Kirill Ryadchenko Academic Portfolio 2012-2013 by Kirill Ryadchenko

Introduction

The academic process of 2012-2013 was organized in the set of projects tracing methodological steps during the first stage of professional development at M.Arc1 [SCI-Arc]. This book is the attempt to thoughtfully appreciate and understand the steps and decisions that were propagated by the program. Due to hegemony of post-structuralism philosophy among faculty members the understanding of the process and thoughtful appreciation of design methods came in the retrospective, after completing the project. The retrospective review of this year’s work aim to break the mechanical practice of thoughtless producing of the projects and focus on core reasons and methodological outcome that subsides the professional development, engaging current discourse of the discipline with the radical notion of theory. During the academic year cultural studies engaged conversations of an ongoing problems of the discipline and current studio projects. Cultural and Visual studies contributed to the studio development providing cohesive academic front of professional problems presented from different angles. Particularly the problem of multiple readings of an object and ambiguous figures that the object produces, were introduced and explored during the year, through diagrams and volumetric models in studio and visual studies. That multiplicity of object’s levels was heavily supported at cultural studies seminars with introduction of post-modernism theory in avant-garde architecture at the end of past century. However the theoretical analysis of current participants of modern professional discourse face relative disconcert. That time buffer serves productive purpose of guarding avantgarde adepts from the hegemony of dominant vision within the discourse prompting them to welcome pluralism of the architectural views. In the design research the creative power of abstract diagrams that swarm with potential of project development were one of the essential axis in studio’s projects. The Deleuzian “creative diagrams” were executed throughout studio’s projects and analyzed on the cultural studies of the

first semester in relation to Francis Bacon and figuration of ambiguous images. In the process of studio’s development those diagrams subsided the initial seed of the projects providing the development thread through figuration of the initial diagrams. The figuration of a diagram proved to be powerful mechanism providing initial conditions of a project. Developing methodological path, in the second half of the year, the parametric mechanisms were introduced. Generating diagrams in the dynamic range gives opportunity to map out the genetic mutations of a diagrams. It produces variety of diagrams in different degrees multiplying the power of ambiguous reading of single diagram. That parametric figuration method was exercised through set of experiment while working on the studio project of the second semester. The parametric figuration method produces the initial conditions out of parametric algorithm indifferent to the preconception of the architectural discipline. That allows to capture unpredictable conditions at the second stage of appropriation of the initial conditions in terms of architectural vocabulary. Than the set of experiments elaborate on particular problems of enclosure and boundaries, in a form of volumetric models, bringing the genetic advancement to the next generational iteration. In details that method described in the chapter “Fundamentals of Architecture 2” As the diagrammatic exercise the cover of present volume depicts an exercise of parametric figuration proposing geometrical variety, generated parametrically with controlled level of complexity degree and seed number. That parametric figuration is the hypothesis acquired during the academic year and direct result of academic curriculum of M.Arc1 [SCI-Arc] first year program. That hypothesis needs further experimenting and analysis in order to appreciate its potential. Although further experiments reflect on the academic process suggesting the hypothesis and subsiding professional development and engagement in architectural discourse.

Kirill Ryadchenko M.Arch 1 Programm Southern California Institute of Architecture [ SCI-Arc ] Los An ge l es

Table of contents <

1GA ||| FIRST SEMESTER

<<< 50 <<< 70 <<< 86 <<< 8

Fudamental Architecture 1 Materials and Techtionics Introduction to Contemporary Architecture Technic of Representation 1

1GB ||| SECOND SEMESTER

128<<< Fudamental Architecture 2

180<<< Environmental Systems 1 198<<< Architectural Culture 1

222<<< Technic of Representation 2

1GA

first semester M.Arch 1 / SCI-Arc

Fudamental Archiitecture 1 Materials and Techtionics Introduction to Contemporary architecture Technic of Representation 1

FUNDAMENTALS OF ARCHITECTRE 1 ///// 8

Design Studio [1100]

Author of programm: Andrew Zago Coordinator: Darin Jonestone Instructor: Eric Carcamo The first studio in a sequence of four foundation studios, this course introduces the student to fundamental issues of Architecture. Through the study of the interrelationship of geometry, form, tectonics and materiality, students are asked to continually develop and reconsider strategies for the production of Architecture. The studio aims to endow students with a range of fundamental working methodologies. Through generative drawing, iterative material studies, generative modeling, descriptive drawing and analytical mapping and diagramming, students are expected to develop an intellectual framework as well as productive techniques for the development of spatial organizations, architectural forms and structural systems.

Assignment_1 The excercise on spatial composition of aggregated tetra and ocata hedrons aimed to make a linear composition in three variations eleborating on different eggregation logic. EACH VERSION ESTABLISHES AND FOLLOWS THE SPATIAL SYSTEM OF THE LINEAR COMPOSITION FOCUSING ON CORRELATION OF A SINGLE ELEMENT TO THE ENTIRE STRUCTURE. The linear character of the composition allow to appreciate the rules of established system as the following development of the structure should follow established order.

Assignment_2 As an example of spatial system with clearly defined order the sulpture “SMOKE“ by Tony Smith has been modeled and examined. That spatial system reviealed profane structure which was deply appreciated during the strugle to model it. THIS EXCERCISE OF SPATIAL COMPLEXITY ESTABLISHED BY THE SYSTEM INTRODUCED THE PRINCIPLE OF DEFINEING THE SPACE; CREATING THE SPACE.

Assignment_3 >>>> The spatial system that been introduced to the studio through examening sculptures by Tony Smith were analized with and diagrammed. THE ANALYSIS REVEALS UNIT CELL OF THE SYSTEM AND LINER CORRELATION OF THOSE CELLS IN THE SPATIAL GRID THAT CONSISTS OF AXIS IN FIVE DIRECTIONS.

That evaluation discover the deep intrinsic logic of the system and its spatial complexity. Through diagrams different peculiar features of the system were exposed and reflected in drawings. The spatial analysys and diagraming its findings proofs that geometrical explanation of the spatial object eleborates only on one side of its character and only deeper formal analysis allow to get the gist of intrinsic structural order.

Assignment_4 Further eleboration on the problem of spatial system resulted in the experiment of expanding the octahedron grid to the set dimentions and cutting it with the three plains in order to examine the system through the method of sections. THE SECTIONAL PLANES WERE CARFULLY PLACED TO SHOW INTRINSIC QUALITIES OF THE SYSTEM AND ITS ELEMENTS. Expanding the system to the further limits than it intended by Tony Smith resulted in loosing a certain quality of the scale, became overcrowded indeferent grid but allowed to look at the spatial logic of the system.

Assignment_5 As the excercise on the potential of spatial system and its modification baroque church Santa Maria del Montesanto was formally examined and transformed. The axial skeleton of the church governs all spatial elements and creates processional focuses along the center axis condensing to the center of the interior. Series of transformational experiments eleborated on the qualities of politics of circulation, double reading of the axial skeleton, ect. But the most successful experiment was manipulating the central axis of the building thet initiated changes of entire axial skeleton and therefore building. THIS EXPERIMENT REVEALED PARAMETRICAL CHARACTER OF MODIFICATINOS DONE WITH AXIAL SKELETON AND ITS POTENTIAL AS A SPATIAL SYSTEM.

Assignment_6 The spatial cell unit of the system discovered in the previous analysis became the subject of another set on experiments. That cell fills the void space of the grid system making it an negative of the model. The negative model then was transformed usin existing formal vocabulary of the object. THAT FORMAL PANOPLY WAS USED FOR MUTATION OF THE ORIGINAL OBJECT INTO ITâ&#x20AC;&#x2122;S SIMULACRUM, MIMICKING THE ORIGINAL ELEMENTS BUT APPLYING IT IN DIFFERENT ORDER. That deviaton from the original emerged as a product of analizing the system for its intrinsic and extrinsic qualities.

Assignment_7 Having explored the pivotal significance of a spatial system for the unity of the object the transformation strategy was introduced to evoke extrinsic quality of the grid to the syste. THE MODIFICATION OF THE GRID DISTORT REPETITIVENES OF THE SYSTEM THROUGH PARAMETRIC TRASFORMATION WHERE EACH ELEMENT INFLUENCES THE WHOLE SYSTEM WITH DIFUSING MAGNITUDE. That transformation cancels ubiquitous repetitevnes of the system and differentiate indeferent prior space. Structural skelton consisting of five axis still present but takes nonlinear character.

Assignment_8 The transformation diffirentiated spacial cells creating the center of the structure and pereferia. EACH ELEMENT OF THE SYSTEM BECAME UNIQUE AND STORES THE INFORMATION ABOUT ITS NATIVE REGION AND ENTIRE MORFOLOGICAL PRINCIPLE OF ENTIRE SYSTEM. The system is not universaly expandable enymore and lost it indeferent semilarity of elements. Vectors of transformation have the greatest magnitude in epicenter of the structure and gradually difuses into the original repetitive grid.

Assignment_9 The set of experiments aimed to find potential development for the project of a library basing the research on transformed spatial grid and previous echieved findings. FOUR ITERATIONS OF THE TRANSFORMED SPATIAL SYSTEM OPERET WITHIN TERMS OF MASS, FRAME AND THEIR HYBRIDS SEEKING POTENTIAL BASIS FOR THE PROJECT OF LIBRARY. Restriction of the project demanded to define space within one level, so the system had to be decreased to the requirements of hight and planar simplicity. The process of associateing the formal research with programmatic requirements negotiated further advancement of the project.

Further formal research suggested development of the massing in nuanced iteration on negative space. The first model attempts to synthesize plan with massign, resulted in loosing nuance quality of the spatial scheme. The second model builts on S-shaped linear volume of previous model bringing back the spatial qualities of diagramatic model. PREVIOUS EXPERIMENTS ON SPATIAL SYSTEMS RESULTED IN ESTABLISHING THE ORDER THAT PROVIDE UNITY OF THE SYSTEM AND DIRECT DESIGN DECISIONS IN THE PROCESS OF MEDIATING FORMAL RESEARCH AND PROGRAMM OF THE LIBRARY.

Assignment_10 Accomodation of library’s programm within the site and spatial volume posed problem of openings and circulation. The building of the library divide the site on “public” and “private” yards. The “private” one directed toward parking with reading areas around it. The “public” yard precurse the entrance and formed by inclining of the facede line. The entire building devided into visitors area - the west side of the building and staff area - the east side of the building.

VAN NESS AVE.

ARLINGTON AVE.

THE IMAGE OF THE BUILDING OPERATE ON MULTIPLE REFERENTIAL LEVELS: AS NUANCED ANSAMBLE OF SURFACES SUBORDINATED TO PARAMETRIC SYSTEM; AS DISTORTED OUTLINE OF CONVENTIONAL HOUSES MERGING WITH ITS SURROUNDING; AS HEXAGONAL AGGREGATINO OF A BEEHIVE, RESPONDING TO THE MULTIGENERATIONAL APPLICATION OF THE PROGAMM.

FLORENCE AVE.

3 16

2 1

1 Stuff Restroom 2 Janitor / Electric room 3 Stuff Lounge 4 Storage area 5 Work Room

6 Librarian’s Office 7 Friends Room 8 Meeting Room 9 Book Drop 10 Communication Room

1 Stuff Restroom

6 Librarian's Office

11 Circulation Desk

16 Young Adult's Collection

2 Janitor/ Electric room

7 Friends Room

12 Entry

17 Reference Desk

3 Stuff Lounge

8 Meeting Room

13 Restrooms

18 Adult's Collection

4 Storage Area

9 Book Drop

14 Children's Reading Area

19 Adult's Reading Area

11 Circulation Desk Room 15 10 Communication 12 Entry 13 Restrooms 14 Children’s Reading Area 15 Children’s Collection

5 Work Room

20 Courtyard 16 Young Adult’s Collection 17 Reference Desk 18 Adult’s Collection 19 Adult’s Reading Ares 20 Courtyard

Children's Collection

The superposed diagrams of four iterations on site subsided the division of the space accoding to the programm. CONSIDERING NECESSARY LINKS OF DIFFERENT AREAS ACCORDING TO THE PROGRAMM, THE TOPOLOGICAL MODEL SUGGESTED THREE FUNCTIONAL BRANCHES: READERS AREA; STAFF AREA; SERVICE AREA. The definitions of different areas within the spatial system derived from superposed diagramms onto the site. Accomodation of programm requirements was organized within the volume expanding existing formal panoply for the benefit of the function.

2000 sqf MEETING ROOM 1000SQF

FRIENDS ROOM200SQF

ENTRY PATIO/ COURTYARD RESTROOMS400SQF COMMUNICATIONS ROOM BOOKDROP YOUNG ADULT'S COLLECTION500SQF CIRCULATION DESK 200SQF

JANITOR'S CLOSET

ADULT'S READING AREA1250 SQF

WORKING ROOM STORAGE

1450 sqf

LIBRARIAN'S OFFICE STUFFLOUNGE ADULT'S COLLECTION3750 SQF

STUFF RESTROOM

ELECTRICALROOM REFERENCE DESK200SQF

CHILDREN'S COLLECTION750 SQF

CHILDREN'S READING AREA 250SQF

3 18

15 1 14

1 Stuff Restroom 2 Janitor / Electric room 3 Stuff Lounge 4 Storage area 5 Work Room

6 Librarian’s Office 7 Friends Room 8 Meeting Room 9 Book Drop 10 Communication Room

1 Stuff Restroom

6 Librarian's Office

11 Circulation Desk 7 Friends Room 12 Entry 8 Meeting Room Stuff Lounge 9 Book Drop Storage13 AreaRestrooms Work Room 10 Communication Room 14 Children’s Reading Area 15 Children’s Collection

11 Circulation Desk 12 Entry

4 5

14 15

16 Young Adult's Collection

16 Young Adult’s Collection 17 Reference Desk 17 Reference Desk 18 Adult's Collection Restrooms 18 Adult’s Collection 19 Adult's Reading Area Children's Reading Area 20 Courtyard Children's Collection Reading 19 Adult’s Ares 20 Courtyard

2 Janitor/ Electric room

Assignment_11 Final assignment results in emerging an architectural project out of spatial system that was analysed, studied on intrinsic and extrinsic qualities. The diagramms revealing profane spatial structure and axial skelleton led to mulitplicity of possibilities for the spatial system to develop. The final project is one of the possible ways of expanding the spatial system developed through series of experiments to the programm of a library. But the diagramms and spatial system encapsulates mulitple scenarios of development. The notion of diagramms as a creative method of architectural figuration subsided by Deleuzian concept of diagram as a pregnant potentiality was explored in the research stage of the project. ABSTRACT DIAGRAMS THAT WERE ACHEIVED THROUGH ANALYSYS AND MODIFICAION OF INITIAL CONDITIONS OF MINIMALISTâ&#x20AC;&#x2122;S SCULPTURE FURTALIZED FORMAL RESEARCH . Those diagrams encapsulate abstract set of relationships subsiding multiplicity of possibel developments and figuration of architectural space. The outcome of the process encapsulates multiple categories of professional discourse. THE SUBSTANCE OF THE PROJECT IS OPERATING WITH PROBLEMS OF ABSTRACT CREATIVE DIAGRAMMS, SPATIAL SYSTEM DIRECTING DESIGN DECITIONS, AND THE ARCHITECTURAL MASS, THAT IS EXPLORED THROUGH THE SPACE OF AN INTERIOR AND THE VOLUME OF A POCHE FRAMING THE PROGRAMM.

