The Death of the Author

Peter Trummer Design Research Project @ SAC/2018

CREDITS:

Peter Trummer AND Anna Arlyapova

Subin Jameel

Zeynep Beyza Kirazoglu Berk Ozata

Jose Luis Arias Reynoso Mahima Koteshwar Suresh Minnu Varghese

Introduction

Essay Peter Trummer THE MULTIPLE AUTHORS OF ERIC OWEN MOSS Research Brief DEEP READINGS OF BUILDINGS

Exhibition Site Projects:

Wall House II (Bye House)

Couvent de la Tourette New Tokyo City Hall

ZKM Center of Art and Media Technology

Olympic Archery Range

Getty Center

Edge

Introduction

In deep-hermeneutics, reading buildings as material objects is used to unfold a psychoanalytical reading of the particular culture that they belong to. In extension of this, a series of questions arise: How can we read a building through the objects that we can associate to it? Can we at all read a building or a city through objects rather than the intentions of their respective authors, the buildings’ respective contexts or programmes, or the immediate critical assessment of the work?

By proposing an object-oriented reading of buildings, this studio poses the question of authorship within the post-human Zeitgeist.

The studio centres on architecture and the city, investigating the various relationships and possibilities that the contemporary city presents architecture with. The contemporary city, whether small or large, is comprised of an intricate web of individual and collective interests and forces that arise from economical, environmental, social, cultural and other currents and changes. The impact on architecture is massive, and buildings can no longer only be read against local contexts but must seen as intricate parts of a global mesh of material and immaterial fow. Architecture and Urban Design studio explores architectural design as feld of creative opportunity within this radically changing feld.

The Multiple Authors of Eric Owen Moss

When Eric Owen Moss asked me to write about his multi-city master plan project located outside of Nanjing, China1, I frst thought: How do I write about a colleague’s work? What kind of argument should one architect have with another? How should architects write about other architects?

An architect’s criticism should difer from how a theorist writes about an architectural project. The most interesting theorists look at a piece of architecture through the lens of a diferent disciplinary knowledge to argue for a thesis that is realized within the particular architectural object. Sanford Kwinter, for example, has read Peter Eisenman’s work as a materialist or geological project. Jefrey Kipnis’s political reading of Rem Koolhaas’s work comes by way of his interpretation of the relationship between architecture and its staging of grounds.

The writing of one architect about another should also difer from the ways in which historians talk about buildings. One of the main methods historians use is called the comparative method, an example being Kenneth Frampton’s comparison of the Farnsworth House by Mies van der Rohe with the Glass House by Philip Johnson. The comparative method often leads to a judgment––one building is better than the other. In Frampton’s case, Mies won. I don’t want to judge.

A third trope to avoid in talking about the work of fellow architects is social critique. This is often the approach of hypocritical architects who do not design or build themselves yet believe that architecture has the power to change society. This naive form of criticism forces architects to borrow knowledge from outside disciplines they have no expertise in like sociology, economics, or politics. Like one-eyed men in the land of the blind, these architects exploit irrelevant ideas in order to distinguish between so-called “good” and “bad” architects. One might rather say that there are only bad architects, since architecture is by nature complicit with power. Buildings will ever turn money into more money, no matter what they look like. The culture of architectural education, especially in the feld of urban design, has produced enough of this mediocre social criticism over the last ffty years.

In my search for an approach to writing about another architect, I came across the book How to See, by the painter David Salle. Salle explains that he wrote his book about art neither as a critic nor as a historian, but as an artist using “the language that artists use when they talk among themselves.” As he argues, “no one ever loved a painting for the ideas it supposedly contains; no painting is improved by the narrative one spins around it or the intention behind its creation. After all, it is not theoretical appreciation.”2 Like Salle, I have decided to write in a language that architects use to talk to other architects.

In order to discuss Moss’s Nanjing project through my own architect eyes, my approach will turn into a manifold reading of his work, similar to Roland Barthes’ reading of a text in his essay “The Death of the Author.” “A text,” he argues, “consists of multiple writings, issuing from several cultures and entering into dialogue with each other, into parody, into contestation. . . . The unity of a text is not in its origin, it is in its destination; but this destination can no longer be personal: the reader is a man without history, without biography, without psychology; he is only that someone who holds gathered into a single feld all the paths of which the text is constituted.”

As just such a reader, I hope to unfold the multiple projects, and their multiple authors, that I see in the work of Eric Owen Moss.

What do I see?

Looking for the frst time at the renderings of the four cities that compose the master plan—Mountain Island City, Super Block City, City Gate/Concentric City, and Bridge City—one is overwhelmed by the enormous amount of urban entities that can be found: square grids forming bridges between large tower blocks foating in the middle of a lake, horizontal landform buildings with massive rectilinear apertures, gigantic linear buildings along a curvilinear road. Between all these urban objects one fnds twisted towers with crowns of antennalike spires on their roofs, towers with buildings sticking out of them, and thin, long, horizontal scrambled buildings that bend to become vertical at one end. And fnally the eye glimpses buildings that form city walls, which frame groups of houses within them.

These urban objects are not simply abstract geometrical forms. Even when rendered as white boxes they are, in fact, very specifc. The whole master plan is an assemblage, or a collage, of more or less known architectural projects. Representing many diferent historical zeitgeists, these projects carry the content of the past through their forms, but they would never exist in the same place and time without the architect merging them together.

The Grid

One of the strongest fgures in Moss’s Nanjing master plan is the square

grid bridge of the Bridge City project. I frst thought to relate it to Exodus, the 1972 project by the group that would form OMA, Rem Koolhaas, Madelon Vriesendorp, Elia Zenghelis, and Zoe Zenghelis, in which each square holds one articulated urban program. The squares of the grid bridge, however, are empty, or rather they frame voids of water. This is more like Aldo Rossi, Luca Meda, and Giannugo Polesello’s Locomotiva 2, their 1962 competition entry for a new business district in Turin, where a square building foats above the ground and acts as a boundary for a void of urban infrastructure. Perhaps Bridge City also relates to the 1930 Magnitogorsk project by the Russian group OSA, led by Ivan Leonidov. But unlike that project’s housing towers with their very peculiar socialist foor plans and staircases on the exterior, the towers in Bridge City land directly on the roads, denying the framing of the tower in the grid as has come to be expected ever since Le Corbusier did it in his 1922 Ville Contemporaine proposal for Paris.

Perhaps the grid bridge is more like a gigantic Vienna superblock, spanning over several urban blocks and generating a gigantic urban artifact. But unlike the Viennese housing superblocks, where the building is autonomous from its urban infrastructure, the Bridge City blocks are unifed with and even built into spaces of circulation.

The Megaforms

Perhaps Bridge City has much more in common with a project from Edgar Chambless, called Roadtown, from 1910. Roadtown is a gigantic building lurching through the countryside along a railroad line. I refer to such an infrastructural building, in which the space of circulation and the space of inhabitation is unifed in one form, as a megaform, as distinct from a megastructure, whereby buildings dock along a piece of infrastructure, as in Paul Rudolph’s Lower Manhattan Expressway Project from 1972. Two of the best-known examples of megaforms are the Ponte Vecchio Bridge in Florence or the Rialto Bridge in Venice.

In the Nanjing master plan there are many variations of megaforms. Some are more related to the Roadtown precedent, with infrastructure underneath the buildings, while others behave more like Le Corbusier’s Plan Obus for Algiers or his plan for Sao Paulo, where a huge highway runs along the roof of a curvilinear building many miles long. The building underneath the highway, with all its holes for exterior spaces, seems to have more in common with Corbusier’s setback projects or his Immeubles Villas from 1922, in which the building is like a large aggregate of houses and gardens.

To take a look at some of the details of the plan reveals smaller tube-like bridges hanging of the main grid bridge. These buildings contain their own circulation spaces within their tubes, evoking Raimund Abraham’s Linear City

Series projects like Mega Bridge IV, Glacier City, or Universal City, where a centralized circular space carries all necessary communication infrastructure reaching form cars to public transportation to all kinds of communication networks.

The Megastructures

The second city in Moss’s master plan is called Mountain Island City. In opposition to the Bridge City, Mountain Island City assembles a very intriguing collage of urban extension projects in the water. When I frst saw Mountain Island City, I saw in it the extension plan for Amsterdam by J. B. Bakema and H. Klopmain in 1964. That plan consists entirely of islands in the middle of a regulated sea area. Modernist slabs are staged along a linear infrastructure as its communications spaces. The islands in the Mountain Island City are connected to the mainland by many bridges, so I thought the plan has elements from Kenzo Tange’s Tokyo Bay Project. Tange’s plan, however, is too orthogonal, too rational in comparison to the amorphous character of the Nanjing islands. A little known project instead comes to mind. It is a garden city project from Patrick Abercrombie’s Greater London Plan of 1944 called Ongar. Ongar was one of several proposed satellite towns surrounding London. Its peculiar layout was the result of a mesh of curved roads that generate amorphous, island-like neighborhoods of modernist row houses.

This is still not enough to fully describe the urban characteristics of the Mountain Island City, since each island is also bounded by an edge-building containing millions of dwellings. These recall the ancient city walls of the Acropolis or the fortress walls of medieval cities, or even the beautiful citadel of Erbil in Iraq.

Whether or not these precedents were at all present in Moss’s imagination, they are nonetheless present in the project. His use of strong inhabited city walls that frame buildings within can also be found in the utopian city of New Harmony, Indiana envisioned by Robert Owen in the 1820s, or in the earliest settlements in Africa, wherein the outside wall of the village consists of circular rooms for the inhabitants surrounding the collective building for the village.

The Towers

Beside the various mutations of blocks, megaforms, megastructures and cities, Moss’s master plan is fooded with a set of buildings that could be seen as variations on the type of the tower, the mat-building, and the horizontal high-rise.

