* L\ahhe Eb_^3 Lmn]bhl )+(+ >ebsZ[^ma L^gghmm% E^^l^k Lmn]bh . )-* )+(, >ebsZ[^ma L^gghmm% M^\agbjn^l h_ ma^ NemkZk^Ze *-* )+(- Ebg]l^r La^kfZg% =bZs :ehglh Lmn]bh - )+(
)+(. Gb\he^ L^^d^er% Lhehfhgh__ Lmn]bh * ))) )+(/ >ebsZ[^ma L^gghmm% E^^l^k Lmn]bh . )-* )+(0 Ebg]l^r La^kfZg% =bZs :ehglh Lmn]bh - )+(
)+(1 DZmb^ LabfZ% ;^gcZfbg Lmn]bh - )+' )+)( DZmb^ LabfZ% ;^gcZfbg Lmn]bh - )+' )+)) L^ng` Phg Lhg`% :g]kZl^d Lmn]bh + ))*
)+)* Chl^ia F\@kZma% >ebsZ[^ma La^Zk^k% FZk[e^ Lmn]bh , )*, )+)+ Lm^_ZgZ Lbfb\% :k\abm^\mnkZe =^lb`g , ,)) )+), DZmb^ LabfZ% ;^gcZfbg Lmn]bh - )+' )+)- Chl^ia F\@kZma% >ebsZ[^ma La^Zk^k% FZk[e^ Lmn]bh , )*, )+). L^ng` Phg Lhg`% :g]kZl^d Lmn]bh + ))*
)+)/ EZnkZ Lm^]fZg% :k\abm^\mnkZe =kZpbg` * *.( )+)0 I^m^k LmkZnll% Lhehfhgh__ Lmn]bh * ))) )+)1 :[b`Zbe Lmhg^% Bgmkh]n\mbhg mh :k\abm^\mnkZe =^lb`g Zg] OblnZe <nemnk^ ,(/
)+*( KZ\a^e Lmb`e^k% =^Zg Lmn]bh / ).. )+*) :[b`Zbe Lmhg^% Bgmkh]n\mbhg mh :k\abm^\mnkZe =^lb`g Zg] OblnZe <nemnk^ ,(/ )+** Lmn]^gm Eb_^
)+*+ Fb\a^ee^ MZ[^m% :]oZg\^] @BL *0' )+*, GhkbZdb AZgZhdZ% <^lZk MZkZg\hg&A^kZl% @^hk`^ JnZbo^k% :g]kZl^d ::= Lmn]bh )+/ )+*- KZ\a^e Lmb`e^k% =^Zg Lmn]bh / ).. )+*. C^llb\Z K^g^^ MZee^r% KZdZmZgldr Lmn]bh * )))
)+*/ =Zgb^e MZe^lgbd% Hk__ ::= Lmn]bh ),* )+*0 FZma^p LmZn]m% :]Zimbo^ ?hkfneZmbhgl *-0
)+*1 =Zgb^e MZe^lgbd% Hk__ ::= Lmn]bh ),* )++( EZnkZ Lm^]fZg% Pbelhg Lmn]bh + )*' )++) =Zgb^e MZe^lgbd% LZ_kZg Lmn]bh . )-/ )++* C^llb\Z K^g^^ MZee^r% KZdZmZgldr Lmn]bh * )))
)+++ C^llb\Z K^g^^ MZee^r% KZdZmZgldr Lmn]bh * ))) )++, E^^ :emfZg% RndZ M^kZ]Z% C' FZmma^p MahfZl% Nk[Zg =^lb`g Lmn]bh , +,/ )++- GhkbZdb AZgZhdZ% <^lZk MZkZg\hg&A^kZl% @^hk`^ JnZbo^k% :g]kZl^d ::= Lmn]bh )+/
)++. LZkZ MZrehk% :k\abm^\mnkZe Iahmh`kZiar *,. )++/ Chk]Zg MkZ\am^g[^k`% E^okZm Lmn]bh / )/-
)++0 Chk]Zg MkZ\am^g[^k`% E^okZm Lmn]bh / )/- )++1 Mkhr Ma^kkb^g% ;^gcZfbg Lmn]bh - )+'
)+,( Chk]Zg MkZ\am^g[^k`% Kh\a^ Lmn]bh . )-. )+,) FZkbZ MbebZdhl% @bee Lmn]bh / )./ )+,* FZkbZ MbebZdhl% @bee Lmn]bh / )./
)+,+ Chk]Zg MkZ\am^g[^k`% E^okZm Lmn]bh / )/-
)+,, E^hgb]Zl MkZfihndbl% A^kk^khl Lmn]bh / )/( )+,- E^hgb]Zl MkZfihndbl% :k\abm^\mnkZe Iahmh`kZiar *,.