MATERIALS AND TECTONICS /////// 50

Applied Studies [3100]

Instructor: John Bohn This class introduces students to fundamental structural principles with a strong emphasis on materials, material properties and industrial processes. This course is an investigation into the anatomy of material and its potential use in architecture. The goal of the class is to provide students with a thorough understanding of materials, and of the design methods, techniques and industrial processes by which they acquire meaning in an architectural and building context. By means of direct testing and experimentation, the class explores technical and rational manipulations of traditional as well as novel materials, aiming to develop an expansive understanding of their physical nature, environmental impact and possible reuse.

Assignment_1 The exploration of material structure for architectural application distinguished its medium on mass and frame.The difference of those categories were exposed at designing the set of primitives in a differnern articulation of the structurel mass. The shape of teh primitive defined the aggragation logic and structural qualities. BASING THE NOTION OF A STRUCTURE ON GOTFRIED SEMPERâ&#x20AC;&#x2122;S DEFINITIONS OF TECHTONIC AND STEREOTOMIC, THREE GEOMETRIC PRIMITIVES WERE DESIGNED TO EXPLORE MASSING OF A STRUCTURES IN THE CATEGORIES OF SOLID VOLUME, FLAT SURFACE AND FELEGREE FRAME.

Photo Real Rendering

Photo-Real Rendering

Assignment_2 At the second stage of material exploration three schemes from previous nine variants have advanced into detailed designs revealing structural logic of the system. Presented shemes eleborate on solid techtonics of weiving masonary logic and aggregation of flat units into a spatial structures. STRUCTURALLY THE CUBE IS POST-TENTION, PRECAST, REINCORCED, CONCRETE SYSTEM THAT WEIVES THE SPHERICAL ELEMENTS INTO A MOBILE MASS, PRONE TO AUGMENT INDEFENETELY IN ANY DIRECION. The ambition of the system is to be a mobile architecturall mass providing the possibility of adjustments of the system without jeoprodizing overall structural stability of an objects. The second variant eleborate on curvelinear surface of grid shell in the kind of discs that provide minimal structural stability on the basis of triangle network. While the single element requires three points of connection to form a structural triangel the circular shape allow the surface develop in any direction augmentign the new units to the exisitn system. The third one is a tetrahedron comprised of flat triangles connected by L-shaped links.

Photo-Real Rendering Photo-Real Rendering

Assignment_3 The masonary weiving logics of the soid mass was assembled in the mockup of the system out of spherical precasted concrete spheres and posttentioned wires. THE AGGREGATED MOBILE SYSTEM CONSISTS OF CONCRETE SPHERES WITH THREE CHANNELS IN IT AND THE POSTTENTIONED WIRES THAT STICH THROUGH SPHERICAL UNITS FORMING MONOLYTH RIGID BLOCK. That block can be adjusted through partial or complete unweiving and arranging the same elements in different order. Essentially it is mobile structural system that prone to serve as a construction material for mobile architecture. The main feature of that system is flexibility of a form in time.

metal cables assemble loads in linear direction and pass it to the base and further anchor the cable into the ground.

Sheared connection knots transfer the wight of the canopy onto the base part.

Assignment_4 The final project was designed as the group collaboration of the design and building phases deriving from the previoius exploration of structures and materials. The mock-up is an aggregation of geometric primitives that use two materials and two tectonic systems. It is a scaled, complex building assembly of concrete and steel based on contemporary consturcino parctices.

Final mockâ&#x20AC;?up occupy approximately 6 cubic feet of space and uses concrete and steel according to the preveiling charachter of structural stresses. So the bottom part perceiveing mainly compressional forces consists of concrete, while the top canteliver part is assembled of steel. THE GLOBAL ORGANIZATION OF THE STRUCTURE IS BASED ON A FLOCK OF STARLINGS AND ARTICULATE THE SINGLE UNITS AGGREGATION INTO AN ARCHITECTURAL OBJECT CONSIDERING MATERIAL QUALITIES.

canteliver part connected to the base via shared connection, which mainly undergo compression forces and cables anchored down into the ground and resist tention forces.

Metal cups connected to the spheres by three cables that go through each cup. To the canopy the cups connected through bolt & nut. That knot is essentially a sheared connecition that transfers the weight of teh canopy onto the lower part.

Three cables develope vertically around axis stiching through spheres in the helix like direction. Each sphere is pierced by three cables that develop around different axis.

Vertical axis arranged in diagrid order. Cables develope vertically around axis in clokwise and counter-clockwise direction. Clockwise and counter-clockwise axis are arranged in checked order to provide greater stability.

The mock up endorse two tectonic systems. The solid base and the sell canteliver. Both systems eleborate on the idea of united work of single elements that comprise the unity of the structure. Concrete and steel elements are circular outline that assembled into a structural entity hovever being individually singled out. That relation part to the whole allow the system to evolve infenetly, be augmented or decreased. The bottom part have rather volumetric development, while the canteliver sell flat surface curved in two directions. Concrete base eleborate on masonry logic of weiving using stereonomy of solid concrete spheres and techtonics of steel cables that create mobile yet solid structure. FLEXIBILITY IS INTENTIONAL AND INTRINSIC QUALITY OF THE SYSTEM THAT RESPONDS TO THE NECESSITY TO PROVIDE FLEXIBLE STRUCTURAL MASS OF NON-REGULAR CHARACTER FOR EMERGING ARCHITECTURAL GEOMETRIES. While in the presented mockup has tetradedron module of the structure it is simplified heritage of modernist technology. The matter of further advancement of the system is to bring it to paremetric responsive algorythm. Taking into consideration stress difference and dymanic augmentaton and adaptation of the structurall mass. That mass consists of concrete spheres

to provide liberty of modular development of the system in each direction as development in any direction relative to the sphere will be perpendicular to its surface. Each sphere is pierced by three steel cables going in the helix curve through the mass in oposit direction. Those cables go through the mass in the helix way along linear axis that gude the cables through the spheres. In that sence the structure of the solid mass resembles to the logic of sawing machine stiching concrete units into mass by steel threads. Going from anchored bottom through the solid mass up the steel threads continues techtonic unity to the upper canteliver shell part, creating outer tention belt of the grid shell. While bottom discs create contraction belt the steel cables offseted by steel rods from the bottom belt bare the tentinon stress and together create structural depth necessary for stiffness for the shell. Cables assemble the tentino stress along the central part of the canopy descending to its sides via diagonal branches. The discs connected to its neighbours at least by three knots what provides structural triangulation of the grid and secures its rigidity. Additional stability is provided by overall shape of the grid shell preventing it brom colaps by interdependence of all the elements and working on compensaton of stresses. The connection of the two systems provided by steel elements stansvering the weigth of the canopy to the bottom solid part. Those elements has cup alike shape and connected to the spheres at the angle providing perpendicular between curve of the canopy and the sphere. The canopy linked to the cup-alike element therough the bolted connection and has a share connecion qualities. Entire structure that endorse two tectonic systems emphasize the meaning of single element in a united edifice what opens possibility of augmenting or decreasing their quantity.

INTRODUCTION TO CONTEMPORARY ARCHITECTURE //// 70

Cultural Studies [2101]

Instructor: Dr. Todd Gannon This course introduces students to their more immediate heritage in the emergent architectural discipline, and to its concomitant problematics in the modern and postmodern eras. In the first section of the semester, the discipline is considered in relation to the radical changes brought about by social, political and economic events from the Industrial Revolution to the Second World War. The linkage of Architecture and morality, the rise of the metropolis, the development of urban design and the adoption of the machine as model and metaphor are key themes of investigation. In the second section, the consequences of the transition from the modern to the postmodern is considered in Architecture. Emphasis is placed on the canonization of modernism into high modernism following the Second World War and its subsequent critique and decline. Throughout the course, issues of race, colonization, class and gender are understood as constituent factors of globalâ&#x20AC;&#x201D;and hence architecturalâ&#x20AC;&#x201D; culture.

“Architecture needs an enemy.” - Eric Owen Moss Each of the essays we have examined makes a case for the production of new work. Some argue for works that innovate within established conventions, while others promote more subversive alternatives. In your design studio, you have been asked to examine the work of the sculptor Tony Smith as a starting point for your own investigations. Drawing upon the essays we have examined in class, compose a text which articulates your position vis à vis Smith. DO YOU AIM TO “INHERIT THE FAMILY BUSINESS” WITH A GOOD COPY, TO “OVERTHROW THE KINGDOM“ WITH A SIMULACRUM, OR TO ACCOMPLISH SOMETHING ELSE ALTOGETHER? In making your case, discuss specific practices we have encountered in the readings from Weeks Two through Five that parallel or contrast your ambitions.

Essay_1 ... In traditional societies people lived according to general customs and traditions obeying the wisdom of their ancestors. Those customs were worked out through history of generative experience. Entire life was subordinate to customs of behaviour. The reason for that was self regulation of a society in order to secure population number and culture. It was incredibly rear to take decision on their own, even then that honor was prerogative of elders. The questions of creativity and originality was restricted and surrendered to the authority of canon. Images within a culture evolved very steadily and relied on slight modifications half step at a time. Obeying existing favours was the core feature of traditional societies. The most rapid change in imaginary panoply of ancient history took place in Byzantium, while Constantine proclaimed Christianity (partizan religion prior to that) state official religion with the centre in Constantinople. New location, new religion, new language. Constantine was on the quest to create the new world. And that world needed the new images. Visual and choreographic first of all. That doesnâ&#x20AC;&#x2122;t mean that all three hundred years of roman empire Christians didnâ&#x20AC;&#x2122;t have symbols and images. But having christianity as an official religion demanded different magnitude and character of visual code. It is remarkable when totally new function been squeezed into existing framework. NEW FUNCTION USES PANOPLY OF EXISTING PRECEDENTS TO SATISFY ITS OPERATION, JUST AS THE VERY FIRST TYPEWRITER DESIGN BORROWED KEYBOARD OF FORTEPIANO.

New Byzantium state emerged at will of emperor from pagan roman empire, building upon it new cultural framework for the new world. Craftsmen were engaged into incredibly creative research of new images, and artificial cultural framework that emerged instantly. Unprecedented avalanche of new images resulted in iconoclasm as a virulent response to these processes. However rapid those changes were, arts and crafts were subordinate to spiritual and political leaders at instrumental level. Church still remained in control of design decisions and visual concepts. The most important in that historical episode for our observation is emergence of new palette of visual codes. Overthrowing the old ones and revolutionary cultural change on the basis of the new structure

typewriter by Pellegrino Turri (1808)

based upon Bible and Christianity. Later, during renaissance authors become responsible for the image they deliver into world. Visual arts and architecture started to become relatively independent in their inner logic. While maintaining the core domain architecture develops as progression of styles as design programs relying on discourse and progressive advances. According to social systems theory, the level of development of the society defined by complexity of its structure and number of independent social systems1. So that splitting of arts and science from united spiritual domain of church made those disciplines independent, putting creativity as the one of vital abilities of author in modern society. Ability to produce new artefacts, work toward evolution of a discipline and fuels its mechanism of self-production. Author become significant within social system for deviation from convention and outlining the way for profession to evolve2. In modern society the history of arts and architecture is written by deviants whose professional efforts worked toward advance of the discipline as whole. IN MODERN SOCIETY THE HISTORY OF ARTS AND ARCHITECTURE IS WRITTEN BY DEVIANTS WHOSE PROFESSIONAL EFFORTS WORKED TOWARD ADCANCE OF WHOLE DISCIPLINE. When responsibility of creating inhabitable space was devoted to designated professionals, the need of collective conscious efforts resulted in shaping a theory of the discipline. The Four Books of Architecture by Andrea Palladio signifies that phenomenon. While vocabulary of architectural language stayed within classical antique order, the narrative of it served the purpose of its time.Theory developed as design programs, focusing on issues adherent to its time. While authors were creating material cast for social life understanding that life became important part of their domain. The “model of the world” as representation of coherent contemporary paradigm helped to facilitate reflection of it in images that artists produced, regulating aesthetic principles and guiding design decisions... ... Men are social animals. Deriving from zoology the most effective groups are those who has more complex society. Though one of the best hunters in wildlife are african wild dogs, with complex hunting techniques and elaborate social structure, they live in packs of approximately 50 species, deviating from popular understanding of the “wildlife” principle they support old and weak. Similar case with Organized Groups of Criminals. With established complex structure they

represent greater threat and power. In organization of a social group, establishing rules and structure results in coordinated effort for the benefit of members of a group. Making a collective out of a group, extend magnitude of common effort, multiply its power and ability to influence the environment. That structure might seem endangering liberty of a single participating individual, and suspicion from the outsiders point of wiev. That is one of the reasons why people often have negative attitude for corporations. It is group of people who are united into a collective with common inner cause, to influence environment on greater scale. Starting up with market economy, 20th century ended up with market society, where everything is subordinate to exchange, profit or benefit. So that is not surprize that term social capital resulted in socially friendly policies and entire corporations. While nature of old economy giants like global fossil energy corporations is to extract underground minerals and sell it, people represent mare operators of the process. In IT industry, particularly social interaction services, trust of final user is the main capital. Positive attitude to IT corporation is its main asset on which it can capitalize. What resulted in formation of new king of “GOOD” corporations, whose public appeal is center strategic value. “Good” corporations have been extremely rare occasions, that allow us to see the plane character of a corporation revealing the power as core feature leaving intent of it as arbitrary direction individually set for every of them. While Soviet Union was one united social group it resulted into distrust and suspicion within its environment. Especially due to that fact that it promised the global revolution, liberating proletariat from ruling capital of bourgeois class. Within itself it stayed united cultivating social cohesion, and explaining great reason for which every single individual in Soviet State live and work. Opening a book into as different fields as botanics for pupils of elementary school and PhD work in physics about nano polymer brushes one could find several starting pages of text explaining the use of that work to building the bright future and importance of works of Marx and Lenin in the field of botanics and physics. While the Marxism, Leninism out of the interest for that text, the effect of social cohesion and relevance of global processes to every single individual, is remarkable side of it. For different groups of population rhetorics certainly was different. However, every

taxi driver, engineer and minister had an understanding of dialectic materialism, on their intellectual level and understood themselves within social structures up to the measure of the knowledge available. Obeying the structure and accepting its regulation patterns empowering it and force to surrender some of liberties of an individual. Individual in the process of accepting the authority of the structure becoming part of that and identify him/ herself with the group, on different scales. Like > Discipline/ Professional segment/ Research(Design) program/ School, etc. With desire to enter a certain system, one admitting dominant authority of that one over other groups, at first. Dedicating itself to work within relevant programs, strategies and styles, inevitably developing it, afterwards. Within modern architecture absence of agenda (ie. set of issues that form design program) threaten the author to fall out of discipline discourse, making his/her design research and efforts irrelevant for professional community. Though failing to contribute to the evolution of the social system of architecture. Adept of architecture is in a conditions where he need to pick the side he/she will dedicate the effort in design research and theoretical discourse. Facing the world, culturally liberated through effort of postmodernists, an adept stands before question of personal regulations appealing to his/her ethics. In the strive for deviation (Duchamp’s urinal) author surrenders the authority of the SELECTION within evolutionary process to art critics, producing mare VARIETY. While deviation is the feature of the advanced work in the discipline, it isn’t raison d’être. In the conclusion, inheriting family business worth only while there is future for it. While firms pop up and getting bankrupt rapidly, young man should rely on more lasting commodities. There is no point in getting Eastman Kodak for instance. The nature of last years in the economy is that kingdom is more likely to be overthrown by unknown pauper, who is putting pieces of code bits together somewhere in a garage. According to generals of silicon valley: “you’ll get nothing if you want to earn money. You’ll get something only if you want to change the world”. Question of ethics within the discipline emerged at the end of 20th century. After previous generation took the quest on liquefying any structure into postmodernist’s soup, “where nothing is certain, and everything is floating”. It served its purpose, and the culture is eager for something more solid.