The frst kind of tower that jumped out at me was the twisted building with a hairy top. I see the traces of several projects in these towers, including the twisted towers of United Architects’ World Trade Center competition entry, or

the proposals by Zaha Hadid, UN-Studio, and even SOM and MAD Architects. But where do the hair-like columns on the top come from? From an academic viewpoint they remind me of John Hejduk’s House of the Suicide and the House of the Mother of the Suicide, which referred to the Greek mythological fgure of Medusa, or to his Studio for a Painter and Studio for a Musician. But, somehow, the rooftop columns of the towers remind me of the Palazzo Ducale in Venice, with its gothic pinnacles sticking up from its roof.

Instead of pinnacles, a second kind of tower in the master plan has other buildings sticking out of it at the bottom and the top. It seems as if these towers share some familiarity with El Lissitzky’s 1924 Wolkenbügel towers proposed for above metro and bus stations, but in fact they include several very diferent projects within them. Hans Hollein’s Monte Laa Towers and Saturn Tower in Vienna are two of them, but an even more interesting precedent is Walter Pichler’s Underground Building project from 1963. Even though it is not a high-rise building, it expresses the idea of a solid urban mass with fragmented volumes carved into and sticking out of it.

In the Super Block City section of the master plan, there exists a third type of mutation: kissing towers. Distinct from the bundled towers of the World Trade Center proposal by Foreign Ofce Architects or MVRDV’s 2002 Kissing Towers project in Vienna, Moss’s kissing towers are cut in the middle and look more like the leaning towers of Philip Johnson and John Burgee in Madrid.

The Mat-Buildings

The dominant pieces of architecture in Super Block City are fat, rippled, horizontal masses with oblique roofs and linear or rectangular stamped out voids. These predominantly linear organized architectural objects are a strange combination of various mat-buildings. The inherent topographical features can be found in the Rolex Learning Centre at the Ecole Polytechnique Fédérale de Lausanne, designed by SANAA, but can also easily be compared to Agadir master plan by OMA—here cut in half and turned upside down. But from within the voids, these buildings have more in common with Candilis, Woods, and Michel Ecochard’s habitat buildings in Casablanca. Perhaps they also relate to the Free University of Berlin, where, instead of having the gridded circulation inside, the circulation is turned inside-out to form little alleys. This brings two projects to mind that I imagine might be unknown. One is a housing project by NL-Architects called Funen Blok in Amsterdam. It is a square mass with a curved roof, sliced by a narrow void that becomes an alley and with rectangular voids on the roof that turn into terraces. The second building is not actually a building, but rather a Chinese vernacular architecture of dwellings in the Henan Province. In the desert landscape there, square voids are dug into the ground and give access to rooms surrounding the negative courtyard. The excavated form is

the realized formal diagram of a mat-building: the building becomes the ground and the voids become fgures.

The Horizontal High-Rises

In the Super Block City there is a multiplicity of square tube buildings, which are twist and turn in horizontal strands. At the ends they bend up into thin vertical towers. Too thin to host any program other than housing, they are at the same time too thick just to be spaces for circulation. I initially thought they slotted into the history of the horizontal high-rise, including Frederick Kiesler 1925 design or the aforementioned Wolkenbügel by El Lissitzky from 1923-25. Their geometry has much more in common, however, with Steven Holl’s Horizontal Skyscraper in Shenzhen. But all these projects would not come close to the qualities of Moss’s new building type. I remember witnessing a debate in the Netherlands in the early 1990s in which Zaha Hadid described her interest in a form of building that is half ground and half fgure. This building type behaved as a horizontal infrastructure and at the same time as a vertical tower. While this crooked building type hints at the form of the uncanny hooked buildings of Super Block City, it still does account for their urban quality. That brings me to the idea that these crooked forms might relate to the horizontal oblique volumes CoopHimmelblau used in The Heart of a City, their entry for the Melun Senart Master Plan Competition in 1995. In opposition to the projects of OMA, which argued that the architect should provide urban voids that never become occupied with buildings, Coop Himmelblau argued the opposite. The only thing an architect should do is to design the buildings for the common. Therefore they proposed a meshwork of oblique, thin, horizontal buildings as public spaces around which the city’s inhabitation could evolve. It is precisely this public, urban quality that is embedded in these too-thin, crooked, hooked, twisted, autonomous volumes of Super Block City.

These are the multiple authors and projects within the work of Eric Owen Moss’s master plan for Nanjing. Surely there are even more—an endless world, perhaps, of authors contained within this singular design proposal. Each stripped of its historical reference, for Moss these a-priori sets of architectural precedents are used as fooding signifers and can become whatever they have the potential to be.

In his project for Nanjing Eric Owen Moss has buried forever the single, rational authorship of the architect and re-originated the author as a schizophrenic, multiple reader. This multiple author allows diferences to unfold between all kinds of architecture independent of the conditions from which they emerged.

Footnotes

1. Four cities that compose the master plan:

Mountain Island City (http://ericowenmoss.com/project-detail/mountainisland-city/)

Super Block City (http://ericowenmoss.com/project-detail/super-block- city/) City Gate/Concentric City (http://ericowenmoss.com/project-detail/citygate-concentric-city/)

Bridge City (http://ericowenmoss.com/project-detail/bridge-city/)

2. David Salle, How to See: Looking, Talking, and Thinking about Art, (W. W. Norton & Company, 2016)

3. Roland Barthes, “The Death of the Author”, in Image, Music, Text (New York : Hill and Wang, 1977), 142–48

Research Brief

Deep Reading of Buildings

Examining almost any architectural project, we realise that one can identify a multiplicity of references in it. Architects are constantly infuenced by various cultural precedents, typologies, ideas, and therefore their projects cannot be considered as isolated entities.

Let’s take for example Frank Gehry and his Dr Chau Chak Wing Building. Analysing the form of the building and its plan in particular, one can recognise an urban diagram: the internal volumes are organised within the bigger space similarly to a Greek agora or “tower in the park.” The curvilinear facade recalls folded baroque cloth. Punctuated square windows in a brick wall resemble a classical 19th century facade. The multiple references coexist in one project and form the new whole. Although it is not clear whether these references were intended by the author, they nevertheless emerge from the formal reading of the project. This line of thinking draws attention to the questions of authorship and originality, the value of author’s intentions and viewer’s interpretations.

The concept of authorship is one of the most interesting questions of today’s mankind. In the feld of architecture it manifests in the following dilemma: is architect a god-creator with a genius imagination as an individual subject or does architect use something what has already been produced in order to create something new?

Studio Brief

The underlying hypothesis of the studio is that any architectural object cannot be reduced to a single authorship. Each architectural entity appears as a combination of already existing cultural precedents, and architect acts as a mediator who brings them together in one project. As a complex system of references, it allows for various interpretations to emerge in the mind of the observer. The following questions arise: Does the only correct source of knowledge lie within concrete programmes, contexts and intentions of the author? What is the role of the reader of an architectural work? Could we fnd new knowledge by reading a building through objects that we associate to it? By questioning the traditional concepts

of authorship in architectural practice, the studio was investigating the potential of alternative approach, such as introducing the reader and the multiplicity of readings into the design process.

Author and Reader

Rational subject

The idea of authorship was changing throughout the history. In architecture the individual author is a modern fgure: it exists since Alberti when the development of notational system and drawing techniques triggered the separation of the act of design from the building process. Suddenly an individual was able to claim intellectual authorship of a building by putting the name on a plan. In architectural discipline it was the beginning of what one could call a rational human subject. The role of an architect was shifted from construction to producing drawings and it basically meant that architect became a creator of an idea.

In a certain way rational subject plays an important role in formalism, which can be associated with the Kantian theory about human understanding. One can never access the real object, the ‘thing in itself’, but it is still possible to discover a certain knowledge about it consciously through ‘understanding’ or ‘thinking.’ Formalists’ approach suggests the possibility to access the knowledge about an object which is deeper than what could be perceived through merely empirical senses. In the roots of formalism lies what Colin Rowe once formulated in his talk with Peter Eisenman standing in front of a Palladian Villa: “Tell me something about the villa that you cannot see.” Formalism could be seen as an attempt of a rational subject to access the object and reveal its qualities that were not present before.

Formalism can be viewed as a beginning of object-oriented ontology (OOO) or goes hand in hand with it. Formalism, as well as OOO, deals with the inaccessibility of a thing. Furthermore, according to OOO objects interact diferently with other objects. Similarly to that, formalism allows in any Zeitgeist to take a look behind the thing and read it each time in a diferent manner, because it needs another entity in order to reveal the qualities of a non accessible object.

Irrational subject

In the 19th century with the emergence of psychoanalysis a conception of the author as irrational subject was developed. The founder of psychoanalysis, Sigmund Freud, formulated a theory about the unconscious mind which is largely inaccessible to human’s consciousness. Human subject appears as a multiplicity and therefore the idea of a single author becomes destabilised. Freud’s theory about the complexity of psychic structure underlies such artistic movements as Dadaism and Surrealism. Through the use of unconventional techniques, Dadaist

and Surrealist artists attempted to reveal the hidden irrationality of a human subject.

In architecture the idea of the irrational came much later. Similar to surrealists, Rem Koolhaas saw a potential for constructing new ideas in exposing the unconscious. In his approach to reading and designing the city Koolhaas adopts surrealist techniques, such as Paranoid-Critical Method, in order to ‘recharge’ and ‘enrich’ the known with new associations and interpretations. Another attempt to go beyond rational was made by Constant Nieuwenhuys, a founding member of Situationist International. As a critique of modern architecture, his project New Babylon is a speculation about plausible reality, which employs human desires and collective play in construction of new, previously unknown forms and spaces.

Deconstructed subject (Relational subject?)