)+,. E^hgb]Zl MkZfihndbl% Dbf ::= Lmn]bh ),(
)+,/ ;^gcZfbg Lmn]bh% =n[Zb ,), )+,0 ;^gcZfbg Lmn]bh% =n[Zb ,), )+,1 ;^gcZfbg Lmn]bh% =n[Zb ,),
)+-( ;^gcZfbg Lmn]bh% =n[Zb ,), )+-) ;^gcZfbg Lmn]bh% =n[Zb ,),
)+-* =^Zg Lmn]bh% <abgZ ,), )+-+ =^Zg Lmn]bh% <abgZ ,), )+-, AZkkblhg Lmn]bh% >`rim ,),
)+-- =^Zg Lmn]bh% <abgZ ,), )+-. =^Zg Lmn]bh% <abgZ ,), )+-/ AZkkblhg Lmn]bh% >`rim ,),
)+-0 AZkkblhg Lmn]bh% >`rim ,), )+-1 AZkkblhg Lmn]bh% >`rim ,), )+.( Nk[Zg Mabgd MZgd Lmn]bh% ;kZsbe ,),
)+.) AZkkblhg Lmn]bh% >`rim ,), )+.* Nk[Zg Mabgd MZgd Lmn]bh% ;kZsbe ,), )+.+ AZkkblhg Lmn]bh% >`rim ,),
)+., @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+.- @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+.. @bee Lmn]bh% B\^eZg] $ =^gfZkd ,),
)+./ Nk[Zg Mabgd MZgd Lmn]bh% ;kZsbe ,), )+.0 Nk[Zg Mabgd MZgd Lmn]bh% ;kZsbe ,), )+.1 @bee Lmn]bh% B\^eZg] $ =^gfZkd ,),
)+/( Nk[Zg Mabgd MZgd Lmn]bh% ;kZsbe ,), )+/) @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+/* @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+/+ @bee Lmn]bh% B\^eZg] $ =^gfZkd ,),
)+/, @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+/- @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+/. @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+// @bee Lmn]bh% B\^eZg] $ =^gfZkd ,),
)+/0 @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+/1 @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+0( @bee Lmn]bh% B\^eZg] $ =^gfZkd ,),
)+0) @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+0* @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+0+ @bee Lmn]bh% B\^eZg] $ =^gfZkd ,),
)+0, @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+0- @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+0. EHM&>D Lmn]bh% GZfb[bZ ,),
)+0/ @bee Lmn]bh% B\^eZg] $ =^gfZkd ,), )+00 EHM&>D Lmn]bh% GZfb[bZ ,), )+01 EHM&>D Lmn]bh% GZfb[bZ ,), )+1( EHM&>D Lmn]bh% GZfb[bZ ,),
)+1) FZkmbg Lmn]bh% ;kZsbe ,), )+1* FZkmbg Lmn]bh% ;kZsbe ,), )+1+ EHM&>D Lmn]bh% GZfb[bZ ,), )+1, FZkmbg Lmn]bh% ;kZsbe ,),
)+1- FZkmbg Lmn]bh% ;kZsbe ,), )+1. g:k\abm^\ml Lmn]bh% ;kZsbe ,), )+1/ EHM&>D Lmn]bh% GZfb[bZ ,), )+10 FZkmbg Lmn]bh% ;kZsbe ,),
)+11 g:k\abm^\ml Lmn]bh% ;kZsbe ,), ),(( g:k\abm^\ml Lmn]bh% ;kZsbe ,), ),() g:k\abm^\ml Lmn]bh% ;kZsbe ,),
),(* g:k\abm^\ml Lmn]bh% ;kZsbe ,), ),(+ g:k\abm^\ml Lmn]bh% ;kZsbe ,), ),(, g:k\abm^\ml Lmn]bh% ;kZsbe ,),
),(- g:k\abm^\ml Lmn]bh% ;kZsbe ,), ),(. g:k\abm^\ml Lmn]bh% ;kZsbe ,),
),(/ g:k\abm^\ml Lmn]bh% ;kZsbe ,), ),(0 g:k\abm^\ml Lmn]bh% ;kZsbe ,),
),(1 =bfbmkZ MlZ\ak^ebZ% >bkbgb MlZ\ak^ebZ% Bg]^i^g]^gm K^l^Zk\a +'0 ),)( Fhgb\Z Mk^ch% EHM&>D Lmn]bh / )/.