1 Luhman, Niklas, Social Systems, Stanford University Press (Stanford, CA),1995, original: Soziale Systeme: Groundriss einer allgemeinen Theorie, Suhrkamp Verlag (Frankfurt am Mein), 1984 2< Schumacher, Patrik, The Autopoiesis of Architecture Vol. 1, John Willey & Sons Ltd Publication, London 2011

Further Retreat

Examine a series of attempts to refashion the language of Modern architecture that took place from the 1950s to the 1970s. CRAFT A QUESTION THAT PLACES THESE ATTEMPTS IN A DIALOG WITH MORE RECENT ATTEMPTS AT A SIMILAR REFASHIONING OF THE STATUS QUO BY PATRIK SCHUMACHER.

Constructivism as design program was mature enough to cope with massive task of rebuilding Europe after WWII. Constructivism in postwar world departed from dreamy poetics adolescence and took charge of men’s job recreating a framework for the new establishing politics, with its humanism and aspirations. Political winds descended from recent apocalyptic storm stretched across the globe settling in New York City as the place of international forum. The headquarter of United Nations resides at the most cosmopolitan city on Earth in a building by brazilian architect, setting spatial example of democracy, peace and clarity via constructivism narrative. Propagating seeming spatial terms for patching holes in destructed spatial framework of Europe and the globe. The amount of required after war construcion and programmatic diversity helped constructivism to become the great all encompassing style enabling to envision entire system of artificial environment in its forms. Some of the most noticeable examples of heavy duty constructivism are Chandigarh (by Le Corbusier) and Brasilia (by Oscar Niemeyer). Industrial construction systems created under fordist rationale, married with constructivist concepts, secured hegemony of the style in social perception as conventional approach to built environment. INDUSTRIAL CONSTRUCTION GIANT CREATED UNDER FORDISM RATIONALE, MARRIED WITH CONSTRUCTIVISM CONCEPTS, SECURED HEGEMONY OF THE STYLE IN SOCIAL PERCEPTION AS CONVENTIONAL APPROACH TO BUILT ENVIRONMENT. Not every design programs has an opportunity to rebuilt the whole world by its drawings as it happened to be the constructivism. While architectural process exists as historical scripture of artificial cast for living system, it inevitably needs to adjust inner mechanisms to accommodate that function for developing society. New generation, emancipated from reflection on war and duty of recreating necessities, departed from prescriptive modernism, questioning its rigidity and ability to accommodate complex social and individual activities into prestine world of purified space. Modernism structures seems to lack ambiguity and complexity that inhabits life of free individuals. Instead it is build for faceless social units whose life can be described in mechanical activities >>>>>>>>>>>> “Less is a bore”1 claimed Robert Venturi demanding more complexity and contradiction for sophisticated human mind to contemplate about. Absurd project by Superstudio sprawled the Globe with indifferent universal cube-module structure, caricaturing modernism’s effect of shaping people into automatons within industrial machinery of cities. Claiming space for liberated conscious, postmodernism culture has set on quest for unfettered individual freedoms.

>>>Illustration from Ernst Neufert’s book “Architect’s data” who worked as an assistant of Walter Gropius

Making the way for complex human nature postmodernism emancipated individual from historical bounds of the society. Those free individuals seem to cope better on their own, then modernists envisioned for them, specially in condition of metropolitan congestion. “...Modern architecture which - with its implacable aversion to metaphor - has tried to exercise its fear of chaos through fetish for the objective and to regain control over the volatility of the Metropolis by dispersing its bulk, isolating its components, and quantifying its functions, and render it predictable once more...”2. In that sense modernism that started in Germany and Russia, promising society to liberate people from the old order did it so by dumbing user to mechanical automaton leaving intellectual sphere blank and unattended. In attempts to provide new spatial framework for informational society of post-fordist culture, architects trying to appreciate potential of new digital design medium today. Operating with simulation models architects setting digital environment, orchestrating algorithms of its behaviour in order to achieve system cohesion without manual intrusion. DIALECTIC PREMISE OF PARAMETRICISM IS TO RESOLVE SHAMBLES INHERITED FROM POSTMODERNISM’S CONTRADICTIONS WHERE NOTHING IS CERTAIN AND EVERYTHING IS FLOATING. Increasing complexity of contemporary culture justifies parametric approach, raising some questions on the way to its hegemony of avant garde architecture. The question for that new design program is following: does it recognize endangering authorship of produced space, concentrating on creation of method, since manual intrusion threatens overall cohesion of whole system? In that sense architects are designing space generator, but not space itself, making computational code actual medium of architect. That withdraw from sport of morphogenesis puts architect into coach position sharing success with its creature, with its protege, unabling instrumental manipulation. Since architecture already lost its unique individual user on the way to international style, and necessity of reason through postmodernism’s urban development of Los Angeles. Now architecture is about to lose instrumental approach and shift its medium. Will parametricism be trapped in preexisted conditions of algorithmic code relying on machinery tools? Just like rationalists proclaiming cold logic and functional subordination were finally trapped in rational means of production and structural engineering after all. Is it dog wagging a tail or vice versa? The choice of a medium is already a design decision that defines outcome options. More complex and sophisticated

medium is, more inner logic it encapsulates and takes on authors domain. While architects of different design programs employ complex computational tools, it still reveals their methodological values in final result. Norman Foster’s British museum’s canopy of inner yard was achieved through parametric relaxation of a surface (similar to Gaudi’s chain models). However the space have the same prestine character as modernist’s “white boxes”. Frank Gehry sculpting complex geometry at will, manually shaping surfaces, creating huge reflecting “Ducks” with embedded airborne genetics of airplane design industry. PARAMETRICISM CREATE IRRITATION IN SPACE, PROMPTING SOCIAL COMMUNICATION, IT SHIFTS MEDIUM OF ARCHITECTURE FROM SPACE TO FIELD, CHARGING IT WITH BEHAVIORAL DATA. “Defining the field as “numbers in space” shouldn’t detract from the idea that it has physical reality. “It occupies space. It contains energy. Its presence eliminates a true vacuum.” The field creates a “condition in space” such that when we put a particle in it, the particle “feels” a force.”3 Through semiotic of spatial language parametricism suggest behaviour logics to users, attempting explicit reading of spacial text. AS MORPHOGENESIS IN PARAMETRICISM BASED ON FEEDING DATA TO GENERATIVE SYSTEM, THE MOST UNEXPECTED MUTATIONS ARE POSSIBLE UNFETTERED FROM PANOPLY OF HISTORICAL PRECONCEPTION OF AN AUTHOR. “... most architectural words are symbolic signs; certainly those that are most potent and persuasive are the ones which are learned and conventional, not “natural””4 Contemporary western culture, on the quest for personal liberties had to give up number of social values of humanism5 and social cohesion. While it advancing personal liberties further, the west still maintains framework of christian moral and justice, fighting itself on the way, divorcing from concept of higher objective universum and sacred soul. Deploying autopoietic structures, liberal society failing to recreate new links of social cohesion . It is late to follow Tafuri’s warning about capitalist cultural framework. It deployed everything but economic values. So those willing to fight capitalism should be aware that it is the main binder of liberal society and without it the west would crumble, leaving the world to religious fundamentalists. Taking into consideration advancing deployment of mutual values, only remaining hope is to integrate sophisticated digital systems as a framework of liberal society.

Early precursors of machine age impersonated by “Terminator” plotted to take over the world of humans. Fear of fatal computer error that will bring us WWIII resembles to machine phantoms of Otis invention. “Like the elevator, each technical invention is pregnant with a double image: the spectre of its possible failure. The way to avert the phantom disaster is as important as the original invention itself”6. Financiers seems to overcome that fear, widely employing Algorithmic trading with it high frequency rates. Share holding period these days lasts a few seconds7. Later reflections on cybernetic’s cultural effects (“Arteficial Intelligence” film by Steven Spielberg ) suggests that machines have purified ideal nature of its creator, and incomparably greater consistency. ROBOTS AS IDEALISED ABSTRACTS OF HUMANS CAPABLE OF AUGMENTING STABILITY TO WOBBLING LIBERAL SOCIETY, COMPENSATING DEPLETED DOMAINS, PROVIDING A STRUCTURAL FRAMEWORK FOR FREE INDIVIDUALS IN THE SYSTEM INCREASINGLY FAILING TO MAINTAIN IT’S AUTOPOIETIC FUNCTIONS.

1 Robert Venturi “Complexity and Contradiction in Architecture“ 2< Rem Koolhaas “Life in the Metropolis or The Culture of congestion” Architectural Design 47, No.5 (August 1977) 3< Field (physics) http://en.wikipedia.org/wiki/Field_(physics) 4< Charles Jencks “The Language of post-modern architecture“ 5< Aaron Betsky “Building in the brave new world“ “...The chaotic nature of the city* (Los Angeles) becomes more evident, and thus one could say its destiny as the first city beyond the bounds of reason, and thus of humanistic urban planning, seems ever more imminent. ...” 6< Rem Koolhaas “Life in the Metropolis or The Culture of congestion” Architectural Design 47, No.5 (August 1977) 7< The Sunday Morning Herald (Australia) Computer panic: why you should take stock, September 3, 2012 http://www.smh.com.au/opinion/politics/computer-panic-why-youshould-take-stock-20120902-2588y.html

In a variety of ways, the essays by R.E. Somol and Sarah Whiting, Michael Meredith, Andrew Zago, and Sylvia Lavin revisit arguments we have encountered earlier in the semester. PLAYING CLOSE ATTENTION TO CONCEPTS SUCH AS NITZSCHE’S GENEALOGY AND DELEUZE’S SIMULACRUM, WRITE AN ESSAY THAT CRITICALLY ASSESSES EACH OF THESE POSITONS. Paying close attention to concepts such as Nietzsche’s genealogy and Deleuze’s simulacrum, write an essay that critically assesses each of these positions. Be sure to demonstrate the ways in which earlier arguments are echoed and/or attacked in these texts.

Ethical Radicalism PREFACE

BAD OR EVIL?

Invisible code of ethics encrypted into social culture governing communication of individuals on every scale by fleeting events and images. The ethics creates an evaluation criteria of actions through crystallization of rules and norms into a moral. Morals ingrained into cultural fabrique, and can be spotted by some anchor concepts. For Instance concrete concept of LOOSER intrinsic within society of social-darwinistic structure. From that derives that the life in the society depicted as struggle between species for higher hierarchical standing. While PARASITE innate concept for communal societies where interest of single individual will be suppressed if they go against common ones. That individual will be evaluated as selfish destructive element of the society. In both cases concepts stands for negative marking within each respective moral. Those are a snapshots of social structures regulating morals that descends from parent philosophical system. While social conscious not as heterogenous, there are dominant morals that supported through cultural communication, and might stand in opposition to each other. Nietzsche suggests that dialectical process is encouraged through a confrontation between “the priestly caste and the warrior caste”. “The priests, and all those who feel disenfranchised and powerless in a situation of subjugation and physical impotence (e.g., slavery), develop a deep and venomous hatred of the powerful”1. “Slave morality in feeling resentment does not seek redress for its grievances by taking revenge through action, as the noble would, but by setting up an imaginary revenge. It therefore needs enemies in order to sustain itself, unlike noble morality, which hardly takes enemies seriously and forgets about them instantly having dealt with them”1. While Deleuze prompt infiltration of opposition into establishment, Nitsche depicts moral dialectics as “thousand year struggle” between “casts of priests and warriors”.

Some authors of given four essays struggling for alternative way call for equilibrium between two poles. Maybe after settling among establishment their flame of revolutionary gets restrained by professional responsibility and circuit of contacts. As Winston Churchill put it “If you are not liberal at twenty you have no heart, if you’re not a conservative at forty you have no brain”. For Bacon leverage between literal and abstract results into multiple unstable readings of a figure. Lavin finds a middle between introvert textuality and extravert sentimentality. “Today, affect should be defined as the internalization of perception and not as feelings overdetermined by cultural codes. We no longer need to equate detachment and distance with intellection* and abstraction nor feeling with crude sentimentality*,and so we can return to experience with new theoretical vigour”2. It is crucial for autopoietic systems to maintain external reference while being enclosed.

THERE IS NOTHING MORE ADDICTIVE THAN POWER AND IT IS UNLIKELY THAT INFILTRATED SUMULACRUM WOULDN’T MUTATE INTO A GOOD COPY WITHOUT EVEN NOTICING THAT.

However nobody wants to be a bad slave. Nitzsche’s autonomous individual is a product of “morality of custom” which is sharply differentiated from Christian morality. Though with that personal liberation individual takes the noble mode of moral valuation what in itself stands for “good”, that is, everything which is powerful and life-asserting.

IT IS CRUCIAL FOR AUTOPOIETIC SYSTEM TO MAINTAIN EXTERNAL REFERENCE WHILE BEING ENCLOSED. If a system fails to provide that it falls into category of useless irrelevant for overarching society. In that respect dominant position of internal references jeopardize relevance of the practice to the culture and overarching society6. As the domain of abstract thinking, philosophy is a powerful source of inspiration for numerous disciplines. Since loosing common ground, avant-garde architecture gets inspiration from that source as core external reference. Though juxtaposition of German and French philosophy as source of architectural inspiration reveals different approach to the domain. While Nitzsche and Luhmann in that discourse provide structural analysis. Deleuze and Derrida opens creative possibilities through introduction of abstract and ambiguous texts. That smoke in the mirrors definitely more fertile field for creating new possibilities. HAVING COMPLEXITY AND DIVERSITY ESTABLISHED IT’S VARIETY SHOULD BE ANALYZED, STRUCTURED AND EVALUATED IN ORDER TO SHIFT FROM CONTEMPLATING TO OPERATIONAL LEVEL.