In the 20th century the French intellectual Left was criticising the dominance of Western culture, its proclaimed monopoly on science, rationality and universal truth. Several thinkers attempted to address this problem by questioning the established concepts of authorship and originality. In his book Of Grammatology, while talking about concept of writing, philosopher Jacque Derrida draws attention to the problem of diference between signifer and signifed. There will always be a diference between the real thing and the word which stands for it. He argues that writing is a system of signs in which one sign ‘gives birth to another’. Therefore each sign could only be defned through another, and so on ‘ad infnitum’.

Another philosopher who was arguing against author as an individual rational subject was Roland Barthes, who in his work The Death of the Author examined the questions of authorship and originality in the context of literary criticism. Barthes argues that ‘the text is a tissue of citations, resulting from thousand sources of culture’ and it is impossible to assign a particular origin to it. He calls modern writer a ‘scriptor’ who ‘is never anything more than the man who writes’ and brings together multiple existing writings.

Barthes criticises the traditional approach which implies an attempts of a rational subject to explain the work through the intentions of the author and thereby to impose on it the only true, ultimate meaning. ‘To give an Author to a text is to impose upon that text a stop clause, to furnish it with a fnal signifcation, to close the writing.’ In opposition to the concept of Author-God, Barthes introduces the reader as ‘the very space in which are inscribed, without any being lost, all the citations a writing consists of’ and as ‘someone who holds gathered into a single feld all the paths of which the text is constituted.’ Multiple interpretations reveal the world that lies behind the text and constitute the real

book. In this way, according to Barthes, the reader is the true author of the text and not the writer.

What Barthes is saying about language is something what refects the general postmodern belief that nothing new can be created in the contemporary culture and what is left is a constant recombination of what has already been produced. It comes very close to an idea of typological thinking in architecture, in the sense that while designing a building architect is using an existing architectural ‘type’. Both, Barthes and Derrida, argue against the author’s superiority and draw attention to interpretations. If we project the concept of the reader on the discipline of architecture, we come to an idea that a collection of views of how people described and interpreted a particular building can reveal the discourse about the project and liberate it from the authority of architect’s intentions.

In the 1960’s and 70’s the conception of the author in architectural discipline has expanded. Aldo Rossi in his work The Architecture of the City states that the city constantly reproduces its own architectural forms. Similarly referring to the idea of autonomous architecture, Anthony Viddler in his work The Third Typology argues that the city is the material for its new typologies, it is a whole which is ‘ready to be decomposed into fragments’ and ‘reassembled’. In both cases the focus has shifted from the human author to the non-human - the city. The city is a multiplicity of individual and collective cultures that generates its own architecture. One could say that there is no such a thing as an individual author - the author is a product of their culture.

In architectural discipline we are traditionally trained to study the author, their history and ideas. What if we reverse this approach and study the building, the ‘thing in itself’. Can we fnd value beyond author’s original intent? What kind of world could be unfolded through deep reading of building?

Studio Process

Building upon the discourse described above, the design studio intended to challenge the traditional idea of the architect as a creative fgure who’s genius and imagination gives birth to a new architectural entity. Thus, the studio was exploring the idea of alternative authorship, such as introducing the reader and the multiplicity of readings into the design process.

Research Phase

During the frst phase of the studio each student was invited to select an architectural project and conduct a thorough analysis of it by exploring the way how the project has been described and interpreted in various writings inside and

outside the architectural discipline. Multiple readings were brought togetherthe hidden world of the project started to unfold.

The aim of this phase was to compile a vast catalogue of objects which could be associated with the project: historical precedents, cultural references, objects of everyday life, primitives, etc. These objects and their qualities served as a material for experimentation and further design process.

This phase of the studio ended with the exhibition “Deep Reading of Buildings”, which is a part of Rundgang, Staedelschule’s annual open-house exhibition. Student presented their research: the world of readings and the world of objects. The former in the form of a book where all the readings and readers are collected, the latter as a collection of physical objects emerged from these readings.

Design Phase

The second phase of the studio was the design of a new architectural entity through the objects and their qualities found through the reading of the project taken as a point of departure. In this way students explored the possibilities of design through the agency of a non-human objects.

Using the objects from the collection, each student developed a technique to combine them together in a new whole. Studio’s interest was to explore a new form of collage, “fusion” of sorts. Objects of diferent nature were assembled together by exchanging their inherent aesthetic qualities such as form, matter, geometry, content, texture, etc. In this fusion new qualities emerge which were not present in the initial objects.

In contrast to the traditional collage techniques employed by the architectural practice, such an approach does not intend to construct a new meaning. Signifer and signifed are destabilised, the initial objects are fused into a new whole and no longer recognisable.

The outcome of such an approach is a new architectural entity with a new form and new content. It emerged from the extended realm of the initial project but acquired new qualities. The project is a speculation about the endless amount of realities behind any project, that is far beyond what we can imagine. It is an attempt to challenge traditional architectural practices and explore new design possibilities.

Footnotes

1. Le Corbusier, A Contemporary City (Dover Publications, 1987), 163–81

2. Mario Carpo, The Alphabet and the Algorithm (MIT Press, 2011)

3. Immanuel Kant and Paul Carus, Kant’s Prolegomena to Any Future Metaphysics (Open Court Publishing Company, 1912), 56 https://www.architecture.yale.edu/courses/13772-formal-analysis-closereading-and-formal-analysis

4. Graham Harman, Object-Oriented Ontology: A New Theory of Everything (Penguin Books Limited, 2018)

5. Sigmund Freud, Mental Qualities, ed. by Clara Thompson, Milton Mazer, and Earl Witenberg (Modern Library, 1955), 14–21

6. David Hopkins, Dada and Surrealism: A Very Short Introduction (OUP Oxford, 2004), 17

7. Rem Koolhaas, Delirious New York: A Retroactive Manifesto for Manhattan (Monacelli Press, 1994), 241

8. Mark Wigley, Constant’s New Babylon: The Hyper-architecture of Desire (Witte de With, Center for Contemporary Art, 1998), 9

9. Jacques Derrida, Of grammatology; translated by Gayatri Chakravorty Spivak (Baltimore: Johns Hopkins University Press, 1997), 13 Ibid., 50

10. Roland Barthes, “The Death of the Author”, in Image, Music, Text (New York : Hill and Wang, 1977), 142–48

11. Giulio Carlo Argan, On the Typology of Architecture, ed. by Kate Nesbitt (Princeton Architectural Press, 1996), 242–46

12. Aldo Rossi, The Architecture of the City (MIT Press, 1982)

13. Anthony Vidler, “The Third Typology”, Oppositions 7 (1976), 13–16

© Uomo Urban

Hudson Yards

Location

Manhattan, New York City

Wall House II (Bye House)

Architect John Hejduk

Anna Arlyapova Project Description

This thesis project is a study in origins of architectural form and investigation of how the effect of the novelty in architecture is created. Project takes as its point of departure Wall House II designed by John Hejduk. Alongside investigation of the possible design process of the author, it tests the hypothesis, that introducing readers as equal players can generate unexpected results.

The project explores the way Wall House II has been described and interpreted. Metaphors and associations found in various writings by Hejduk, his critics and commentators allowed to assemble a collection of entities of different and sometimes peculiar nature: historical references, objects of everyday life, primitives and many others. Can something new emerge from these readings?

To address this problem, the idea of Boris Groys about cultural innovation was analysed. In his work On the New Groys offers a revised understanding of “the new” by introducing the concepts of “cultural archives” and “present” and argues that on the intersection of these two worlds innovation can emerge.1 In the interview with Thijs Lijster he says that ‘the notion of the new, and the effect of the new, is something that has its place on the border of the cultural archive and contemporary life.’

If we project Groys’ theory of “the new” on the discipline of architecture, we come to an idea that the novelty can emerge on the border of the architectural archive and the world of objects existing outside of this archive. We can argue that this can be achieved by giving power to the reader, in which case there is a potential for non-traditional readings that are free from the complex system of cultural associations, meanings and references to be included into the discipline of architecture. Readings, that contain various objects with inherent qualities such as forms, functions, textures and colours, etc. act as raw material – they offer a collection of ideas to be used and played with. The space of architecture becomes the place of equality between profane objects and valorized tradition, it brings together and interconnects these readings with the project itself and its precedents, which are already included in the cultural archive.

The methodology of the project can be described as an interpretation of Hejduk’s stated design process and replacement of elements of the script by their respective readings. It is an attempt to look through the eyes of the readers and execute the script from their point of view by fusing the architectural entities with the objects outside of the discipline to create new hybrid objects. In this amanner, the literary archive of Wall House II was expanded. Two platforms became a game board on which the high-rise buildings can be placed at choice. The game recalls how Hejduk once stated that his highly controlled geometric architecture came from playing with lead soldiers as a child.

The aim of the project was to challenge the traditional idea of the architect as a single author. Various readings add to the complexity of the project thereby revealing unexpected and non-trivial qualities. There seems to exist a vast universe outside the scope of established architectural value system, that might serve as material for experimentation and which therefore should not be ignored.