),)) Cb^phg Lhg`% =bfbmkZ MlZ\ak^ebZ% ;rZk](Dhgrd Lmn]bh . ),/
),)* >kb\ Ml^% <ang Lmn]bh + ))+ ),)+ Fhgb\Z Mk^ch% EHM&>D Lmn]bh / )/. ),), Fhgb\Z Mk^ch% EHM&>D Lmn]bh / )/.
),)- Fhgb\Z Mk^ch% EHM&>D Lmn]bh / )/. ),). Cb^phg Lhg`% =bfbmkZ MlZ\ak^ebZ% ;rZk](Dhgrd Lmn]bh . ),/
),)/ =bfbmkZ MlZ\ak^ebZ% DZl^fZg ::= Lmn]bh ),' ),)0 >bkbgb MlZ\ak^ebZ% Mnkg[nee ::= Lmn]bh ),,
),)1 =bfbmkZ MlZ\ak^ebZ% DZl^fZg ::= Lmn]bh ),' ),*( >bkbgb MlZ\ak^ebZ% Mnkg[nee ::= Lmn]bh ),, ),*) B&<ang MlZb% M^\agbjn^l h_ ma^ NemkZk^Ze *-*
),** >e^_ma^kbZ MsZgZdb% M^\agbjn^l h_ ma^ NemkZk^Ze *-* ),*+ =Zgb^e Db]]% Chg MnkdneZ% ;^ee Lmn]bh , )*) ),*, =Zgb^e Db]]% Chg MnkdneZ% ;^ee Lmn]bh , )*)
),*- >e^_ma^kbZ MsZgZdb% :k\abm^\mnkZe Iahmh`kZiar *,.
),*. Lm^iaZgb^ Mng`% PZlbnmZ Lmn]bh * ))) ),*/ Mhfhghkb MlncbmZ% EHM&>D Lmn]bh / )/. ),*0 Lm^iaZgb^ Mng`% PZlbnmZ Lmn]bh * ))) ),*1 ChgZmaZg OZee^Zn% :k\abm^\mnkZe =^lb`g * ,)(
),+( BkfZd MnkZg% :k\abm^\mnkZe =^lb`g * ,)( ),+) Nk[Zg EZg]l\Zi^ EZ[ ,',
),+* :ffk OZg]Ze% Nk[Zg Mabgd MZgd Lmn]bh . ),. ),++ :ffk OZg]Ze% Nk[Zg Mabgd MZgd Lmn]bh . ),.