That shift recalls intrinsic basic values of architecture to evaluate significance of elaborated datum to the discipline. Attempt of manifesting “Absurd Realism” is a move of a professional revolutionary. Overthrowing a mighty structure is full time job. People like Bakunin and Lenin dedicated entire life to the revolution. And at the end they didn’t seek universal justice and Dictature du prolétariat, they were building a revolutionary state. The whole life in their vision is ever changing movement. Since something bares a static normalizing features, it sentenced to be counterrevolutionary and not progressive. Michael Meredith is such revolutionary. Architecture is not what he is after. “It is (Absurd Realism)* not against Realism or Humanism. It’s not against Abstraction or Formal Logic or Positivism. It’s not art for art’s sake, and it’s not about heteronomy of life, of urbanism, of function. It’s for both and neither. “Absurd Realism” would be extreme in its parallel, multiple ontologies”3 Understanding the limits of revolutionary function “Notes around Doppler Effect..” suggest projective “cool” architecture. Somol calls discipline to return to the middle between extreme discursive oppositions. “Critical architecture is hot in the sense that it is preoccupied with separating itself from normative, background or anonymous conditions of production, and with articulating difference”4. That reactionary movement for alternative way is the result of narrow unique areas of interest within experimental approach. CRITICAL ARCHITECTURE DOSN’T HOLD AMBITIONS TO BECOME UNIVERSAL ALL ENCOMPASING DESIGN PROGRAMME, IT IS PREOCUPIED WITH SCATTERED EVENTUAL PHENOMENAS. Internal struggle for new disciplinary directions lacks relation to universal cultural processes but able to achieve high level of complexity and abstraction. Novelty is the primary evaluation measure of avant-garde architecture. Variety is the first stage of evolution, Selection is the second on the way to feed discipline with alternative directions. Avant-garde (the variety stage) is not concerned with further success as the main function of that stage is to provide multiple possibilities on the premise of novelty. Andrew Zago finds AWKWARD to be emerging cultural phenomenon increasingly capturing more attention. “As an emerging cultural sensibility, the awkward may help define fertile territory for new architecture”.5 When some authors in the search for new directions focus on dialectical struggle of manifestoes and ideas, fighting against EVIL in architecture. Others operate on the basis of existing criterions making them a good noble copy, who disregard

BAD and seek for “everything which is powerful and lifeasserting”1 In that stance irony works as evaluation of proper matter, where GOOD withstands its trial. “The critical tradition within postmodernism employed irony as a powerful and necessary tool to reveal and disarm systems of power and suppression, both in architecture and in culture and politics at large”5. Zago puts irony in architecture as level gained with professionalism. While irony comes as intrinsic quality of postmodernism it relies on literal textuality. Irony needs reference to operate with, and it appears quite problematic in highly abstract domains. Awkward in architecture prompts an intentional divorce from professional judgement. “The awkward requires the architect to perform contrary to his or her best judgment, to tactically undermine fine tuned skills in an attempt to define new and unsettling aesthetic territories”5. Where search for new unpredicted development is at the current interest of architectural discourse. Awkward from professional standpoint illustrated by projects of Herzog and Demeuron seems viable post-ironic stage. But the awkward strategy within academic practice cannot rely on professionalism, though young adepts of avant-garde architecture starting with the quest for awkward. Overlapping non professional notion of what is awkward and what is not, in all the multiplicity of reflections of awkwardness, that results in white noise of reflections of reflections of reflections of quasi professional opinion. OVERLAPPING NON-PROFESSIONAL NOTION OF WHAT IS AWKWARD AND WHAT IS NOT, IN ALL THE MULTIPLICITY OF REFLECTIONS OF AWKWARDNESS, IT RESULTS IN THE WHITE NOISE OF REFLECTIONS OF REFLECTIONS OF REFLECTIONS OF QUASIPROFESSIONAL NOTION AMONG YOUNG ADEPTS OF AVANT GARDE. That is why Zago speaks about awkward within context of professionalism “Although not yet articulated as such, employment of the awkward is gaining currency in contemporary culture. One example is the amateur error, which appears in the context of expertise.”5 It might be a potential trend in the culture, but in the domain of architecture it is unlikely to evolve into independent program, thus it needs a context to deviate from. Illustrating awkward with phenomenon of parcour one need to know that the space, hopping teenagers exploring, is meant to be used for straws and other descent activities to appreciate awkwardness of that kind of urban exploration.

AHURA MAZDA Demand for novelty pushes avant-gardists to INVENT new direction in order to inhabit greater diversity of programs and geometries. In that respect programmatic and disciplinary vectors might stand in opposition. The abstract illustration of shold clarify that equasion. What is more important for soldier? Is it to be a strong warior or to be loyal to the orders. If the soldier is a good warior but not wery loyal, his professionalism will be off use, due to unacomplished mission and abandoned order. In case of loyal soldier but weak warior the man will fall and the mission will still be unacomplished even that the order wasn’t abandoned. So it is up to the ballance of experience and loyalty of the soldier for the mission to be succesfully acomplished. When architectural evolution seek divorce with professional postmodernists expertise, and pulling away from ambiguity and absurd.

not the whole organisational principles. Without breathing life into experimental mutants they will never become a living organism and deemed to be experimental biomass. Practice that operates as cold fabricator of mutants to diversify the variety of choices departs from ethical principle and handles all the duty and responsibility to the process of selection which has its own critical guiding principles. The main ethical stand of the essay is: If the theory or hypothesis doesn’t have ambition of being “powerful and life assuring”1 it will ever be a wooden puppet and never become a real boy8. And Thus Spoke Zarathustra: We are here to take a big cosmic battle between good and evil. Each of us has a free will to decide which side we will take in this struggle. BUT THE CHOICES WE TAKE HAVE THE CONSEQUENCES NOT JUST FOR OURSELVES BUT FOR THE WORLD IN WHICH WE LIVE.

ARCHITECTS LOYAL TO POSTMODERNISM MISSION, FAILING TO PURSUE THE PIVOTAL VALUES OF DEVELOPING DISCIPLINE AND FIGHT THROUGH MISLEADINGS TO PROGRESS AVANT-GUARD TOWARD LIFE ASSERTING ARCHITECTURE, AND WITH THAT REVOLUTIONARY SPIRIT BECOMING UNINTENTIONAL SIMULACRUM. When coined complexity need to be systematically analyzed, professional postmodernists (i.e. Revolutionaries) demands for more absurd, more smoke in the mirrors. In that way authors try to be a good copy but forsaking a gist (the bones of the discipline), they elaborating on the surface (skin and makeup). After providing creative possibilities through Deleuze and Derrida it is time to refer for structural analysis of multiple realities by Niklas Luhmann7.

In Ethical categories, awkward illustrated by Ricky Gervais and Pierre-Antoine makes the threat funnier. While employing awkward Zago being honest about current processes and the response of architecture as cultural discipline. Conscious departure from aesthetically resolved image reveals ethical indifference. As David Thoreau proclaimed “Perception of beauty is a moral test”. Visual communication is not that indifferent but communicates accidental signals. Which can have turbulent effect on the society as architecture is its framework. However it stays irrelevant if the programs have no ambitions to become universal, but stipulates on narrow typology and

1< http://en.wikipedia.org/wiki/On_the_Genealogy_of_Morality 2< Sylvia Lavign: Kissing Architecture 3< Michelle Meredith: For The Absurd 4< Robert Somol: Notes around the Doppler Effect and other Moods of Modernism 5< Andrew Zago: Awkward Possition 6< Autopoiesis (from Greek αὐτo- (auto-), meaning “self”, and ποίησις (poiesis), meaning “creation, production”) literally means “self-creation” and expresses a fundamental dialectic among structure, mechanism and function. The term was introduced in 1972 by Chilean biologists Humberto Maturana and Francisco Varela 7< Niklas Luhmann: The reality of the mass media 8< Carlo Collodi: The adventures of Pinocchio

TECHNIQUES OF //// REPRESENTATION 1 86

Visual Studies [4100]

Instructor: Dwayne Oyler Assistant Instructor: Jonah Rowen The course examines the theories and practices of representation and analysis of architectural ideas. It is structured to introduce the primary and auxiliary tools necessary to analyze and translate spatial concepts into twodimensional representations. Students generate descriptive work using planar, planâ&#x20AC;&#x2030;/â&#x20AC;&#x2030;section and axonometric projections as well as freehand and digital drawing tools while developing an understanding of the specific characteristics and application potentials.

Assignment_1 The first assignment eleborated on consturucting the geometry forming the object. THE DRAWING CONSISTS OF THE CONSTRUCTING LINES SO THAT THE OBJEST REVEALED BY THE SYNOPSIS OF ITS COMPONENTS FORMING OPAQUE IMAGE OF THE MUSICAL INSTRUMENT. The drawing captures the instrument from three wievs reveiling the components and character of the outlines.

Assignment_2 The literal drawing explaing the geometry of the object and its pivotal knots represented though unambiguous shapes in order to clarify the structure of the instrument. The main goal of that drawing is to clearly explain the volume of the object from three wievs in the coordinated orthogonal projections. THE PERCEPTION OF THREE VIEWS SIMULTANEOUSLY ALLOW TO IMAGINE THREE-DIMENTIONAL MODEL OF THE OBJECT VIA ABSTRACTS OF PARALLEL PROJECTIONS.

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Assignment_3 The explanatory drawing advances further adding oblique elevation, placed in coordination to existing wievs accumulating the information from them. The oblique elevatin conveys additional depth and volumetric character of the object. THE OBLIQUE ELEVATION ALLOW TO TRACK CONTINUITY OF THE OBJECT DEVIATING FROM THE FACADE PLANE OF THE OBJECT WHICH DEFINED BY AXIS OF SIMMETRY AND RIGH ANGLE PROJECTIONS TOWARD IT.

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Assignment_4 The section reveals the interior of the instrument via drawing hiden lines. Multilayerd representation of the object conveys transparant clarity and richnes of information delivered through pallet of linewights and strokes. ESSENTIALLY SECTION IS THE TECHNICAL DIAGRAM THAT EXPLAINS THE STRUCTURE OF THE OBJECT IN THE ASSEMBLED CONDITION VIRTUALLY CUTTING THE OBJECT AT THE IMAGINARY PLANE. That view is serving particulary technical purpose as the object will never be seeing in that view though the section is purely analytical tool.

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Assignment_5 The fifth assignment dissambles the object on details and explains organization of elements. Additionally it shows the construction geometry of the object and its parts. In the intersection of structural geometry and lines of connection the object exploded to the single elements. Compilin previously examined tools of architectural representatino that diagram explores multiple drawing methods and tools superposed in the same view. Observing multiple characteristics at the same time depicts the object from highly abstracted point of view on literal object. This view subsides wider perception of the instrument than the orthogonaly projected technical drawing. IN ADDITION TO GEOMETRY OF EACH PART THE DRAWING CONVEYS THE DYNAMICAL PROCESS OF MANUFACTURING, ASSAMBLAGE AND APPLICATION OF THE INSTRUMENT, CREATING RATHER FULL PICTURE THAN ORTHOGONAL PROJECTOIN VIEWS.

Assignment_6 >>>> Having explored the different drawing and representation techniques the drawing composition was created reflecting the multiple views in a precise relation to each other creating dynamic image of the object simmultaneously. That way of diagramming and drawing provide time merging effect layingout the data about an object from multiple views and methods in relation to each other. The wider range of appreciating objectâ&#x20AC;&#x2122;s quality results in this kind of multiple data picture far beyond technical three projection representation allowing to see an object from different angle.

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THE ENGENEERED VIEW ON AN OBJECT CREATES DESIGNED PECULIAR IMAGE OF THIS OBJECT CONVEYING ITS SHAPE, STRUCTURE, OPERATION AND ANY KIND OF DATUM GOING BEYOND MARE GEOMETRY AT THE SAME TIME.

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1GB

second semester M.Arch1 / SCI-Arc

Fudamental Archiitecture 2 Environmental Systems 1 Structures Graduate 1 Architectural Culture 1 Technic of Representation 2

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FUNDAMENTALS OF ARCHITECTRE 2 ///// 128

Design Studio [1101]

Author of programm: Andrew Zago Instructor: Alexis Rochas This course is a continuation and expansion of the fundamental issues of archiÂtecture introduced in the first studio of the core sequence. The interrelationship between geometry, form, tectonics, and materiality is explored as it relates to overarching organizational systems and emergent systemic behaviors driven by programmatic content, structural logics and physical setting. Program and strucÂture are considered to be creative components of design rather than fixed entities. Students are given the Emerging Professionals Companion along with updated IDP information. The working methodologies introduced in 1GA are expanded and refined to allow each student to continue developing conceptual frameworks and productive techniques for the creation of architecture. As the first part of the Graduate Programâ&#x20AC;&#x2122;s Comprehensive Design Sequence, this course challenges students to design both site and buildings accommodating individuals withvarying physical disabilities. Meets NAAB Conditions: 1.3 Architectural Education and Registration; 3.13.14 Accessibility

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Assignment_1 Analysis of Case study houses revealed the understanding what was the house in 20th century. THE QUESTION OF A SPATIAL DEFINITION OF A HOUSE WAS RESOLVED IN MULTIPLE WAYS BY CASE STUDY ARCHITECTS DEFINING A BOUNDARY OF A HOUSE, ENCLOSURE AND OPENINGS. Particulary Villa Shodhan built by Le Corbusier in Ahmedabad, India eleborate of the problem of enclosure, semi-interior and opened space. The Villa is five sroty tall building of cubical volume developing vertically as gradualy descending interiority unvail itself and culminates with open roof deck. The constructive scheme of the building is renowned combination of floor-slabs and pilotee. The relation of walls to colomns in the building informs density of the space. Coinserting the voids create the chain of spaces linked along the whole building through cirvulation and visual connections. The history of the house respond to its connecoion to the site, and universal functional arrangement. Originally the house was designe for different site and client, but was built for another one.So it sits on green plain surface in Ahmedabad alienating the ground and developing the open terraces of the house on its top floors.

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<<<Assignment_2 For deeper understanding of the case study house the set of alalytical diagrams footprinted the result of the methodological and formal research. The sequence of the diagram study the folowing spatial features (from left to right): Enclosure > Double storey interior > Circulation & Spatial Privacy gradient > Volumetric Massing of Pelotee frame. THE SEQUENCE OF THE DIAGRAMS DISCLOSE THE SPATIAL DINAMICS OF THE HOUSE THOUGH ALL LEVELS AND ENABLES TO EVALUATE MULTIPLE LAYERS OF THE HOUSE WITH DIFFERENT FEATURES.

Assignment_3 With the structure being revealed, spatial understanding of correletion of buildingsâ&#x20AC;&#x2122;s elements into the whole was concreted through spatial model. The flowing space of the house was fully percepted only while building spatial model. On the way of assembly the model showed volumetric diagram of layers extracted through analisys and their intertwinings together into spatially orchestrated entity. THE THREE DIMENTIONAL DIAGRAMM REVEALED THE INTERIOR SPACES OF THE HOUSE AS LINKED CHAIN OF CONNECTED VOLUMES DEVELOPING CONCURRENTLY WITH CIRCULATINO WAY OVERLAPPING OCASIONALLY.