1. Boris Groys, On the New (Verso, 2014)

Wall House II, John Hejduk

Source: www.archdaily.com, © Liao Yusheng

John Hejduk

Salvation Army Building (Le Corbusier, 1933)

Swiss Pavilion (Le Corbusier, 1930) Diamond Museum C (John Hejduk, 1963-1967) Wall House I (John Hejduk, 1968) Portrait of Comtesse d’Haussonville (Jean Auguste Dominique Ingres) Barcelona Pavilion (Ludwig Mies van der Rohe, 1929)

K. Michael Hays

The Convent of La Tourette (Le Corbusier, 1960) Studio III (Georges Braque, 1949) Alberti’s perspective construction Still life

Villa La Roche (Le Corbusier, 1923–1925)

Don Wall

Weiling He Vilen Künnapu

Toy soldiers

Zac Porter

Volkan Alkanoglu

Barbara Hillier, Dianna Frid Manfredo Tafuri

Chapel, Wedding of the Moon And Sun (John Hejduk) Mollusk Medusa Guitar Sheet of paper Greek Temple Bridge Security mask (John Hejduk) Piano

Face, physiognomy

Leningradskaia Pravda (Konstantin Melnikov, 1924) Amoeba Gwathmey Residence (Charles Gwathmey, 1965) Project A, Palazzo del Littorio on the Via dell’Impero in Rome 3/4 House (John Hejduk, 1968)

Robert Somol

Virginia Gardiner

Kenneth M. Moffett

National Football Hall of Fame (Robert Venturi, 1967) Dachshund Clown face

Tipped up ground plane Painter’s Canvas Picture frame Cliff face Hanselmann house (Michael Graves, 1967)

Readers and readings of Wall House II

Jonathan Middleton

Michael Sorkin

Noe Kidder

Deborah Nevins

Ewa Węcławowicz-Gyurkovich

Tim de Boer

Wim

van den Bergh

Bruce C. Webb

Nicholas Olsberg

Andreas Angelidakis

Diane Lewis Manning Ryan Vincent

Internal organs

Scenographic clouds

Sewing machine

Pipe Wave Feminine curves Loge Stage Penthouse

Pod Bubbles Mask

Silo Plate Elephant ear Elephant trunk Elephant nose

Readers and readings of Wall House II

Diamond

Cite de Refuge Le Corbusier (1933)

Wall House I John Hejduk (1968)

3/4 House John Hejduk (1968)

Readings of Wall House II

Studio III Georges Braque (1949)

Chapel, Wedding of the Moon And Sun John Hejduk

Museum C John Hejduk (1963-1967)

Convent of La Tourette Le Corbusier (1960)

Lead toy soldiers

Dom-ino Le Corbusier (1914–1915)

Pavillion Suisse Le Corbusier (1930)

Alberi’s perspective construction

Still life

Security mask John Hejduk

Mollusk Medusa

Bridge

Guitar

Sheet of paper

Piano curve Face, Physiognomy

Cliff face

Villa La Roche Le Corbusier (1923)

Greek Temple

Portrait of Comtesse d’Haussonville Jean Auguste Dominique Ingres (1845)

Tipped up ground plane Painter’s canvas

Dachshund Clown face

Internal organs

Football Hall of Fame Robert Venturi (1967)

Picture frame

Leningradskaya Pravda building Konstantin Melnikov (1924)

Amoeba

Hanselmann house Michael Graves (1967) Mask

Bubbles

Readings of Wall House II

Pipe Wave

Sewing machine Plate

Feminine curves

Elephant trunk

Elephant nose Elephant ear

Scenographic clouds Gwathmey Residence Charles Gwathmey (1965) Tunnel Stage

Diamond Museum C John Hejduk (1963-1967)

Cite de Refuge Le Corbusier (1933)

Pavillion Suisse Le Corbusier (1930)

Convent of La Tourette Le Corbusier (1960)

Studio III Georges Braque (1949)

Alberi’s perspective construction

Wall House I John Hejduk (1968)

3/4 House John Hejduk (1968)

Still life

Lead toy soldiers

Chapel, Wedding of the Moon And Sun John Hejduk

Dom-ino Le Corbusier (1914–1915)

Readings of Wall House II

Security mask John Hejduk

Piano curve

Portrait of Comtesse d’Haussonville Jean Auguste Dominique Ingres (1845)

Guitar

Mollusk Medusa Bridge

Greek Temple

Villa La Roche Le Corbusier (1923)

Face, Physiognomy Cliff face

Sheet of paper

Hanselmann house Michael Graves (1967)

Bubbles

Leningradskaya Pravda building Konstantin Melnikov (1924)

Picture frame Amoeba Mask

Football Hall of Fame Robert Venturi (1967)

Dachshund Clown face

Tipped up ground plane

Internal organs

Painter’s canvas

Scenographic clouds

Gwathmey Residence Charles Gwathmey (1965)

Pipe Wave

Elephant nose

Elephant trunk

Feminine curves

Tunnel Stage

Sewing machine Plate

Elephant ear

Couvent de la Tourette

Subin Jameel Project Description

This thesis project was developed in response to a studio programme that questions the notion of authorship in architectural discipline and looks at it though the lens of the concept described by Roland Barthes in his essay The Death of the Author1. Barthes argues that text is a ‘space of many dimensions, in which are wedded and contested various kinds of writing, no one of which is original: the text is a tissue of citations, resulting from the thousand sources of culture.’ Building on Barthes’ idea, the project poses a question if architect is a true author of the work or if it is the reader who ultimately consumes it.

The project aims to study and question the architectural discourse around the work of Le Corbusier by posing a subversive narrative though exploration of the form and the content of his Couvent de La Tourette. One can observe a multitude of ‘citations’ employed by Le Corbusier in many of his works. These references range from prehistoric, historical and religious precedents reappropriated within the spirit of modernity. The resulting work of Le Corbusier is an assemblage of quotations drawn from the innumerable sources. Throughout the work of Le Corbusier, he harks back to historical schema both as a generator of plan and form. The eventual results continue to work as an architectural model for his contemporaries and to many who come after him, lending to a continual reappropriation of the many author and its readers.

Le Corbusier acknowledges the signifcance of the cultural appropriation of history alongside the antiromantic and futurist agenda of modernism. Couvent de La Tourette is an example of the various cultural precedents manifested into one tectonic whole. One can read in it such references as Acropolis, Parthenon, religious complex Sac Marco in Florence and many others.

The aim of the thesis project is to reinvent the work of architecture, Couvent de La Tourette, through its “authors” and “readers”. The multiple interpretations, found in writings of theorists, for instance, Stan Allen, Jeffrey Kipnis and Colin Rowe, comprise a vast catalogue of objects. These objects were mutated and assembled together through the use of architectural devices and techniques extracted from the analysis of modern aesthetics and its formation. Such an approach to architectural design opens a possibility for powerful, unexpected and yet unexplored solutions.

1. Roland Barthes, “The Death of the Author”, in Image, Music, Text (New York : Hill and Wang, 1977), 142–48

Architect Le Corbusier

Couvent de la Tourette, Le Corbusier

Source: www.fondationlecorbusier.fr

Marylène Montavon & Koen Steemers

Colin Rowe Le Corbusier

Plan Of Anjar (714 Ad)

Barcelona Museum Of Contemporary Art (Richard Meier)

Plan Of The Tower Module, Ville Radieuse (1930)

Villa Capra (Palladio, ca. 1567) The Parthenon

The clover leaf intersection The transatlantic liner Roadster

The graf zeppelin The modern airplane Bolt

The Domino House Japanese tea house Grain elevators

Roman aqueducts Primitive axe Ornamental axe Wagon wheel Spanish noria Ship wheel Decorative goblet Louis XIV table

Jann

Jennings Sérgio Ferro K. Michael Hays

Ben Farmer, Hentie Louw

Stanislaus von Moos

Sebastian Harris

Paul Turner

Maria

The Colosseum Lungs Heart Eyeball Water closet La Thoronet San Marco, Florence - Galluzo

Wall House 2 (John Hejduk, 2001)

Nature Morte (Le Corbusier, 1920) Red and blue chair (Gerrit Rietveld, 1917)

Plan of Montevideo

The Propylaea at the Acropolis

Pocketwatch

Sea shell Conch seashell

Readers and readings of Couvent de la Tourette

Joao Soares, Clara Germana Goncalves

Source: www.fondationlecorbusier.fr

Couvent de la Tourette, Le Corbusier

Readings of Couvent de la Tourette

San marco, Florence

Readings of Couvent de la Tourette

Ornamental Axe

Knife

Wagon Wheel

Pocketwatch

Ville Radieuse

The Colosseum

Louis XIV Table

Zeppelin

Gerrit Rietveld Chair

The Transatlantic Liner

MACBA

The Modern Airplane

Propylaea, Acropolis Bolt Clover Leaf Intersection

Conch Seashell

Japanese Tea House

Ornamental

The Colosseum

Louis XIV Table Zeppelin

Gerrit Rietveld Chair The Transatlantic Liner

MACBA

New Tokyo City Hall

Architect Arata Isozaki

Beyza Zeynep Kirazoglu Project Description

The project explores the use of history in architectural design through the examination of the work of Japanese architect Arata Isozaki. Deep understanding of history allows Isozaki to employ in his design various references derived from different cultures. In perfect harmony he combines precedents such as works of Michelangelo, Borromini, Piranesi, Boullée and many others. Thereby, a deep reading of Isozaki’s projects is closely linked to the following questions: How does the author apply and transform historical precedents in the process of design? How does he use formal or contextual qualities of these precedents to reassemble them together in a new entity?

Anthony Vidler in his essay The Third Typology argues that architectural forms are derived from the past and become reoriginated1. Undoubtedly, every new historical period provides new discourses and meanings. Therefore, even when typical forms are being reused and reassembled, their meaning is different at every turn. While using historical references in the design process, author transforms what is already known and in doing so triggers the emergence of new qualities.

The intention of the project is to explore the way how Isozaki alters historical references through his design methodology and how it is refected in his techniques of representation. Viktor Shklovsky in his Art as Technique, argues that a work of art should be perceived in a way that is not yet known or experienced2. In the discipline of architecture it could be achieved through an attempt to challenge the traditional forms of representations, for instance, modes of projections. The infuence of Japanese culture on Isozaki’s work and his interest in Western culture led him to look beyond the conventions. Isozaki’s approach to combining different projections can be seen as a technique of “defamiliarization”3 which creates an ambiguity of the represented image.