),+, Nk[Zg EZg]l\Zi^ EZ[ ,', ),+- NmhibZ l @ahlm >qab[bm Zm <<:% \hnkm^lr h_ <<: *))
),+. Lchndc^ OZg =^k F^ne^g% Ia'=' Ikh`kZf3 Ib^kk^ Anr`a^% <aZgmb^k ;Zk[ l&Kh\a^\ahnZkm% *22- *00 ),+/ =pZrg^ =Zg\r% Rhb\abkh Fbsngh% Qbg PZg`% =b`bmZe =^mZbebg` *'' ),+0 Fb\aZ^e PZe\a% ?ng]Zf^gmZel h_ =b`bmZe =^lb`g *//
),+1 >oZg PZmml% LZmh Lmn]bh * ))) ),,( =Zob] O^`Z ;ZkZ\ahpbms% Bgmkh]n\mbhg mh :k\abm^\mnkZe =^lb`g Zg] OblnZe <nemnk^ ,(/ ),,) =Zob] O^`Z ;ZkZ\ahpbms% Bgmkh]n\mbhg mh :k\abm^\mnkZe =^lb`g Zg] OblnZe <nemnk^ ,(/
),,* Kh[^km ObheZ% IZkZf^mkb\ Shgbg` >go^ehi^ *.' ),,+ CZf^l Obg\^gm% E^^l^k Lmn]bh . )-* ),,, PbeebZf PZmdbgl% Bgmkh mh @BL *0)
),,- CZf^l Obg\^gm% E^^l^k Lmn]bh . )-*
),,. Kr\ab^^ >libghlZ% FZmma^p Ohll% LbfneZmbhg Zl ma^ Hkb`bg h_ MZg`b[e^ ?hkf */( ),,/ Kr\ab^^ >libghlZ% FZmma^p Ohll% ?Z[kb\Zmbg` ma^ FZm^kbZe )00 ),,0 D^obg P^b% FZm^kbZe Ihm^g\r *,)
),,1 Kr\ab^^ >libghlZ% FZmma^p Ohll% ?Z[kb\Zmbg` ma^ FZm^kbZe )00 ),-( Fb\aZ^e PZe\a% Lhehfhgh__ Lmn]bh * )))
),-) >oZg PZmml% <ang Lmn]bh + ))+ ),-* E^^ :emfZg% <a^g <ahn% D^obg P^b% Nk[Zg =^lb`g Lmn]bh + +,. ),-+ ;^gcZfbg P^bgkr[ @khal`aZe% :k\abm^\mnkZe =^lb`g , ,))
),-, Hmbl ;^kdbg% <a^kre Phg`% =b`bmZe :ll^f[er3 ?hkfphkdl *,+ ),-- E^^ :emfZg% <a^g <ahn% D^obg P^b% Nk[Zg =^lb`g Lmn]bh + +,.
),-. :eeblhg P^bglm^bg% ;^ee Lmn]bh / ).* ),-/ Phkdlahi ),-0 Mhf Pn% Iengs Lmn]bh . )--
),-1 Lb] Pb\ab^gdn^k% =bZs :ehglh Lmn]bh . )-' ),.( Lb] Pb\ab^gdn^k% =bZs :ehglh Lmn]bh . )-' ),.) KZr PbeebZfl% Iengs Lmn]bh . )--
),.* Cb^ng RZg`% Bg]^i^g]^gm K^l^Zk\a +(' ),.+ Cb^ng RZg`% FZkmbg Lmn]bh / )//
),., Cb^ng RZg`% FZkmbg Lmn]bh / )// ),.- Cb^ng RZg`% PZed^k Lmn]bh . ).( ),.. Cb^ng RZg`% PZed^k Lmn]bh . ).(
),./ Enhrb Rbg% E^okZm Lmn]bh . )-+ ),.0 Fb\a^Ze Rhng`% OZkg^ebl Lmn]bh . ).' ),.1 Fb\a^Ze Rhng`% KZdZmZgldr ::= Lmn]bh ),+
),/( Enhrb Rbg% Dbf ::= Lmn]bh ),( ),/) Fb\a^Ze Rhng`% OZkg^ebl Lmn]bh . ).'
),/* >]fng] Rn% ;^ee Lmn]bh / ).* ),/+ Kh]kb`h SZfhkZ% :k\abm^\mnkZe =^lb`g , ,))
),/, Fb\a^Ze Rhng`% OZkg^ebl Lmn]bh . ).' ),/- Fb\a^Ze Rhng`% KZdZmZgldr ::= Lmn]bh ),+