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Assignment_4 The research for the house project started with setting a system of space aggregation in the dynamical chain subordinated to the data input. So that the system could produce numeus results of the same order. The composition was restrained to combination of rectangular figures, while the transformation was focused of scaling, moving, and rotating of the figures. AT THE FIRST STAGE FLAT COMPOSITION BARES ABSTRACT CHARACTER WITHOUT PARTICULAR CONCERS OF POSSIBLE PROGRAMM, HOVEVER THE QUESTION OF BOUNDRIES AND AND ZONING EMERGE DURING THAT FORMAL STUDY. Particulary the thirs experiment (p.139) revieled the possiblity of smooth transition of boundries through the buffer zone between two edges of the spaces, that obtains the spatial qualities on its own. That particular finding will find its way to the final version of the house, while it was lost in the middle of the research. The second experiment (p.138) was set to evaluate the emergence of synthetic resultant between two systems. So that it would bare datum of two intersecting systems describing them in the resultant synthetic way that accomodate bothe. The second experiment (p.138) was the most succesful as it layed the foundation for the entire project.

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Assignment_5 The previous experiments of two dimentional compositon now obtained the third one. The third experiment (p. 138) was explored on possibility for dynamic modifications. The previous system was explored to the full extent from the moment of initial conditions to the point of the decay of the volume to unitary cells and lost of the entity. That exploration was framed to reflect the stages of two-dimentional compositions into stacked volume developing vertically out of the still conditions of that dynamic range. That experiment revealed the problems of the scale-programm definition and galvonized the gist of the studio. DEFINING THE PIVOTAL TARGET OF THE PROJECT AS THE BREAK AWAY FROM THE PRECONCEPTION OF WHAT THE HOME IS, AND DEFINING THAT PROBLEM IN THE PROCESS OF FORMAL RESEARCH.

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FOLOWING EXPERIMENTS WERE DIRECTED ON DEEPER RESEARCH OF INTERIORITY AND BLURING CATEGORIES OF ENCLOSURE AND CELULAR DIVISION.

Hving explored the two-dimentional diagrams the system was adjusted to operate in the simmilar principle with wolumes. Two intersected systems resulted in the sinthetic volume (p.137) that opened the level of interiority and merger of singular cells into a complex space resembling thet of Villa Shodhan . Hovever that was echived through parametric definition without manual intrusion.

The second experiment (p.150) attempts to aggregate the volume with gradually developing interiority from fully enclosed interior of the box to the court yard that while being clearly difined space is so open that it becomes the part of hardscape. The third experiment (p. 152) attempt to divorce from the category of box and wall, defining the space through synthetic geometry coined from two previous experiments.

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Assignment_6 The fourth experiment resulted in the leap of the spatial quality of the volume, which was acheived by aggregation and montage of elements coined by previoius experimants. The cubical volume accomodate findings from the previous experiments which in their turn negotiate synthetical volume of the cube and the outcome of experimental process. The volume achieved through iterations of parametric model varying the data that being feed into it. The generational modifications of the system through the sets of experiments departed further and further from preconceved spatial definition of a house. DUE TO MINIMAL MANUAL INTRUSION BUT SYSTEM’S MODIFICATIONS, THE FORM WAS ACHIEVED AS AN OUTCOME OF PARAMETRIC TRANSFORMATIONS AND DOESN’T BARE FEATURES OF CONVENTIONAL FORMAL PANOPLY. As of that stage the parametric formal research was completed and the stage of programatic figuration will follow. The geometry at that stage is a pure result of algorythmic transformation of rectangular volumes, it bares the significan geometric complexity, wich will be lost at the following stage of accomodating a HOUSE within existing volume.

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While assembling the spatial model of the resulting volume the question of POCHE arose as the negative-solid volume started to take significant part of the object. While exterior and interior were continuation of the same side of the surfface, and the gradual transition of interiority was provided by the level of enclosure. The solid space was bounded by the back side of the surface and present in the same volume but locked from continuity of flowing front side space. THAT EXPLORATION OF THE GRADUAL ENCLOSURE SUGGESTED THE SPATIAL LEVELS OF THE HOUSE AS OPEN HOUSE-INTERIOR HOUSE- SOLID HOUSE. Open house is the spatial level on which the hardsape of The site crosses the boundry of the house while being in the site . Interior House is the space with higher level of enclosure defining the space through all around clear boundries, but having connection with outside and the Open House. And the Solid House is inhabitable poche, the negative image of the space that it encapsulates but reside on the back face of the surface. The solid house is the axidental biproduct of the space figuration without which the exterior and representative interiors are impossible. If the structure being recreated as an surface manipulation and not solid mass that third exidental space might take life on its own and not being surpressed by preconceived notion of solid poche.

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Assignment_7 The diagramatic model (above) helped to understand demarcation and links between three houses (Open, Interior, Solid). FOR DIAGRAMATIC PURPOSES OPEN HOUSE IN THE MODEL IS WHITE, INTERIOR HOUSE IS LIGHT GRAY, AND SOLID HOUSE IS DARK GREY. The model helped to understand circulation and spatial correlation of three houses. Also a buffer between two surfaces sugested the gradual demarkation of two zones wedging in buffer that takes on as the habitable space on its own.

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Assignment_8 The coloristic experiment (below) endevoured into influencing the perception of the volume througn color intrusion. Particulary the color of the experiment was dealing with two problems. THE FIRST, IS A CREATION OF OPENINGS THROUGH THE FIELD PATTERN AND THE SECOND DISTORTION OF GEOMETRY PERCEPTION THROUGN SUBVERSION OF A SURFACEâ&#x20AC;&#x2122;S SHADE. In that way the perception of surface angel to the other surfaces could be maginfied or reduced through applicaiton of shades of grey to the surface.

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Assignment_9 Drawings as the main medium of current architectural domain allow to appreciate correlaton of elements and the whole project. Particulary drawings revealed dinamical change of the shape of a window as a line of sight penetrate two openings before get to the Interior House. OVERLAPING TWO RECTANGULAR OPENINGS CREATE DYNAMIC OUTLINE OF THE WINDOW AS IT COMPRISED OUT OF TWO SHAPES AND THE POSITION OF POINT OF VIEW. Oblique elevations allow to track continuity of surface around facades in outlines and openings. Also it exposes multiple skin layering of the project.

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Assignment_10 As the result of figuration of parametrically found volume the house has three entity that comprised of. The white one the grey one and the dark one. Grey and the Dark houses interiwined but independent in operation. The grey house has most openings into the Dark house which in its turn has windows to outside. The Dark house serves as a buffe r between the Grey one and the exterior. LIGHT TO THE GREY HOUSE COMES MOSTLY THROUGH DOUBLE SURFECE OF EXTERIOR AND INTERIORâ&#x20AC;&#x2122;S SURFACE BACK SIDE. That double surface results the nesting space of the first order, while if the inhabitable poche will have its own inhabitable poche it will be the hesting of the second order.

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Assignment_11 The project started as a quest for synthetic merger of two systems and emerging a new one on the intersection of the systems. This dialectical process brougn fruitfull results on the early formal experiments (p.138) exploring a full range of a hybrid system. That method transfered to space resulted in a volume baring a datum of multiple entities. Advancing that dialectival prcess on the question of enclosure, the set of experiments on the interiority of the volume revealed three stages of enclosure. The problem of opening and early formal experiments (p.139) suggested implementation of gradual buffer boundries between Site, <<Open House>>, <<Solid House>>, <<Interior House>>. The Solid House as inhabitable poche is a transitional space between Open House and Interior House. That understanding of surface enclosure opened the topic of nesting spaces and double boundries. The vocabulary of initial transformations was intentionally taken as rectangular volumes so that the metodological process would be more evident. THAT METHOD OF PARAMETRIC FIFURATION CONSISTS OF TWO FOLLOWING PHASES. The first one is setting up the dynamic transformation algorythm that includes initial conditions (in this case 12 cubes) and modification data. Three sets of experiments (p.146-151) provided generational modifications of the algorythm, developing genetic progression. Which resulted into quality leap on the fort experiment (p.153) in its turn supplied by three previous ones. The parametric modifications were made without monual intrusion, but only supplying data. At some point of the modificational correlation of parameters that been fed into the algorythm and its outcome became untrackable. This principle of parametric modifications served a purpose of divorce the outcome from manual intrution and therefore disciplinary preconception. The second phase is the figuration of the volume that was achieved through sets of formal experiments in terms of programm. That stage demanded clearer definition of boundries and enclosure of the house (p. 164-167). The categories of Open, Solid and Interior House were outcome of defining the function of each space itâ&#x20AC;&#x2122;s correlation and dependancies. At that stage the questions of circulatoin, floor plane, opening and wall were resolved basing on the volume that was found through sets of formal experiments. The method of parametric figuration attempts to infuse unexpected spatial conditions into architectural discipline and resolve it wothout panoply of exitsting preconceptions. While the parameters that been put into algorythmic modifications and the structure of those modifications might be abstract, it also can respond to actual parameters of initial project conditions. The stage of appropriating of formal findings based on currnet understanding of archtectural practice, however it poses some chalanges to it, questioning that understanding.and proposing unexpected solutions.

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ENVIRONMENTAL SYSTEMS 1 ///////// 180

Applied Studies [3121]

Instructor: Ilaria Mazoleni Instructor: Russel Fortmeyer This course introduces students to the basic physical principles, design implications and performance of environmental systems by focusing on the behavior of lighting, acoustical and climate modification systems within the built environment. The course relies upon the assumption that a careful integration of these elements within an architectural project, especially in the impact these elements have on building envelopes, can contribute significantly to improving the quality of our environment. Life-safety systems are also discussed, with a special emphasis on movement systems and egress. The class is divided into three independent modules, each of which addresses a single environmental system and is taught by a professional engineer specializing in the field.

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sun li ght direct pers ne dis natur al sto

sound absorbtio n graphics credits & explanation. references

Kirill Ryadchenko

Environmental Sys

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Project_0: Cathedral of Our Lady of the Angels

Assignment_1 The class attemt to look at atmospheric condition in architecture in environmental terms. As the firs glance to environmental charachteristics assignment asked to analize well known structure on atmospheric conditions and factors that supplied those conditions. As the example for the analysis the Cathedral of Our Lady of the Angels was examined on the conditions of the interior environment.

THE FACTORS INFLUENCING AIR LIGHT AND SOUND IN THE CATHEDRAL WERE ANALYSED AND DIAGRAMMED.

sound abs

bti or on

stems 1

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Ilaria Mazzoleni / Russell Fortmeyer Instructors

Spring 2013

Assignment_2 AS THE STUDY MODEL FOR EVALUATION AND EXPLORATION OF ENVIRONMENTAL CONDITOINS THE MANOLA COURT APPARTMENT BUILDING BY RUDOLPH SHINDLER IN SILVER LAKE, LOS ANGELES WAS SHOSEN. The overview of the building was set in three sets. Air Light and Sound. The first one evaluated the air conditions throughout the year inside the units and on the open terasses. The house revieled particular attention of the architect to the environmental conditions and climatic operation of the building, which reflected in the diagrammed findings.

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5’

10’

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ARM AI

5’

D AI OL

ARM AI

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Assignment_3 The findings resulted in a proposal enhencing the air conditions during a year. Considering historical significance of the building no radical solutions were possible. THE MOBILE BRISE-SOLEIL WERE PROPOSED THAT KEEP THE HEAT INSIDE DURING THE WINTER TIME AND OUTSIDE DURING THE SUMMER. Sliding brise-soley during the hot period stays outside the unit with white colored surface and reflect the sun light inside the interior. During the cold period the sliden inside brise-soley has black surface and radiate the heat inside the unit while being warmed by the sun light.

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Assignment_4 The second part of the exploration of environmental conditions focused on sound. Particulary the noise that can create irritation and discomfort in the dwelling.

Fountain Avenue

THE MAIN TECHNOGENIC SOURCES OF NOICE WERE BUSY STREET FIVE HOUNDRED FEET AWAY AND THE FREEWAY ONE MILE AWAY. The disposition of the appartment building on the hill blocked the noice from the freeway. But the closest busy street coused minor influence of sound conditinos.

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ain The m

is urce o s noise

n ve A e

cil

nois e

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Shindler Sachs Apartments

y wa a t fee 500

fe Dri

lif Edgec

from H

ollyw o

od F re

ewa

y1m il e a way

39 lux

47 lux

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Mainly Court yard is litted with borrowed light from appartment windows.

25 lux 39 lux

8 lux

47 lux

Assignment_5 Light analysis revealed that the court yard supplied by mear amount of light to provide illumination for staircase. THE HILLSIDE DISPOSITON OF THE BUILDING EXPOSES COURT YARD TO THE VIEW ON LOS ANGELES. The main illumination of the court yard was provided by borrowed light of surrounding windows. Small low positioned lanterns illuminate circulation ways. The bottom part of the staircase remains not illuminated.

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HEDGE DECREASES HEAT ISLAND EFFECT AND CAPTURES MOIST FROM THE FOUNTAIN

THE SPACE BETWEEN THE WALL AND THE HEDGE STORES CHILL HUMID AIR.

WOOD D EFFECT ONTO T

WATER FEATURE MOISTURISE AND COOLS THE AIR RECIRCULATING WATER UNDERGROUND WITH PIPING PLACED BELOW FREEZING LEVEL

RISING UPHIL AIR CURRENT CATCHES COOL HUMID AIR FROM FOUNTAIN AND DELIVERS IT TO THE OPENED WINDOWS OF THE APPARTMENTS

THE SUN DIREC

Assignment_6 THE SOFTWARE REGISTER SOUND PRESURE AND REGULATE PUMPING POWER ACCORDINGLY.

IN QUIETER SOUND ENVIRONMENT THE WATER JET IS LES INTENSE

As the result of all the findings from the analysis the project enhencing environmental conditions was proposed. Considering historical significance of the building no radical intervention was suggested to the original structure. In order to create comunal space rof residents of Manola Court Appartments wooden decks in the court yard will provide the place for socializing and common activities. Additinoally the hillside disposition opens the view on Los Angeles City and make that space an observation point. The environmental solution for the proposed common space considers Sound WHEN THE SOUND STRENGTH IS HIGH Light and Air components of healthy inhabitable environment. WATER JET RISES AND CREATE “WHITE NOISE”

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WALL HEDGE RECREASES HEAT ISLAND EFFECT AND CATCHES CHILL HUMID AIR FROM THE FOUNTAIN

THE DEPTH OF THE HEDGE CREATES SHDING FOR WINDOWS ON THE WEST FACED

WOOD DECKING REDUCES HEAT ISLAND EFFECT AND REFLECT SOLAR RADIATION ONTO THE COOL AND HUMID HEDGE

CURRENT UMID AIR ND DELIVERS WINDOWS NTS

THE SUN DIRECTION TAKEN FOR JUNE 21ST AT 0100 PM

AThe foliage on the walls of the buildings serves multiple purposes. Decreasing heat island effect, stooring cool moist air, quenching noise as natural tapestry and producing ambient sound of flapping leafs. Water feature will cool the upcumming air wich then will go to the interior of the appartments. THE WATER FEATURE ALSO OPERATE AS INTERACTIVE KINETIC INSTALLATION RISING THE WATER SOUND LEVEL UP TO THE LEVEL OF UNWANTED NOISE.