The thesis project is an attempt to analyse and combine techniques extracted from the works of Isozaki to produce new compositions. Through combination of different projections, the image and represented object collapse which makes visible what is hidden. It is no longer about representing the appearance, it is about designing the projections as different kinds of objects.

1. Anthony Vidler, “The Third Typology”, in Oppositions 7 (1976), 13–16

2. Victor Shklovsky, Art as Technique (1965) 3–24

3. Ibid.

Source: www.isozaki.co.jp

New Tokyo City Hall, Arata Isozaki

Jean-Claude Lemagny

Cenotaph For Isaac Newton (Etienne Louis Boullee, 1784) Maison De Plaisir (Claude-Nicolas Ledoux, 1780)

House Of The Directors Of The Loue (Claude-Nicolas Ledoux,1804) Atelier Haus Der Kreise

Ken Tadashi Oshima

Villa La Rotonda (Andrea Palladio, 1592)

Spiral Art Art Museum (Le Corbusier, 1929)

House For Mass Production (Mies Van Der Rohe, 1951)

Forms Derived From A Cube (Sol Lewitt, 1974)

Supermatist (Kazimir Malevich, 1916)

The Lenin Institute of Librarianship (Ivan Leonidov, 1927)

A Part of Linear City (Ivan Leonidov, 1930)

The Narkomtiazhprom Complex In Red Square (Ivan Leonidov, 1934)

Villa Emo (Andrea Palladio, 1555-1565)

Rialto Bridge (Andrea Palladio, 1570) Stoppages (Marcel Duchamp, 1913-1914)

Fresh Widow (Marcel Duchamp, 1920)

The Tower of Babel Orphanage (Aldo Van Eyck, 1960)

Joseph Giovannini Edan Corkill Nicolai Kruger David B. Stewart Pilar Viladas

Coupe De La Pyramide (Claude-Nicolas Ledoux) Chapel of The Dead (Etienne Louis Boullee)

Mickey Mouse ears

Marilyn Monroe curve

The Kimbell Art Museum (Louis I. Kahn, 1972)

Mikveh Israel Synagogue in Philadelphia (Louis I. Kahn, 1963)

Readers and readings of New Tokyo City Hall

Anthony Vidler

Source: www.isozaki.co.jp

New Tokyo City Hall, Arata Isozaki

The Temple of Death Étienne-Louis Boullée (1784)

House of the Agricultural Guards of Maupertuis Claude Nicolas Ledoux (1785)

Cénotaphe Étienne-Louis Boullée (1784)

The Lenin Institute of Librarianship Ivan Leonidov (1927)

The Lenin Institute of Librarianship Ivan Leonidov (1927)

Magnitogorsk Ivan Leonidov (1930)

Stoppages_Duchamp (1913-1914)

Villa Emo Palladio (1555-1565)

Rialto

Palladio (1570)

Readings of New Tokyo City Hall

Bridge

Villa Pojana Palladio (1548)

Atelier Haus der Kreise Claude Nicolas Ledoux (1790)

Monroe Chair Arata Isozaki (1970)

Supermatist Kazimir Malevich (1916)

Architectural Fantasies Iakov Chernikhov (1925-1933)

Dynamic Supermatism Kazimir Malevich (1915)

Commissariat of Heavy Industry Ivan Leonidov (1932)

Philadelphia City Tower Louis Kahn (1956-1957)

Magnitogorsk

Ivan Leonidov (1930)

Salk Institute Louis Kahn (1959)

The Tower of Babel (1563)

Mikveh Israel Synagogue Louis Kahn (1963)

Readings of New Tokyo City Hall

The Narkomtiazhprom Complex in Red Square Ivan Leonidov (1934)

Ronchamp Chapel Le Corbusier (1950)

State of Illionis Center Helmut Jahn (1980)

Churchill College James Stirling (1977)

Colloque Centanaire Auguste Choisy (1841-1909)

Paternoster Column Whitfeld (1996)

House for Mass Production Mies van der Rohe (1951)

Spiral Art Museum Le Corbusier (1929)

Maison de Plaisir Ledoux (1780)

Florida Southern College Master Plan Frank Lloyd Wright (1938-1958)

Campo Marzio Piranesi (1720)

Corrections to Nolli’s Plan James Stirling (1978)

Readings of New Tokyo City Hall

The Dominican Motherhouse Louis Kahn (1965-1968)

Folly 1

Arata Isozaki (1984)

Folly 2

Arata Isozaki (1984)

Folly 3 Arata Isozaki (1984)

Mist 2 Arata Isozaki (1999)

Mist 3

Arata Isozaki (1999)

Mist 4 Arata Isozaki (1999)

Museum Arata Isozaki (1983)

Offce II Arata Isozaki (1983)

Town Hall Arata Isozaki (1982)

Villa AO

Arata Isozaki (1978)

Villa KR

Arata Isozaki (1978)

Readings of New Tokyo City Hall

Villa YA Arata Isozaki (1978)

Fresh Widow Marcel Duchamp (1920)

Mikveh Israel Synagogue In Philadelphia Louis Kahn (1963)

Cénotaphe Étienne-Louis Boullée (1784)

House Of The Directors Of The Loue Claude-Nicolas Ledoux (1804)

Orphanage Aldo Van Eyck (1960)

Paternoster Column Whitfeld (1996)

Stoppages_Duchamp (1913-1914)

Atelier Haus der Kreise Claude Nicolas Ledoux (1790)

Monroe Chair Arata Isozaki (1970)

Villa Emo Palladio (1555-1565)

Rialto Bridge Palladio (1570)

Villa Pojana Palladio (1548)

Readings of New Tokyo City Hall

Supermatist Kazimir Malevich (1916)

Forms Derived From A Cube Sol Lewitt (1974)

Coupe De La Pyramide Claude-Nicolas Ledoux

Kimbell Art Museum Louis Kahn (1972)

Kimbell Art Museum

Louis Kahn (1972)

Marlyn curve

Mask John Hejduk (1983)

Korakuen Amusement Park, Tokyo

The Tower of Babel (1563)

Crown Hall Mies Van Der Rohe (1945)

Mickey Mouse Ears

Readings of New Tokyo City Hall

Moca Arata Isozaki

ZKM Center of Art and Media Technology

Architect Bernard Tschumi

Berk Özata

Project Description

The thesis project concentrates on the deep reading of ZKM Center of Art and Media Technology designed by Bernard Tschumi in 1989. Through the analysis of various writings about ZKM, related projects and the architect’s work in general, a collection of objects from the feld of architecture, art and literature was compiled. These objects and their inherent qualities result from the individual perception of the readers. Addressing the possibility of multiple interpretations of Parc de la Villette, Tschumi writes: ‘Each observer will project his own interpretation, resulting in an account that will again be interpreted (according to psychoanalytic, sociological, or other methodologies) and so on.’1

The aim of the project is to investigate a new way of looking at the architectural design through the agency of non-human objects. The possibilities of this approach are explored in relation to techniques of “defamiliarization”. Victor Skhlovsky in his essay Art as a Technique defnes this term as creating ‘the vision which results from […] deautomatized perception.’2 On the basis of this idea, the project uses the collected references and attempts to create altered objects through formal operations such as cutting, scaling, rotation. After the transformation the new objects have no clear relationship to the original and acquire new formal qualities. The project aims to develop a strategy of combining these new objects without using traditional composition techniques. In the end, such a methodology creates assemblages that bring together elements with inconsequential qualities, thereby recalling Comte de Lautréamont’s ‘chance meeting on a dissecting-table of a sewing-machine and an umbrella.’3

The project proposes a new type of formal approach which aims to procure the sensuous effects and the cultural richness of the defamiliarized objects found through the reading of Tschumi’s ZKM project. Spatial approach employs strategies developed by Tschumi such as “event” and “movement” generation4, “juxtaposition”5 and “superimposition”6. The fnal outcome of the project is placed in Hudson Yards in New York and challenges the traditional defnition of an urban block.

1. Bernard Tschumi, Architecture and Disjunction (London: The MIT Press, 1994), 203

2. Victor Shklovsky, Art as Technique (1965) 3–24

3. Comte de Lautréamont, Maldoror, trans. by Alexis Lykiard (New York: Thomas Y. Crowell, 1972), 177

4. Bernard Tschumi, Architecture and Disjunction (London: The MIT Press, 1994), 255

5. Ibid., 254

6. Ibid., 250

Source: www.tschumi.com

ZKM Center of Art and Media Technology, Bernard Tschumi

Bernard Tschumi

1950’S Drive-in Theater

The Venetian Las Vegas National Theatre and Opera House Tokyo (Bernard Tschumi, 1986)

Casa Del Fascio (Gıuseppe Terragni, 1936)

Pantheon Frieze (440 Bc)

Pantheon Frieze, marble block Pantheon Frieze, negative space

Folie 6: Documenta Urbana, Kassel (1982)

Solomon R. Guggenheim Museum (Frank Llyod Wright, 1959)

Three Standard Stoppages (Marcel Duchamp, 1913-1914)

Great Mosque Of Djenné (Ismaila Traoré, 1907)

Dom-Ino House (Le Corbusier, 1914) Fountain (Marcel Duchamp, 1917)

Groningen Glass Video Gallery (Bernard Tschumi, 1991)

Hubert de Boer, Hans van Dijk

Frédéric Migaryou, Aurélian Lemonier

Villa Capra “La Rotonda” (Andrea Palladio, 1566)

The Little Prince, 1943 Casa Malaparte (Adalberto Libera, 1937)

Brick Country House (Ludwig Mies van der Rohe, 1923) Hagia Sophia, 537 Suisse Chalet

Umbrella Sewing Machine Dissecting Table

and readings of ZKM Center of Art and Media Technology

Enrique Walker

Joa Bosman

Readers

Source: www.tschumi.com

ZKM Center of Art and Media Technology, Bernard Tschumi

Readings of ZKM Center of Art and Media Technology

Villa Rotonda (1566)

Piano Casa Malaparte (1937) Brick Country House (1923)

Three Standard Stoppages (1913-1914) Dom-ino House (1914) Leaning Tower of Pisa (1173)

Casa Del Fascio (1936)

Casa Del Fascio (1936) Great Mosque of Djenne (1907)

The Little Prince (1943)

The Little Prince (1943) Fountain (1917)

Suisse Chalet

1950’s Drive in Theatre

Readings of ZKM Center of Art and Media Technology

Solomon R.Guggenheim Museum (1959)

Sewing Machine

Umbrella

Le Chants de Maldoror (1869)

Le Fresnoy Art Center (1997) Opera House Tokyo (1986)

Hagia Sophia (537) K-Polis Department Store (1995) Folie 6 Documenta Urbana (1982)

Groningen Glass Video Gallery (1991) Las Vegas Learning From Las Vegas (1972)

Pantheon Frieze (440BC) Pantheon Frieze Negative Space

Marble Block

Villa Rotonda (1566)

Piano

Three Standard Stoppages (1913-1914) Dom-ino House (1914)

Leaning Tower of Pisa (1173)

Casa Del Fascio (1936)

Casa Del Fascio (1936)

Great Mosque of Djenne (1907)

The Little Prince (1943)

The Little Prince (1943) Fountain (1917)

Casa Malaparte (1937)

Brick Country House (1923)

Suisse Chalet

1950’s Drive in Theatre

Solomon R.Guggenheim Museum (1959)

Sewing Machine Umbrella Le Chants de Maldoror (1869) Hagia Sophia (537)

Pantheon Frieze (440BC) Pantheon Frieze Negative Space Marble Block

Olympic Archery Range

Architects

Enric Miralles and Carme Pinós

José Luis Arias Reynoso Project Description

This project is focused on experimentation with exchange of aesthetic qualities between objects as a strategy for production of new architectural effects. In this respect it is necessary to bring back the concepts of the “supplement” and “mimesis” by Jacques Derrida and René Girard: ‘And when we consider mimesis in art, there is always an element of exclusion of the supplement, of that which is different and lacks a clear reference to previous art. Both Girard and Derrida focus on what is excluded…’1 The project investigates what is feasible to be abandoned and what must be retained in order to produce a new entity from a source object, while maintaining a certain relationship between both.

What are the essential formal features that are capable to transpose the morphologic identity of the source object and produce the aesthetic effect in the new one? Differently from the essentialist-reductive method of modernism, where functional features were considered as essential properties of objects and the rational devices of design were a point and a line, in the proposed methodology essential properties of objects are their shapes, silhouettes and profles. The project proposes a fusion or hybridization between these properties that would be performed using a sort of “accumulative-multiplicative” method.

The proposed strategy is to employ different silhouettes and profles of the objects to execute operations of orthogonal projections onto parallel and curved surfaces in order to explore how these 2D fgures interact in 3D space. The resulting volumes are new hybrid objects that retain the identity features of the original and transpose its aesthetic effects. The aim is to transfer 2D effect of the fgures observed in the drawing of Lina Marmore House by Mario Ridolf (1966) to 3D operational system. The design is based not on rationality and instrumentalization like in the Reductionism of the Modern Method, but rather on the play with the emergence of new sets of qualities. As Ross McKenzie explains: ‘Emergence refers to the observation that the whole is greater than the sum of the parts; furthermore, the whole is qualitatively different. A system composed of many constituent interacting parts has properties that we often cannot anticipate from knowledge of the properties of the individual parts.’2 Figures perform not simply as parts of one whole but rather as agents that generate the compounded volumes while performing Boolean operations in a sort of post digital-analogue process.

In addition, other reference objects come on the scene and serve as an input for the design process by providing such qualities as materiality, composition, geometry, function, sign, etc. The procedure is not a lineal process, but rather an intermittent movement forwards and backwards to explore the level of success of the aesthetics effects transposition. Such a methodology is an attempt to discover unexpected results and work more in the feld of the emergence than in a systematic rational process.

1. Per Bjørnar Grande, Memesis in the works of Girard and Derida http://www.girardstudies.com/www.girardstudies.com/Memesis_in_the_works_of_Girard_and_Derida. html

2. Ross McKenzie, Test of Faith-Emergence: The whole is greater than the sum of the parts. Do you see the forest or only the trees? http://www.testoffaith.com/resources/resource.aspx?id=627

Olympic Archery Range, Enric Miralles and Carme Pinós

Source: www.archiposition.com

Vidal Subirá Bendetta Tagliabue Enric Miralles

Snake Path (Paul Klee, 1934)

The Crossword Puzzle (David Hockney, 1983)

Lina Marmore House (Mario Ridolf, 1966) Untitled (Lissitzky, 1919) Spiral Jetty ( R. Smithson / R. Long , 1970)

Head And Upper Torso Boats on a River Holy Grail (Monty Python, 1975) Banca Lungo Mare, Escofet (EMBT, 2000) Jazmine-Flowers Paintings (Mackintosh, 1915)

Pocket Hand Eyebrows Croissant

Rolled Blueprint

John Lord Portrait (Alberto Giacometti, 1965) On Growth and From (D’Arcy W., 1961) 15 Variations on a Single Theme (Max Bill, 1938)

The Maravillas Gymnasium (De La Sota, 1960) The Sants Plaza (Viaplana / Piñon, 1983) Soviet Pavilion (K. Melnikov, 1925)

Theatre Floating Leaves Diagrammes of Fallen Bodies

Apartments at Algiers (Le Corbusier, 1930) Drawings of Park Güell (Juan Rubió, 1913)

Zig Zag

Ronchamp (Le Corbusier, 1964)

The Carpenter Centre (Le Corbusier, 1961) Villa Savoye (Le Corbusier, 1929) Hieroglyphs Shorthand

The Sants Plaza (Viaplana / Piñon, 1983) Drawings of Park Güell (Juan Rubió, 1913) Barcelona Arch. School (Coderch, 1978) Negre House (José María Jujol, 1915)

Casa Gili (Torres / M.Lapeña, 1987) San Salvador house (José María Jujol, 1910) Taller Manach (José María Jujol, 1915)

The Judgement (Fra Angelico, 1433) Cross Fan Set Square

Readers and readings of Olympic Archery Range

Javier. García González

Rut

William J.R. Curtis

Peter Buchanan

Juan José Lahuerta

Paperfan

The Crossword Puzzle (David Hockney, 1983)

The Maravillas Gymnasium (De La Sota, 1960) The Carpenter Centre (Le Corbusier, 1961)

Barcelona Arch. School (Coderch, 1978) Sculpture Pavilion (Aldo Van Eyck, 1968)

The Peterschule (Hanes Meyer / Wittwer, 1926) Morses and Stiles Colleges (Saarinen, 1961) Marl School (Hans Sharoun, 1979) Skogskirkigarden (Erick Gunnar Asplund, 1914)

Termini Stones Great Ziggurat of Ur Casa Rozes (José Antonio Coderch, 1962) Torre de la Creu (José María Jujol, 1913)

Comb Man in a Church (Francesco di Giorgio) Exercises in Style (Raymond Queneau, 1947) Dr. Jerkyll and Mr. Hyde Miyake Dresses (Issey Miyake) Bull Horns

15 Variations on a Single Theme (Max Bill, 1938)

Tenkai Kutu Japam (Enric Miralles, 1994) The Open Hand (Le Corbusier, 1950) Woman with a Candle (Le Corbusier, 1928) The Four Compositions (Le Corbusier, 1929) Mill Owners’ Building (Le Corbusier, 1954)

Compass Derailed Train Wagons How to Lay Out a Croissant (Miralles / Prats) Igualada Cemetery (Miralles / Pinós, 1985)

Bruno Taut House (Bruno Taut, 1926)

Railway Intersections Captive Stones

The Naked City (Guy Debord, 1926) The Theory of Derive (Guy Debord) Phsycogeography (Guy Debord)

Axiomatic Structures (Rosalind Krauss)

Readers and readings of Olympic Archery Range

Michael Hensel and Jeffrey P. Turko

Josep Maria Montaner

Dennis L. Dollens

Emilio Tuñon and Luis Moreno

Javier Fernandez Contreras

Alejandro Zaera Rafael Moneo

Edgar H. Reyes Carrasco Lauren Kogod

Readings of Olympic Archery Range

Apartments

Drawings

Ronchamp

Le Corbusier (1964)

Snake Path Paul Klee (1934)

The Crossword Puzzle David Hockney (1983)

Ines Table Enric Miralles / Eva Prats (1993)

Lina Marmore House Mario Ridolf (1966)

Untitled Lissitzky (1919)

Spiral Jetty R. Smithson / R. Long (1970)

Head And Upper Torso

Pocket Hand

Eyebrows

Croissant

at Algiers Le Corbusier (1930)

of Park Güell Juan Rubió (1913)

Zig Zag

The Maravillas Gymnasium De La Sota (1960)

Theatre

Barcelona Arch. School Coderch (1978)

The Sants Plaza Viaplana / Piñon (1983)

Soviet Pavilion Konstantin Melnikov (1925)

Floating Leaves

Diagrammes of Fallen Bodies

Negre House

José María Jujol (1915)

Casa Gili Torres / Martinez Lapeña (1987)

The Carpenter Centre Le Corbusier (1961)

Hieroglyphs

San Salvador house José María Jujol (1910)

Villa Savoye Le Corbusier (1929)

Shorthand

Readings of Olympic Archery Range

Taller Manach

José María Jujol (1915)

The Judgement Fra Angelico (1433)

Sculpture Pavilion Aldo Van Eyck (1968)

Cross

Sets-Dispersal Michael Heizer (1968)

The Peterschule Hanes Meyer / Wittwer (1926)