TH IS HIGH TE NOISE”

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The microphone register the noise in a particular diapazone of human spech and equate the sound level of falling watter by encreasing the pressure in the pump, which rises the rectangular nozzle (p.192).

THE SOFTWARE REGISTER SOUND PRESURE AND REGULATE PUMPING POWER ACCORDINGLY.

IN QUIETER SOUND ENVIRONMENT THE WATER JET IS LES INTENSE

WHEN THE SOUND STRENGTH IS HIGH WATER JET RISES AND CREATE “WHITE NOISE”

IN QUIETER SOUND ENVIRONMENT THE WATER JET IS LES INTENSE

WHEN THE SOUND STRENGTH IS HIGH WATER JET RISES AND CREATE “WHITE NOISE”

QUIET CONDITIONS

LOUD CONDITIONS

CONDITIONS LOUD CONDITIONS THE WATERQUIET FEATURE CREATE AMBIENT NATURAL NOISE OF FALLING WATER THE FOUNTAIN RASES OR LOWERS THE JET PRESSURE VIA THE PUMP WHAT REGULATES NOISE LEVEL OF THE WATER JET.

THE WATER FEATURE CREATE AMBIENT NATURAL NOISE OF FALLING WATER THE FOUNTAIN RASES OR LOWERS THE JET PRESSURE VIA THE PUMP WHAT REGULATES NOISE LEVEL OF THE WATER JET.

Litted water feature equipped with waterproof LED lights iW 30x60 strip LED light 20’ long

DARK

Litted water feature equipped with waterproof LED lights 123 foot-candle

SKY

iW 30x60 strip LED light 20’ long iW 10x60 strip LED light 10’ long Center Beam fc

56 foot-candle

30°

4.0 ft

123 foot-candle 123 foot-candle

Instalatino of iW 30x60 strip LED light into the bench at the back of the yard

8.0 ft 12.0 ft iW 10x60 strip LED light 10’ long

31 foot-candle

56 foot-candle

30° Instalatino 10° of iW 30x60 strip LED light into the bench at the back of the yard

24.0 8.0 ft ft

foot-candle LED light 10’ long strip iW 10x60123

Instalation of iW 10x60 strip LED light into the floor bench seat

10°

16.0 ft 20.0 4.0 ft ft

123 foot-candle 31 foot-candle

31 foot-candle

24.0 ft

123 foot-candle

Instalation of iW 10x60 strip LED light into the floor bench seat iW 10x60 strip LED light 17’ long

31 foot-candle

123 foot-candle

iW 10x60 strip LED light 10’ long 123 foot-candle

123 fc

0.7 ft

5.1 ft

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8 fc fc Center Beam 123 5fcfc

3.3ft ft 5.1 25.5 0.7 ft ft

31 3fcfc

4.0ft ft 10.2 30.6ft ft 1.3 2.0 ft 15.3 ft Vert. Spread:9.5º 2.7 ft 20.465.0º ft Horiz. Spread:

14 fc

44.3 ft (13.5 m) 8 fc 1 fc 16.0 ft maximum distance 12.0 ft

20.0 ft

long iW 10x60 strip LED light 10’ iW 10x60 strip LED light 10’ long

Beam Widt h

5 fc

Lumens

3 fc

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557 4.0 ft

30.6 ft

24.6 lm / W 44.3 ft (13.5 m) Vert. Spread:9.5º Horiz. Spread:65.0º 1 fc maximum distance For lux multiply fc by 10.7 Lumens 557 24.6 lm / W 0 5’ For lux multiply fc by 10.7 5’

10’

194 iW 10x60 strip LED light 17’ long

D WINDOWS ENTS

THE SUN DIRECTION TAKEN FOR JUNE 21ST AT 0100 PM

GTH IS HIGH HITE NOISE”

WATER FEATURE SUPPORTS THE COURTYARD ENVIRONMENT PROVIDING HUMID AND CHILL MICROCLIMATE, QUENCHING IRRITATION NOISE WITH AMBIENT SOUND

DARK

SKY

Beam Widt h 0.7 ft

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15.3 ft

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rt. Spread:9.5º oriz. Spread:65.0º

.6 lm / W

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The night illuminatino of the plaza was designed to comply with DARK SKY movement of minimizing light pollution of the night sky. All the luminaires directed down and inwards preveenting the light spill outside the plaza.

THE MEAR ILLUMINATION OF WALKABLE SURFACES ALLOW TO KEEP THE LIGHTING POWER TO THE longMINIMUM ACCENTUATING THE VIEW ON CITY LIGHTS AND AVOIDING IN THE NIGHT LIGHT CenterTHE BeamGLARE fc Beam Widt h CONDITIONS. 0.7 ft 5.1 ft 123 fc 4.0Also ft low level lights dont interfere with appartments who’s 1.3forft the 10.2 ft fc yard. Proposed lamps windows face the31court design 8.0 ft are LED with golden-yellow tone, however RGB LED also ft 15.3 ft 14 fcmolichromic and dynamic2.0lighting. providing 12.0possinble ft 16.0 ft 20.0 ft 24.0 ft

8 fc

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DARK

SKY

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Lumens

557 24.6 lm / W

For lux multiply fc by 10.7

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ARCHITECTRE CULTURE 1 /// 198

Cultural Studies [2100]

Instructor: Dr. Dora Epstein-Jones This course introduces students to the history of the discipline of Architecture in Western and non-Western culture from the Vitruvian tradition, as instantiated by Alberti, to the beginning of the “critical,” or postwar period. The course considers architecture as both a profession and a discipline, and explores its relationship to the society, economy, politics, and cultural developments of this time period. Theories of aesthetics and space are covered, as well as the rise of the academy, the inclusion of landscape and other arts in architectural studies, and the subsequent fragmentation— from the Enlightenment onwards—of Classical ideals into broad questions of origin, type, form, function and identity. Throughout the course, students will also be introduced to a range of different possible histories of architecture- vernacular histories, formal histories, and geographic histories that have been heretofore considered “outside” of the discipline. Stu dents will be challenged to consider whether these forms and meanings have had a critical impact in the discipline, and to imagine a set of alternative canons and agencies that could be implicit in each. This includes a six-week module on non-Western and Regional Architectural Traditions, at which attendance is mandatory for all graduate students at SCIArc. The course culminates in a 12-week research project in which students will gain and present a thorough knowledge of one historic building (pre-1949) in order to further the investigations of this class into architecture’s disciplinary identity. Meets NAAB Conditions: 1.13.9 Non-Western Traditions; 3.13.10 National and Regional Tradition

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Graduate of Architectural school should be able to destinguish an architectral from non architectural object. So in response to that statement. IS THE BIG DUCK ARCHITECTURE OF NOT?

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Duck With Door

Not any king of “built material culture” falls into domain of architecture. Which, in the modern sense, emerged in the Renaissance era with established values and independent role within all encompassing culture. That leaves the “built material culture” prior to 16th century in the pool of protoarchitectural objects projected by extrinsic disciplinary logic. The explanation of that sharp demarcation and emergence of architecture is possible through analysis of social systems as an authopoietic disciplinary domains. IT IS INHERITED INERTIA, THAT PRONE CONTEMPORARIES TO PUT << BUILT MATERIAL CULTURE>> ORIGINATED IN FOREIGN DOMAINS, INTO THE DISCIPLINE OF ARCHITECTURE DUE TO RESEMBLANCE OF THE RESULTING OUTPUT.

photo of Hagia Eirene at Istanbul (1913)

In terms of social systems, cultural development is described in greater social complexity that is expressed through quantity of independent domains and complexity of connections within and without those independent disciplinary domains. Though when an object of “built material culture” is being a part of social system to which the spatial qualities of the object had subordinate relation, that spatial object does not relate to architecture as it was created by foreign logic. Modern state of the apse of the church of Hagia Eirene in Istanbul can illustrate the differences among architectural and religious logics. On the contemporary photos it is clear that the forces addition have similar arched joining with the apse. While on the shots of 1913 the left force joins asymmetrically via the horizontal soffit. It is hard to say which is closer to the original state. But in plan those additions barely concerned with symmetry and appearance, supporting accidental character of the earlier photos. It is the later appropriation by architectural sensibility brought it to more symmetrical appearance. However the convoluted spatial conditions were produced by religious domination over “built material culture” and were less concerned with elegant space but rather with theological experience of liturgy. In that range of

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photo of Hagia Eirene at Istanbul (2003)

proto-architecture even gothic cathedrals are merely gadgets of worship created by extrinsic logic of church and doesn’t belong to architecture however complex and elaborate they might be. The architectural domain descended from earlier need for “built material culture” within independent disciplinary logics of proto-architecture. The genetics of architecture could be derived from the following division of social systems into authopoietitic domains ( Patrik Schumachers appropriation of social systems theory by Niklas Luhman): Political & Cultural aspects <<< from the rest of society @ early civilizations (Sumerian, Babylonian); Religion <<< from political power @ archaic antiquity The Crafts and Arts (architecture, sculpture, painting) <<< from religion @ classical antiquity The Arts (including architecture and science) <<< from crafts @ early capitalism (Renaissance) The Art (including “Baukunst”) <<< from engineering @ XIXcentury bourgeois society

challenging its sensibility by “built material culture” of different disciplines. Particularly industrial design and sculpture. In case of “built material culture” being too literal (burrito place in shape of sombrero, or shoe repair booth in shape of a boot) the object being produced by the logic of resemblance to the original reference (duck; book; hat) without touch of disciplinary logic, DESIGN DECISION, handling the spatial system and its semiotics. The Big Duck is sitting on the edge of authopoetic demarcation of the discipline galvanizes vital for architecture problem of defining “built material culture”. The Big Duck is not an architecture just as statue of liberty having windows and doors on exterior and spiral stair inside isn’t either. While the Big Duck represents the historical problem of that range, there are other recent phenomena that operate by independent from architecture logic like “healthcare architecture” and “casinos WHILE THE BIG DUCK REPRESENTS THE HISTORICAL PROBLEM OF, THATE ARE OTHER PHENOMENA THAT OPERATE BY INDEPENDENT FROM ARCHITECTURE LOGIC LIKE << HEALTHCARE BUILT STRUCTURES>> AND <<GAMBLING ATTRACTORS>>

The Architecture <<< from Art @ XX-century modern mass society The increasing complexity of independent social systems prone disciplines to emerge from the wider field. Which is in its turn stands in genetic range of the history of the discipline, but has different logics of operation and values for self regulation. As the core architectural value stands the DESIGN DECISION. It is what the Eisenman was investigating the maison domino for. Drawing the edge between structural and architectural logic as separate disciplines with different values. Maison Dom-ino prooved to be an architecture due to the sum of DESIGN DECISIONS as the medium regulated by the discipline. IF THE OBJECT DOESN’T OPERATE WITHIN THE MEDIUM OF DESIGN DECISIONS IT DOESN’T REQUIRE THE ARCHITECTURAL DESICIPLINE TO DIRECT IT. Vice verse the object lacking those decisions present no interest to the discipline. Architecture as complex synthetic discipline constantly

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fragment of Peter Eisenmanâ&#x20AC;&#x2122;s analytical diagram of maison Dom-ino by Le Corbusier

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The Big Duck (Long Island, NY)

For this assignment, you will add the significant dimension of a formal architectural history. Please strive to be specific and exact. FORMAL HISTORY CAN AND SHOULD INCLUDE ANALYSES AND/OR DESCRIPTIONS OF THE SITE, ENCLOSURE, FORM, VOLUMES, SPATIAL ORGANIZATION, STRUCTURE, TECTONICS, AESTHETICS, PROGRAM ACCOMMODATION (NOT SIMPLY PROGRAM), DETAILS, FINISHES, AND/OR TYPOLOGY. A formal history is not necessarily as involved with geographical or regional specifics, archeological evidence, cultural background, symbolism, cultural expression or meaning – but these may be significantly related to the physical object of the project studied, if that. This is not the time (yet) to be critical. Instead, try to focus on reporting what you have found in your research. You may find some interesting contradictions among your sources on particular matters relating to the project, that’s perfect – but try to refrain from firstperson singular and just report the findings. For every finding you will need to practice attribution...

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Formal Analysis of the temple Hagia Eirene in Constantinople

PREFACE Temple of Hagia Eirene (Greek: Ἁγία Εἰρήνη, “Holy Peace”, Turkish: Aya İrini) takes peculiar place in history of Byzantine architecture. Like John the Baptist stood before Christ making His way. So Hagia Eirene stand before Hagia Sofia the main cathedral of Constantinople. Proximity of two churches is not only topological but they stand in one range of succession. Byzantium itself occupies transitional, therefore navigational role in western civilization. Emerging from Roman Empire and essentially present as thereof. The new empire was officially Christian. Moreover the Christianity was not the established yet church but underground religion forbidden in the Rome. That brought revolutionary pioneer challenge to the Constantinople. Vague mutation of old material culture were being adopted for the new social and cultural structure pushing architecture toward new exploration of forms in order to frame crystalizing Christian society. Deeping into the history of built culture allows an architect stretch the perspective of the profession, to see beyond shallow collection of current phenomena. Unveil precursors of subconscious practices that being for granted by new generational layer of professionals, registered as conventions and picked up or being fought against. Those layers of generations eventually comprise trends and progression departing from the point of origin. Multiplying in time the contemporaries find themselves so far from the origin that they have quite distant understanding of the concepts that stood behind built culture and cultural framework. Thus ancient cultures are sealed from alien understanding1 . SO WE CAN MERELY DESCRIBE EVENTS AND ARTIFACTS NOT ABLE TO DECRYPT THE MEANING OF THOSE ARTEFACTS, EXPLAINING THEM AT OUR SHORTSIGHTED CONVENIENCE OF CULTURAL PROXIMITY. HISTORICAL NOTICE

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The temple of Hagia Eirene (Holy Peace) signified the victory of Emperor Constantine over Licinius in 324 A.D. and sealed peace in the Roman Empire. That gesture stood in the range of Roman tradition of marking the peace with building the edifice memorizing the event. So the Temple of Janus at Roman forum had its doors closed during the peace time and opened at the time of war2.Also known The Ara Pacis Augustae (Latin. “Altar of Augustan Peace”) is an altar to Peace, the Roman goddess. The monument was commissioned by the Roman Senate on 4 July 13 B.C. to honor the return of Augustus to Rome after his three years in

Hispania and Gaul3. Temple of Peace built in 75 A.D. after conquest of Jerusalem by Emperor Vespasian. In that scenes the temple of Hagia Eirene (Holy Peace) is a Christian church in the range of pagan yet tradition. The city of Constantinople became the capital of Eastern Roman Empire in Roman tradition to name the city after the Emperor. The first stone was laid by Constantine himself on November 4, 326 and the settlement is said to have been completed on May 11, 3304. The old Greek city of Bizantium (Greek. Βυζάντιον, lat. Byzantium) stood at that place since 675 B.C5. Church of Hagia Eirene is one of two churches built by Emperor Constantine right after declaration of Constantinople to be the “New Rome”6. Hagia Eirene functioned as the main cathedral of the city till completion of Hagia Sophia in 360. After that status of the church doesn’t changed and the clerks of two churches remains the same with that difference that in Hagia Sophia service being held on holidays and weekends, and in Hagia Eirene on all others7. THE SECOND UNIVERSAL ECUMENICAL COUNCIL IN CONSTANTINOPLE TOOK PLACE IN HAGIA EIRENE WHERE THE CONCEPT OF THE HOLY TRINITY AND HOLY SPIRIT WAS ACCEPTED BY THE CHURCH8.