Crack

Morses ans Stiles Colleges Saarinen (1961)

Fan

Marl School Hans Sharoun (1979) Skogskirkigarden Erick Gunnar Asplund (1914)

Readings of Olympic Archery Range

Termini Stones

The Termini Stone

Great Ziggurat of Ur

Casa Rozes José Antonio Coderch (1962)

Torre de la Creu José María Jujol (1913)

The Open Hand

Le Corbusier (1950)

Woman with a Candle Le Corbusier (1928)

Set Square

Comb

The Four Compositions Le Corbusier (1929)

Compass

Derailed Train Wagons

How to Lay Out a Croissant Miralles / Prats

Mill Owners’ Building Le Corbusier (1954)

Igualada Cemetery Miralles / Pinós (1985)

Readings of Olympic Archery Range

15 Variations on a Single Theme Max Bill (1938)

Paperfan

Dr. Jerkyll and Mr. Hyde

Miyake Dresses Issey Miyake

Bull Horns

Snake Path Paul Klee (1934)

Spiral Jetty R. Smithson / R. Long (1970)

Croissant Enric Miralles

The Crossword Puzzle David Hockney (1983)

Head And Upper Torso Bendetta Tagliabue

Apartments at Algiers Le Corbusier (1930)

Ines Table Enric Miralles / Eva Prats (1993)

Pocket Enric Miralles

Drawings of Park Güell Juan Rubió (1913)

Lina Marmore House Mario Ridolf (1966)

Hand Enric Miralles

Zig Zag

Untitled Lissitzky (1919)

Eyebrows Enric Miralles

Readings of Olympic Archery Range

Ronchamp Le Corbusier (1964)

The Maravillas Gymnasium De La Sota (1960)

Theatre

Barcelona Arch. School Coderch (1978)

The Sants Plaza Viaplana / Piñon (1983)

Soviet Pavilion Konstantin Melnikov (1925)

Floating Leaves Diagrammes of Fallen Bodies

Negre House José María Jujol (1915)

Casa Gili Torres / Martinez Lapeña (1987)

The Carpenter Centre Le Corbusier (1961)

Hieroglyphs

San Salvador house José María Jujol (1910)

Villa Savoye Le Corbusier (1929)

Shorthand

Readings of Olympic Archery Range

Taller Manach José María Jujol (1915)

The Judgement Fra Angelico (1433)

Sculpture Pavilion Aldo Van Eyck (1968)

Termini Stones

Cross

Sets-Dispersal Michael Heizer (1968)

The Peterschule Hanes Meyer / Wittwer (1926)

The Termini Stone

Crack

Morses ans Stiles Colleges Saarinen (1961)

Great Ziggurat of Ur

Fan

Marl School Hans Sharoun (1979)

Skogskirkigarden Erick Gunnar Asplund (1914)

Readings of Olympic Archery Range

Casa Rozes José Antonio Coderch (1962)

Torre de la Creu José María Jujol (1913)

Paperfan

The Open Hand

Le Corbusier (1950)

Woman with a Candle Le Corbusier (1928)

Set Square

Compass

Derailed Train Wagons

Comb

Dr. Jerkyll and Mr. Hyde

The Four Compositions Le Corbusier (1929)

How to Lay Out a Croissant Miralles / Prats

Miyake Dresses Issey Miyake

Mill Owners’ Building Le Corbusier (1954)

Igualada Cemetery Miralles / Pinós (1985)

Readings of Olympic Archery Range

15 Variations on a Single Theme Max Bill (1938)

Bull Horns

Getty Center

Richard Meier

Mahima Koteshwar Project Description

A project chosen for the thesis research is the Getty Centre designed by Richard Meier. The Centre consists of several components with various interpenetrating volumes inspired by Renaissance architecture. These volumes are reduced to simple and extremely abstracted geometric shapes, spread over the regulating grids.

Several sets of objects embedded in the Getty Centre were collected for design of the thesis project. The frst set included particular elements of the Centre: modules which organisation follows the ninesquare grid and a generic piano curve used by the architect for the geometry of the façade. The next set comprised of objects found through readings of the Getty Centre: architectural precedents, such as Couvent de La Tourette, Maritime Theatre, Villa Adriana, and several metaphoric references taken in contrast to the abstract formal language of the project. Finally, a set of objects designed by Meier was compiled: tea sets, wine glasses, pieces of furniture, and many others.

Two of the drawings, Getty - Series II and Getty - Series III, that were made by the architect using the scraps of the Getty Centre model became a starting point for the layout design. Through the use of these compositions the fgure-ground relationship of the Getty was recreated: the semicircular curves were carved out of the ground and the scraps with the detailing on them became the fgures on the site.

The objects taken from readings are stacked according to the layering process that can be observed in the Getty Centre. The variation of objects’ scale works in contrast to the original architecture of the Centre: the volumes that were kept constant are either increased or decreased magnanimously. The topography of the site occupied by the complex is turned upside down and used as a geometry of the platform raised above the ground level. Its unevenness projected onto the rectangular platform provides accessibility to the site and the building. The outline of the platform is no longer rectangular: the rigidity is broken by the piano curve. The fgurative forms are placed on the platform and organized in one direction, facing the bay yet given equal view points towards the city. The column-like objects originate from the landscape of the Getty Centre and are used structurally in line with the main volumes on the platform.

The resulting composition originates from the formal vocabulary of the Getty Centre and its interpretations. The mixture of various objects and their qualities triggers the emergence of new unexpected aesthetic qualities.

Architect

Source: www.smithsonianmag.com

Getty Center, Richard Meier

Glasey Kenneth Frampton Joseph Rykwert Jenny Blyth Thomas F. Reese

Painting by Frank Stella

Piano Curve

Hadrian Villa, plan view

Sawtooth Roofng Furniture byJosef Hoffmann Skyline of Rotterdam Furniture by Gerrit Rietvalda Site plan of Frankfurt Museum of Decorative Art (Richard Meier) Floor plan of Frankfurt Museum of Decorative Art (Richard Meier) Site Plan Of Renault Administrative Headquarters (Richard Meier) Serpentine Motif Acropolis of Athens Bottles And Knife By Juan Gris Bronx Developmental Center (Richard Meier) Jubilee Church (Richard Meier) Mainz Cathedral Restored by Balthazar Neumann Majolikahaus (Otto Wagner) Hill House Chair (C.R. Mackintosh)

United States Courthouse (Richard Meier) Getty Center (Richard Meier) Museum of Television & Radio (Richard Meier)

White tents in blue sky Jubilee Church (Richard Meier) Museum of Contemporary Art (Richard Meier)

La Tourette (Le Corbusier) Villa Lante La Alhambra Hearst Castle

Disneyland, Sleeping Beauty Castle Salk Institute (Louis Khan)

Ring (Richard Meier) Cleto Munari (Richard Meier) Sculpture (Richard Meier)

Thomas F. Reese, Carol McMichael Reese

Stan Allen

Jonathan

Volker Fischer

Readers and readings of Getty Center

Source: www.smithsonianmag.com

Getty Center, Richard Meier

Atheneum Richard Meier

Site plan: Getty Center Richard Meier

Key plan: Getty Center Richard Meier

Painting Frank Stella

Grid plan: Getty Center Richard Meier

Maritime Theater, Hadrian Villa

Sculpture Richard Meier

Floor plan: Getty Center Richard Meier

Axonometric view: Getty Center Richard Meier

Painting Frank Stella

Site axes plan: Getty Center Richard Meier

Grid plan: Getty Center Richard Meier

Axonometric view: Getty Center Richard Meier

Readings of Getty Center

Villa Adriana, Hadrian Villa

Hadrian Villa Plan

Readings of Getty Center

Sculpture Richard Meier

Disneyland

Creative Repetition drawings Richard meier

Villa Lante

Hill House Chair Charles Rennie Mackintosh

Confgurations of a nine square grid

Furniture Gerrit Rietvald

Axonometric view: Getty Center Richard meier

Munari Jewelry Richard Meier

Rotterdam Skyline

The Grand Piano Richard Meier

Wrist watch Richard Meier Furniture Richard Meier

Furniture Josef Hoffman

Smith House Richard Meier

Readings of Getty Center

Douglas House

Richard Meier

Rotschild Tower

Richard Meier

La Tourette Le Corbusier

Munari Jewelry

Richard Meier

Bronx Development Center

Richard Meier

Bronx Development Center

Richard Meier

Hearst Castle

Cleto Munari Richard Meier

Salk Institute Louis Khan

Alhambra, Granada, Spain

BMCA Richard Meier

White tents in blue sky

Ulm Stadthaus Richard Meier

White in the English countryside Richard meier

Hadrian Villa : axes plan

Site

Site

Floor

Cups

Readings of Getty Center

Federal

Cubist painting Juan Gris

Munari Jewelry Richard Meier

plan : Frankfurt Museum Richard Meier

plan : Frankfurt Museum Richard Meier

& artifacts Richard Meier

Majolikahaus Otto Wagner

plan : Frankfurt Museum Richard Meier

Jubilee Church Richard Meier

City Hall, Hague Richard Meier

Tram station : Getty Center Richard Meier

Mainz Cathedral

Plaza Center Richard Meier

Snake pattern Museum of Television & Radio Richard Meier

Cactus Garden: Getty Center Robert Irwin

Atheneum Richard Meier

Site plan: Getty Center Richard Meier

Key plan: Getty Center Richard Meier

Painting Frank Stella

Grid plan: Getty Center Richard Meier

Maritime Theater, Hadrian Villa

Sculpture Richard Meier

Floor plan: Getty Center Richard Meier

Axonometric view: Getty Center Richard Meier

Painting Frank Stella

Site axes plan: Getty Center Richard Meier

Hadrian Villa Plan

Grid plan: Getty Center Richard Meier

Axonometric view: Getty Center Richard Meier

Readings of Getty Center

Villa Adriana, Hadrian Villa

Creative Repetition drawings Richard meier

Confgurations of a nine square grid

The Grand Piano Richard Meier

Sculpture Richard Meier

Furniture Gerrit Rietvald

Wrist watch Richard Meier

Disneyland

Hill House Chair Charles Rennie Mackintosh

Axonometric view: Getty Center Richard meier

Furniture Richard Meier

Munari Jewelry Richard Meier

Furniture Josef Hoffman

Villa Lante

Rotterdam Skyline

Readings of Getty Center

Smith House Richard Meier

Douglas House

Richard Meier

Hearst Castle

Hadrian Villa : axes plan

Rotschild Tower Richard Meier

Cleto Munari Richard Meier

White in the English countryside Richard meier

La Tourette Le Corbusier

Munari Jewelry Richard Meier

Bronx Development Center Richard Meier

Salk Institute Louis Khan

Alhambra, Granada, Spain

Ulm Stadthaus Richard Meier

White tents in blue sky

Bronx Development Center Richard Meier

Readings of Getty Center

BMCA Richard Meier

Cubist painting

Juan Gris

Munari Jewelry Richard Meier

Site plan : Frankfurt Museum Richard Meier

Majolikahaus Otto Wagner

Site plan : Frankfurt Museum Richard Meier

Mainz Cathedral

Federal Plaza Center Richard Meier

Jubilee Church Richard Meier

Snake pattern

Floor plan : Frankfurt Museum Richard Meier

City Hall, Hague Richard Meier

Museum of Television & Radio Richard Meier

Cups & artifacts Richard Meier

Tram station : Getty Center Richard Meier

Readings of Getty Center

Cactus Garden: Getty Center Robert Irwin

City Edge

Architect Daniel Libeskind

Minnu Varghese Project Description

Daniel Libeskind’s City Edge is a competition entry for the residential development project in Berlin. The design is heavily coded with the cultural and historical context of the city. The façade of the building is covered in cuts and ruptures which is reminiscent of the traumatic history of Berlin. In the physical model displayed at MOMA the entire site of the project is covered in fragments of Bibles, newspapers and telephone books. Texts and photographic documents of old city plans evoke the historical memories of the city.

From the many readings of Libeskind’s work a catalogue of references and objects was compiled. These objects then became the basis for development of a new kind of collage architecture.

DIALECT BETWEEN NEEDLE AND THE SPHERE.

Most of Libeskind’s urban projects are rooted in the context of the city. Therefore, the City of Manhattan and its history became an important starting point of the design proposal. Crystal Palace and Latting Observatory, the projects constructed for the frst New York World’s Fair in 1853, illustrate an archetypal contrast that reappears throughout the history of Manhattan. The “needle” and the “globe” represent two extremes of Manhattan’s formal vocabulary.

From the catalogue of elements collected through the reading of Libeskind’s work, Ken Price’s cup is taken and transformed to represent the needle-like composition. Libeskind’s Reading Machine1 displayed at the Venice Biennale contains circular shapes, the basic geometry of a sphere. The evolution of the form is a result of compromise between the “needle” and the “globe”.

ADDRESSING SEMIOTICS.

The City of Manhattan is multiracial and multicultural. It’s not defned by cultural symbols of an ethnic race or religion. Street signs and signs of electronic media represent the visual and cultural impressions of the city. In the proposed project various signs were used for the surface treatment of the volumes, similar to how Libeskind in many of his work, such as City Edge or the Jewish Museum, slices a solid surface to create voids. This effect is often compared to the aesthetics of Lucio Fontana’s slashed canvases.

In addition, the proposal referenced Micromegas, Libeskind’s series of ten drawings comprised of basic extruded geometries projected onto a white canvas. Each drawing is a compilation of fragments of architectural elements, geometrical fgures and various architectural notations. Through replacement of these elements with the signs extracted from the city, Micromegas was reinterpreted in the context of Manhattan. The resulting composition was superimposed on the site of the project and generated a new ground condition.

The thesis presentation included a series of collages inspired by the images created by Libeskind for the City Edge project. These collages feature photographic materials of the old Manhattan projects and illustrate the metaphors about the city, such as a comparison of a skyscraper with a lighthouse or an airship mooring mast. The gleaming lights of the city were represented by the signs scattered over the cityscape.

Source: www.frac-centre.fr

City Edge, Daniel Libeskind

Nadine Labedade

Chapel of the Holy Shroud in Turin, section (Guarini Guarini, 1694) Cenotaph for Isaac Newton (Etienne-Louis Boullee, 1784) Reading Machine Installation, Venice Biennale (1985) Musical notes Books of the World Guggenheim Museum (Frank Lloyd Wright, 1943) Emblematum Libellus, Paris (1542) Kleinodien Schrank (1666)

Slashed lines (Lucio Fontana) Horizontal Skyscraper, Wolkenbeugel (El Lissitsky) Monument to the Third International (Vladmir Tatlin) U.S.S.R. Pavillion (Konstantin Melkinov) Star of David Aitrcraft Contrail Aitrcraft Carrier Left Hand Print (Alfred Döblin)

Earth lines (Michael Heizer) Cup (Ken Price) Communal Housing (Vladmir Krinsky) Floor Plan of National Museum of Roman Art (Rafael Moneo)

Monument to the Third International (Vladmir Tatlin) Map of Berlin Welthauptstadt Germania, plan Newspaper Micromegas (Daniel Libeskind, 1979) Chamber Works (Daniel Libeskind, 1983) Spiral Mikado Aleph Suprematist painting (Kazimir Malevich, 1915)

The New Man (El Lissitsky) Communist Hammer and Sickle Zim Zum Sculpture, New York (Barnett Newman, 1969)

Zeitmasse Musical Notes (Karlheinz Stockhausen)

San Rocco Housing , Monza (Aldo Rossi, 1966)

The falling tree The Screeching Albatross

The Angel of Annunciation

Readers and readings of City Edge

Daniel Libeskind

Jose Luis Gonzales Cobelo

Mark Wigley, Philip Johnson Simone Kraft Torsten Rodiek

Terry Smith Harold Rosenberg

Kurt Walter Forster Aldo Rossi

John Hejduk

Source: www.frac-centre.fr

City Edge, Daniel Libeskind

Readings of City Edge

Hammer Cenotaph for Newton

Mikado

El Lissitsky’s New Man

Tatlin Tower

Guarino Guarini Chapel

Aircraft Turbine

Michael Heizer’s Earth Lines

Unite d’Habitation_ Plan

San Rocco Grid

Jewish letter ‘‘shin’’

Snake and Arrow

Readings of City Edge

Horizontal Prism Bible

Alef

Tsim Tsum

Sickle

Moneo’s National Museum of Art

Lucio Fontana’s Slashed Lines

Aircraft Carrier

Libeskind’s Reading Machine

Star of David

Tradidtional Berlin Block System

Ode to Mies Van Der Rohe

Readings of City Edge

Ladder

Albatross

Yeitmas\e Cap Music Notes

Guggenheim Museum

El Lissitsky’s Horizontal Tower

Pitchfork

Tower of Babylon USSR Pavillion

Kazimir’Malevich’s Painting

Angel of Annunciation

Kleinodienschrank

Johann Georg Hainz (1666)

Twisted Spanner

Readings of City Edge

Shovel

Edge City Model

Communist Symbol

Nail

Rake

Alfred Doblin’s Left Hand Print

Fallen Tree

Kabbalah Art

Libeskind’s Tile Pattern

Krinsky’s Community Housing

Ken Price’s Cup

Edge City Floor Curve

Readings of City Edge

Hammer Cenotaph for Newton

Mikado

El Lissitsky’s New Man

Tatlin Tower

Guarino Guarini Chapel

Aircraft Turbine

Michael Heizer’s Earth Lines

Unite d’Habitation_ Plan

San Rocco Grid

Jewish letter ‘‘shin’’

Snake and Arrow

Readings of City Edge

Horizontal Prism Bible

Alef

Tsim Tsum Sickle

Moneo’s National Museum of Art

Lucio Fontana’s Slashed Lines

Aircraft Carrier Libeskind’s Reading Machine

Star of David

Tradidtional Berlin Block System

Ode to Mies Van Der Rohe

Readings of City Edge

Ladder

Albatross

Yeitmas\e Cap Music Notes

Guggenheim Museum

El Lissitsky’s Horizontal Tower

Pitchfork

Tower of Babylon USSR Pavillion

Kazimir’Malevich’s Painting

Angel of Annunciation

Twisted Spanner

Kleinodienschrank

Johann Georg Hainz (1666)

Readings of City Edge

Shovel

Edge City Model

Communist Symbol Nail Rake

Alfred Doblin’s Left Hand Print

Fallen Tree

Kabbalah Art

Libeskind’s Tile Pattern

Krinsky’s Community Housing

Ken Price’s Cup

Edge City Floor Curve

Peter Trummer is University Professor at the University of Innsbruck and holds the Chair of the Institute of Urban Design – ioud.

This book has been fnanced by the Institute of Urban Design – IOUD, University of Innsbruck.

All content was produced by the Architecture and Urban Design Studio at the Städelschule Architecture Class for a design research project directed by Peter Trummer.

Participants: Anna Arlyapova, Subin Jameel, Zeynep Beyza Kirazoglu, Berk Ozata, Jose Luis Arias Reynoso, Mahima Koteshwar Suresh Minnu Varghese

Editor: Peter Trummer Production: Peter Trummer, Anna Arlyapova Layout: Peter Trummer, Anna Arlyapova

IMPRESSUM

2021

IOUD

Institute of Urban Design / Universtität Innsbruck Univ.-Prof. Peter Trummer Technikerstraße 21c 6020 Innsbruck AUSTRIA