1< Spengler, Oswald, The Decline of The West / perspectives of world-history (London) 1928 p. 146 2< Plutarch, Lives of Noble Greeks and Romans, Printed by J. Tonson. London 1727, C. VI 3< Augustus, Res Gestae Dici Augusti (The Achievements of the Deified Augustus) (Cop.14 A.D.) C. 8.5, 12.2 4< J. Maurice, Les Origines de Constantinople, Recueil de Memoires(Paris)1904 p. 289 5< Janin Raymond, Constantinople byzantine. Paris: Institut Français d’Études Byzantines.1964. p. 10f. 6< Socrates Scholasticus, The Eclesiastical History, Constantinople, 439, C XVI 7< Socrates Scholasticus, The Eclesiastical History, Constantinople, 439, C. VI 8< Vita S. Stephani Junioris, Migne, Paris, 1857 col. 1144

Isometric drawing of the constructive scheme and transition of the forces from dome to the arches and vaults

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The original church of Hagia Eirene founded by Constantine have burned down during the riots of Nika which took place since 13 till 16 January of 5329. The restoration works begun later that year in February. Entire City had to be rebuilt including Hagia Eirene and Hagia Sophia, to which the particular emphasis in the reconstruction10. The main architectural image of the church remained is the result of Justinian’s reconstruction11. However more restorations followed the Justinian’s due to seismic activity in Constantinople. Originally the church had mosaics on the interior walls, but iconoclastic time left only quincunx in the conch of the apse12. The latest detailed description of the temple accessible due to expedition of Russian Archeological Institute in Constantinople headed by Dmitry Belyaev in 1895. During that expedition the strong earthquake heavily damaged the edifice13 . At that period the Church was used as Turkish armory and been kept in utmost neat conditions, however the interior of the building was extensively covered by wood veneer holding guns and axes14. GENERAL DISCRIPTION The Position and Surrounding of the Building The church of Hagia Eirene stands in the close proximity to Hagia Sofia to the North West in the court of Seraglio. The axis of the building is turned on 37° to south from east. The axis of the building deviates from Hagia Sofia, which turned to south from east on 33°. The church stands free on all three sides except for west where atrium is situated. The floor level is twelve to fifteen feet below existing ground level. The level of the atrium only few inches above the floor level of the church. The Constructive Scheme The primary element of the constructive scheme is a dome, the greater part of the thrust is transferred to four barrel vaults, pendentives between them and further down to massive piers. Pendentive is essential invention of Byzantine architecture negotiating structural transition between cube and a sphere. Besides symbolical meaning of this geometry of uniting the earth and heaven, emperor and patriarch, pendentive initiated higher level of geometrical complexity handling the thrust into counter intuitive manner. Roman tectonic system required to put pilaster on the arcade explaining transition of horizontal span to vertical element.

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NEW CONTINUITY OF BYZANTIUM ARCHITECTURE LEAVES VAULTS WITHOUT TECTONIC ARTICULATION OF THE ORDER, USING THE COLUMN AS VERTICAL STRUCTURAL ELEMENT AND NOT DECORATIVE EXPLANATION.

8< Vita S. Stephani Junioris, Migne, Paris, 1857 col. 1144 9< Procopius of Caesares, On Buildings of Justinian, Constantinople, 557, I.C.2 10< John Julius Norwich, A Short History of Byzantium, Vintage Books (New York) 1999 p. 65 11< Leland M. Roth, Understanding Architecture, Westview Press, Oxford, 1992, p258. 12< David Tlbot Rice, Art of the Byzantine Era, Thames and Hudson, (London) 1963 P. 58 13< Belyaev, Dmitri, (Византийский Временник) Byzantina Xronika, Imperial Academy of Science, St. Petersburg 1895 14< Walter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 35

Similar explanatory ornamentation of Roman architecture required division of coffered semicircular surfaces on smaller tectonic elements15. TECHTONICAL NARRATIVE OF BYZANTINE CHURCHES SPEAK IN RATHER SUBTLE AND SCARCE EXPRESSIONS STRIPPING THE DECORATION OF ROMAN ANTIQUITY AND CONTEMPLATING ABOUT INTRINSIC GIST OF THE STRUCTURE IN SMOOTH SURFACES OF DOMES AND VAULTS.

Interior View of the Basilica of Maxentius and Constantine. Reconstructed by the Archeologist G. Gatteschi. Rome. (From the Archive of New York Public Library)

Section of Parthenon in Rome by Giovanni Batista Peronesi shows geometrical division of coffered ceiling

That new topological game endeavors into the necessity of Christian mysticism to create structural illusion of floating dome. As if the Holy Spirit itself interfered in the gravity field of the cathedral and have proven the divine space under the dome, the house of God. The vocabulary of the byzantine architecture elaborate on semicircular transition of the span to the piers. The barrel vault stretching to the east from the dome transfers lateral and vertical thrust to the apse which bounded by latter addition of external buttresses. While it is logical in the analysis of the volume to move from whole to the parts, the construction method of byzantine masons approached the space of the edifice from smaller volumes to the bigger one with the main attention on transition of the wall to the ceiling16. In the absence of project masons approached the problem of vault individually in each case operating with the material at their hand. That explains often irregular geometry of the vaults and different typology of vaults in the church of Hagia Eirene. To the west the load from the dome transferred to larger domical vault bounded on one side by the west vault of the dome, on north and south sides by vertically stretched elliptical barrel vaults by the same high as those of the dome, and on the west side by circular arc. The lateral load from the domical vault is transferred westwards to the series of smaller vaulted compartments in two stories which comprises narthex and the gallery above. Northern and southern enclosing walls match the outer edge of the vaults, covering over the isles17. It is typical for the cross-domed basilica, and emphasize axial division on three isles . The other type of the byzantine churches is cross-domed curch. The difference between those two types consists in treating lateral vaults supporting the dome. The vaults of cross-domed church end at the outer gallery not reaching the outer walls creating rather rectangular plan. While cross-domed basilica have linear development along east-west axis descending main lateral thrusts by series of vaults and arches on that axis. That priority of linear structural scheme of Hagia Eirene resulted in overhanging of the top of the northern wall on seventeen inches, where lateral

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thrust was opposed by later addition of buttresses on the exterior18. None of the main supports are projected beyond the enclosing straight walls of the building besides later addition. That visually demarcates byzantine architecture from that of gothic, with the cascades of external buttresses. That understanding of interiority and enclosure resolving the structural ensemble within the bounds of whole volume will find its culmination in the Church of Hagia Sophia. UNLIKE PARTHENON OR OLD ST. PETERâ&#x20AC;&#x2122;S, HAGIA SOPHIA IS BUILT PRIMARILY AS AN INTERIOR SYNTHESIZING BASILICAL AND CROSS-DOMED TYPOLOGIES INTO A COMPLEX AND ELABORATE SYMPHONY OF TECTONIC ILLUSION OF SPATIAL CURVATURE19.

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15< Coffered vaults of in Basilica of Maxentius & Constantine (Fig 1.) and dome of the Pantheon in Rome (Fig. 2) convey that tectonic datum of curved spanning surfaces in smaller geometrical elements, dividing the continuous surface on smaller geometrical elements perspective contraction of which leaves no doubt of its direction. 16< Walter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 35. 17< Lyn Rodley. Byzantine art and architecture an introduction, Cambridge University Press, (Cambridge) 1994, P118 18< Walter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 11. 19< David Tlbot Rice, Art of the Byzantine Era, Thames and Hudson, (London) 1963 P. 56

General plan of Hagia Eirene by Section of Parthenon in Rome by Walter S. George comprised during his expedition in 1912 with dates of the additions.

DETAILED DESCRIPTION OF DIFFERENT PARTS OF THE BUILDING The Atrium The atrium is the first boundary that the user crosses engaging with the church. It lies on the central axis of the temple and creates processional differentiation from the gates of the yard to the apse at the eastern wall20 . If the temple itself is the house of God and filled with divine spirit, than the yard is the first buffer between the daily, earth life and heavenly mystical spirit beyond the walls. In present state the yard flanked with open galleries on northern and southern ranges, which creates transitional, semi-interior space. The southern range has the appearance of a long barrelvaulted passage. There is opening in the outer wall at the east end next to the narthex. In the wall there is a series of arches divided by piers. The space between the arches filled with brickwork that is set back a little from the face of the wall. Walter is uncertain if the arches were once opened or filling in the arches are the same date21. Inner wall consists of broad piers and wide arches. There are five unequally spaced arches all together. Two western ranges are narrower than the tree on the east. The eastern end of the range is formed by the wall of the narthex, and there is a doorway which give access to the narthex. On the western side of the range there is an arch opening that once served as the entrance to the atrium. The northern range is similar to the southern range. The outer

wall connected to the inner by a series of piers and arches. Inner range of the arcade merge into the wall by the respond at the east end. That gallery crowned by the doorway to the narthex molded with marble frame and cornice. Similar bound crowns the colonnade on the west end. There is a window above marble molding in the top of the arched opening. The northern range, like the southern range, is covered by a barrel vault. The floor is of unpaved earth. The western range have arches that serves as a doorways for the northern and southern ranges. Doorway arches are higher than those in corresponding arcades. At the center of the western wall is the main entrance emphasized by pavement of circular stone blocks. Outer wall of the western range has arched openings and connected to the inner wall by the circular vault. The Narthex The narthex is the next spatial boundary on the axial development from exterior in depth of the edifice. Unlike atrium galleries narthex is completely enclosed space stretched along western front of the building. It is divided into five bays by slight extrusion of piers. LINEAR CHARACTER OF THE NARTHEX MAKES IT A BUFFER BOUNDARY BETWEEN NAVE AND THE ATRIUM, PREPARING EACH INCOMING THROUGH SMALL, LOW BAYS TO FACE THE SENSATION OF THE GRANDEUR SPACE OF THE NAVE22.

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Section Through the Narthex looking West

North and south bays are slightly wider, while in plan bays are approximately square. The extra width of the side bays achieved by recess of into the outer wall. The narthex has five openings toward the atrium and five toward the church, one of each side per bay. Southern and northern openings communicated to the passages mentioned above. Among three central openings the middle one is wider that those on the sides, and filled with doorway communicated directly to the atrium. The doorway has marble framing with a lunette. Two openings on the sides of those three has the same width and framing as those on the ends of the narthex. The narthex was illuminated by windows to the atrium, however that part of the temple was significantly modified by Turks23.

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The five openings in the eastern wall of the narthex have the similar character. Northern and southern-most leads to the north isle and has marble framing with cornice and lunette above. The three central openings lead to the nave. The walls of the narthex are built out of brick with three single courses of squared stone at floor level, seven feet and at the level of springing the vault. Floor in the narthex paved with hexagonal tile. The narthex was added to the church later during Justinian reconstruction24. Narthex as a space stretched along the facade with three doors into atrium and three doors to isles and nave have similar transitional significance as portico25. The variety of spatial contrasts provided by connection of narthex to south, north isles and the nave subsides circulation experience the one was exposed to.

Section Through the Western part of the Church looking West

IN THE RANGE ATRIUM-NARTHEX-NAVE, SPACES OF CONTRASTING QUALITIES CREATE CONDENSED IMAGE OF THE INTERIOR, WHILE THE RANGE ATRIUMNARTHEX-AISLE SOFTENS THE TRANSITIONAL CONTRASTS AND THE PERCEPTION OF THE SPATIAL RANGE. However the path to which one got to the church was socially determined and wasn’t a free choice26. 20< Saint Germanus of Constantinople, Ecclesiastical History and Mystical Contemplation, St. Vladimir’s Seminary Press, Crestwood, NY 1984, par 3 21< Alexander Van Millengen, Byzantine Churches in Constantinople, Macmillan & Co Ltd., Toronto, 1912 p. 99 22< Belyaev, Dmitri, (Византийский Временник) Byzantina Xronika, Imperial Academy of Science, (St. Petersburg) 1895 P.178 23< Belyaev, Dmitri, (Византийский Временник) Byzantina Xronika, Imperial Academy of Science, (St. Petersburg) 1895 P.178 24< Walter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 17. 25< Maclean, Arthur Jones, The Ancient Church Orders, Cambridge University Press (1910) p.3 26< Belyaev, Dmitri, (Византийский Временник) Byzantina Xronika, Imperial Academy of Science, (St. Petersburg) 1895 P.180

The Nave Western wall of the nave that is adjacent with the narthex pierced with three tall arched openings, wall is a brickwork with three belts of coarse cobble with the interval of six feet in height. The coarse cobble in masonry structures as Hagie Eirene conveys the layering nature of that king of building. While regular rhythm between those coarse belts doesnâ&#x20AC;&#x2122;t disclose the operation and force distribution in the masonry mass. Its narrative tells about single cobbles arranged in horizontal layers, and thorough variation of outline of those layers, creation of mass enables to erect monuments of the New Rome. On West wall at the nave side, the gallery level marked by the slender cornice string-coarse, above which three arched openings similar to the ones below but not that tall. Above those openings is a large string-course marks springing of the large western arch. IN THE MASONRY OF BYZANTINE ARCHITECTURE SPRING OF AN ARCH AND TRANSITION OF A WALL INTO A VAULT IS THE ESSENTIAL MOMENT OF DEFINING THE SPACE27. The string-coarse in that episode marks the transition of the wall into an overlay of the opening, and tells narrative of the vaulting tectonics. Above this the wall continues and fills the lunette of the large western arch. High at the crown of the lunette there is small arched window. The South and North Walls of the Nave are similar and divided into two unequal bays by piers which carry vault

Disposition of Monograms on the Capitals in the Nave

and dome. The space between piers filled up to the gallery level with a series of vaults which cover the isle and carry the gallery. This vaults are the same except for the western vault of the western bay. That non equal spacing of the bays creates rhythmical progression of four spaces from West to East. Narthex-Smaller, Western Bay-Estern Dome BayEastern Apse. While Apse is a sacred divine space of the church with the altar28. The Narthex is space that introduces the one into the interior. Smaller and Under-Dome space divide the nave of the basilica into two unequal parts creating another spatial threshold on the way to the altar. The Western Bay has irregular openings. Two on the eastern side are similar to those in the eastern bay and the western one is the same width as arched opening between narthex and nave. Between the wider opening at the west and two openings on the east side of the bay broad projecting pierce extended up to the string-course. This pier might be the heritage of earlier structural arrangement of the temple29, since it has no structural function in the present constructive scheme. The Nave Arcades consists of a series of narrow semicircular arches divided by slender columns. Shaft of the column is out of bluish white marble and the column itself stands on toughly squared stone block without signs of base. The column has necking and peculiar Byzantine Ionic capital. It has a tall cushion above and roughly signified volutes. Spirals on the volutes shown only on the isle side of the capital. Between the volutes there is crudely carved boss, and on the sides of the capital there is acanthus leaves. Splayed face of the capital on the nave side has a cross in a round low relief. The same face at the isle side has monograms of four different types. The monograms belong to Emperor Justinian; Pheodoras;

Details of a Column and Capital in the Southern Nave Arcade.

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Longitudinal section of the church looking South. 27< Walter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 33 28< Saint Germanus of Constantinople, Ecclesiastical History and Mystical Contemplation, St. Vladimirâ&#x20AC;&#x2122;s Seminary Press, Crestwood, NY 1984, par 4 29< Walter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 20 30< W.R. Lethaby and Harold Swainson, The Church of Snacta Sophia, Constantinople A Study of Byzantine Building, Macmillan & Co (London, New York) 1894 p.292 31< Ciril Mango, The Art of Byzantine Empire, University of Toronto Press (Toronto) 1993 32< Walter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 22

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Augustas; Vasileus30. Walter S. George suggest that the capitals were replaced as they have different diameter than the necking of the columns. The arcade has continuous wooden tie-beam above the abacus of the columns. The capitail of Byzantine Ionic has elements of Classical Roman one but in strongly distorted proportions. Also columns in Hagia Eirene are used only as a structural elements. The significance of the classical order for the New Rome fading away, yet tectonic logic of the column demands to equip it with the capital and the base31. The capital of the column is the only element in entire church baring decorative ornament. So when the emperors were looking for the place to leave their sign in the house of God, they did it on the back of the columnâ&#x20AC;&#x2122;s capital. That lack of decoration corresponds with radical approach in the whole material language of the church that describes the space in stripped honesty of pure material, exposing the inner meaning of the structure and being transparent about its tectonic. THE CAPITALS ARE ONLY RETREAT FOR THE SYMBOLIC SCRIPT OF ORNAMENT, IN THE TECTONIC BOOK OF THE PLANE ARCHITECTURAL TEXT THAT TELLS ITâ&#x20AC;&#x2122;S NARRATIVE IN ELOQUENT SURFACES OF DOMES AND VAULTS OF THE CHURCH.

Reconstruction of the plan, Basilica of Maxentius and Constantine in Roman Forum (312 A.D.)

Decorative ornament is the refuge for the text shrouded in monograms secret meaning and figurative text marking the desire to be closer to Havens by putting once symbols in the house of God. In The Eastern Bay the arcade is the similar to already described one, with five bays dividing nave from isle carrying the gallery above. The south wall consists of squared stone of different course up to the springing of the isle arches, which made out of a brick up above. Gallery part of the pierce was covered in marble slabs32. The South Aisle At the western end the aisle starts with the compartment that has two arched opening eastern into narthex and southern into nave. In the outer wall of the compartment there is a semicircular-headed window reaching up to the soffit of the vault. The niche descending from window, falls down to the floor. The compartment bounded on the east by the stone respond and the arch. Next to this compartment are two bays of the distinctive kind of vaulting33. Up in the outer wall are semicircular-headed windows in each bay. The window on the outside of the wall is higher than on the inside. Up to the sill of the window the wall is built out of squared stone in a coarse varying in height. Further eastward there is next barrel vaulted passage formed in a massive dome barring pier, and beyond this there are five

Location of the Basilica of Maxentius and Constantine (sometimes known as the Basilica Nova) in the Roman Forum. It was the largest building in the forum.

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further bays of the same character as the once just described. Beyond the five vaults facing the nave there is a barrel-vaulted passage formed in the eastern dome barring pier. Further east there is rectangular compartment. On the outer wall of the compartment there is a window that is wider than other windows in the south aisle. In the inner wall there is an arched opening that lead to the bema. On the east side there is an arched opening that has and doorway that marked the extent of the aisle. The wall once was the main east wall of the building. Two lower isles and one taller nave is the typical structure of roman basilica (Fig 2). The early Christian churches borrow the typology of Roman Basilica adding the galleries on top of the isles. The pagan Roman Basilica of Maxentius and Constantine in Roman Forum have an outline close to those of early churches of Constantinople34. Built by the Constantine I in 312 after defeat of his rival Maxentius who have started the construction of the Building in 30735. It is remarkable how the plan of the basilica resembles to the Christian church (Fig 10). Besides the tree-division of space and vaulted bays, the forum has Narthex, Isles, Nave and Apse. THE BASILICA OF MAXENTIUS AND CONSTANTINE WAS BUILT IN THE TRANSITIONAL PERIOD OF THE ROMAN EMPIRE FROM PAGAN WESTERN TO CHRISTIAN EASTERN. So that basilica is the synthesis of the Christian spatial symbolism and Roman typology of a basilica. In the same synthetic form the Church of Haigia Eirene is in transitional stage of Christian temple between basilical elongated and cross-domed, squared plan. Further compartments beyond east opening of the isle has the same structure as narthex walls. Namely brickwork with single stone courses at wide intervals. The additions represent buttresses for the apse and some extra chambers. Larger chamber has a window in the eastern wall. The smaller chamber has no windows and seems more like accidental space between walls than purposely made chamber. The North Aisle

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The north aisle is very much the same as the south isle with minor peculiarities. The opening in the outer wall in the westernmost compartment of the aisle is not a window as in the south aisle but the doorway. The middle window in the outer wall of the central bay is covered by addition of buttresses to the north wall. Large eastern door at the eastern end of the aisle marked by margins and cornice. Beyond this door is one later added chamber which had the entrance from outside. Walls are made out the same well-squared stone.

30< W.R. Lethaby and Harold Swainson, The Church of Snacta Sophia, Constantinople A Study of Byzantine Building, Macmillan & Co (London, New York) 1894 p.292 31< Ciril Mango, The Art of Byzantine Empire, University of Toronto Press (Toronto) 1993 32< Walter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 22 33< LWalter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 23 34< Krautheimer, Richard, Early Christian and Byzantine architecture, New The Yale University Press (New Haven) 1992 35< Leland M. Roth, Understanding Architecture, Westview Press, Oxford, 1992, p22

The Bema The eastern end of the nave is closed by and apse that is semicircular inside and polygonal outside, with arched faces that descend toward the nave. In the lower part of the apse semicircular ranges of seats form a sloping gallery. Underneath the seats is a semicircular passage with both doorways facing the nave. Doorways have similar marble casing and cornices. Seven openings in a raiser of one row of seats has openings illuminating the passage. There are no other openings in the walls of the passage. Walls of the lower part of the apse and seating built in the same way as the nave walls, out of squared stones. The half-barrel passage underneath the seats is built out of a brick. In the ancient Christian churches iconostasis haven’t developed yet and the altar barriers were very low so that the herd could see all the priests seating on the semicircular steps around archbishop who was seating in the middle on the cathedra36. That semicircular seats facilitated the council of the church, and the second Universal Ecumenical Council in Constantinople that took place in the church of Hagia Eirene37. That amphitheater for priests seating in the apse was the culmination of the procession of the church. Above semicircular gallery are three arched windows that are perpendicular to the outer faces of the apse. Higher above the windows string-course cornice marks springing of the concha of the apse. Concha is covered by the mosaic of a cross. Pavement across the front of the apse is raised on 7.5” and extends up to the side aisles with the drop in the arched openings of inner walls. That signifies the barrier and creates fine relation of opening that visually allows to see the bema, but the step that emphasize the elevation creates subtle spatial boundary.

36< Belyaev, Dmitri, (Византийский Временник) Byzantina Xronika, Imperial Academy of Science, (St. Petersburg) 1895 P.181 37< Vita S. Stephani Junioris, Migne, Paris, 1857 col. 1144 38< Walter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 30

THE WHOLE EXPERIENCE IN THE HAGIA EIRENE BUILT ON RANGE OF SPATIAL BOUNDARIES THAT UNITE THE SPACE IN THE COMMUNION, YET ORDER ITS SUBORDINATION AND STRUCTURE. IN THE CHURCH THE BOUNDARIES PROMPT THE SPIRIT OF A PERSON TO OBEY, SO THAT THE DEMARKATION IS CREATED THROUG SPATIAL EMPHASIS ON DIVINE FIELD, BUT NOT THE LITERAL PHYSICAL BARRIER. The exterior of the apse is covered with additions and repairs. The older part of the wall barely rises over ground. It’s built out of roughly squared stone in similar manner as the nave38. Diagonal faces of the apse adjacent to the eastern wall at the angle of 120°. The upper part of the apse is distinctly later period and joining of the apse with the eastern wall is covered by later additions. Three faces of the apse has a window centrally positioned and at present partly covered by buttresses. Buttresses obliquely connected to the diagonal faces of the apse different in size and outline. The southern buttress has sloped top and ached soffit in order to avoid blocking the window in the wall of the apse. The southern one is slightly shorter and joins to the apse wall by the horizontal lintel. The apse built out of the brick while the lower part of it is out of squared stone cobbles.

Semicircular Gallery in the Bema

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Section through the Eastern Part of the Church, Looking East.

217

Section Through North Isle, Looking North.

The Western Gallery The gallery above narthex consists of five bays similar to that of bellow. There are five tall arched windows in the outer western wall one per each bay. On the outer face of the opening at the level of the floor there is a molded stringcourse similar to that which runs around the nave. The stringcourse stopped at the ends of the wall by projecting pierces. The western wall of the gallery is built out of brick but two bonds of stone placed at the highest part. The inner wall of the gallery has five openings two on the sides lead to aisles galleries, and three narrower in the middle opened to the nave. The middle openings have the same size as those on the outer wall. The openings at the sides are pierced through vault barring piers and communicate with side galleries. Northern wall of the gallery has a series of descending arched niches. The southern wall has two windows in the arched niche similar to that at the northern side. The Southern Gallery The southern gallery divided from the west gallery by the pier of the nave-vault, with arched opening that leads to the western side of the gallery. The outer wall of the western part of the gallery is divided in two by projecting the respond. That respond correlates to the similar one in the aisle. The wall between this respond and western pier has

semicircular headed openings. These windows has a sill at the height of two feet above the floor. Above the windows is molded string-course marks the springing of the stretched elliptical barrel vault. There are two rows of semicircular windows in the lunette. Two in the higher row and four in the lower. Proceeding further east there are dome pier which pierced by a low barrel vault that leads to the eastern portion of the gallery. In the outer wall of this portion there are five semicircular windows in the lower level, molded string-course above it marking the springing of the vault. Above it another row of five windows and the highest row of three centrally positioned windows on the same axis as those below. All windows are semicircular-headed. That wall and pierce consists of layers of bricks and roughly squared stone. At the eastern end of the gallery vaulted opening in the dome pierce leads to small compartment, which has a window to the bema and in the easternmost wall. That window has usual marble margins and cornice. The Northern Gallery The northern gallery is similar to the southern one, but there are some differences. There are large buttresses on the outside face of the wall so that windows in those places on the first and second level being filled up. The easternmost chamber has one window facing north. Both northern and southern galleries had marble enclosing on inner walls39 .

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THE VAULTING SYSTEM The building constructive system is based on application and elaboration of masonry arch, vault and dome. Tectonically the space of the temple built around the big spatial splash that created by the central dome. Than the stone flows down filling the mass with the loads descending from the grander elements dispersing into smaller and quieter flows of stone, streaming the weight down to the ground in the vertical jets of masonry. The arches and vaults are often far from ideal geometrical shapes and they peculiar shapes deserve special attention. Narthex Vaults The vaults of this group the best represented by the once in the side bays of the narthex. It is considerably low vault at the intersection of the central axis projects itself to the four sides as the circular arches lower than the crown of the vault. THE HIGHT OF THE CROWN EVIDENCES THAT THE VAULT WASNâ&#x20AC;&#x2122;T CREATED BY INTERSECTING OF TWO CIRCULAR BARREL VAULTS, BUT GROW UP FROM THE ARCH INTO PECULIAR SYNTHETIC FORM. The vault formed by the wall with horizontally oriented brick. The arch at four sides of the vault where brick at the springing point starts horizontally and then following the outline of the arch rotating more into vertical position. While the vault itself is started at the springing point from the little square pad between adjacent arches on its top side adjoining the bedside of the brick in the vault to the top-side of the brick in the arch. So that adjacent surfaces of the vault interweave into itself by bricks stepping onto each other at the edge of adjacency of surfaces of the vault. Eventually brick in the vault starts from the vertical position on top and rotates following the surface of the vault and rotates to the horizontal position where its side is parallel with the floor and the bed surface is parallel to the surface of a section

Diagram showing the Construction of the Narthex Vault.

Aisle Vaults

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The vaults in the both aisles represent the series of arches that at the inner wall rests on a column or a respond projected out of a pier and on the outer wall merges with the wall or corresponding respond. Those arches then being used as foothold to close the space between them with a vault. The arches in perpendicular axis are formed by semi-circular windows in the outer wall and nave arcade between columns. In this case the vault covers narrow space between aisle arches starting from the nave arcade and semi-circular window closing in its crown. Each arch has a diagonal surface where the bricks were placed on the bed side starting from the side of the narrowest arch. Each layer of bricks was extended further than the previous one till the vault was closed. Wooden ties were resisting the lateral thrust at the spring line of all four arches.

Diagram of one of the narrower Narthex Vaults

39< Walter S. George, The Church of St. Eirene at Constantinople - Byzantine Research & Publication Found, Oxford University Press (London), 1912, p 34

Domical Vaults

Diagram showing the Construction of one of the Isle Vault

These vaults include easternmost compartments of both isles, corresponding compartments of the gallery and the large vault in the western part, next to the dome. Those vaults almost spherical. The smaller vaults of that kind are square in plan and the spherical vault has center at the same height as the bounding that vault arches, which are all the same height. The large western vault has bounding arches of the same height and unequal span. The wider arches are semicircular and the narrower are vertically stretched elliptical. The vault starts at the corners of the adjacent arches with bricks placed on the bed horizontally. The curve line between arches similar to the quarter segment of a circle, but the center of the circle is different for each coarse. When the pendentive part of the vault reaches the crown of bounding arches and form one closed line of a course the bricks start to incline. Brick, coarse by coarse being rotated more vertically closing the oculus of the domical part. From then on the vault was continued as a portion of a true sphere. The Dome

Diagram showing the Construction of the Western Nave Vault

The vaults on which the deme is rested built as regular arches with bricks being rotated along the curve circle of the arch from horizontal position at the springing line further rotating beds closer to the crown of the vault. Pendentive is constructed in the similar way as it was described in domical vault. With that difference that the beds of a brick were radiated at tangent to the bounding arches. And the radius of the coarse line grew with the height of the pendentive. So that slight slip of walling was introduced by incline of a bed. At the crown of the bounding arches pendentive have a plan of square with rounded corners. So in order to form a close circle it grows higher than the crown of the arches. Above the string-course there is a drum carrying a dome. The drum is pierced by twenty semicircular windows which springing line is higher than that on the dome. Upper part of the drum carried up to the half of the dome. It is worth to notice the size of Byzantium brick 14â&#x20AC;?x14â&#x20AC;?2â&#x20AC;? and the amount of mortar allows percept it as a concrete with brick aggregate. Also, masonry provides rich datum of the constructive methods. Additional ways of tectonics differentiation like squared stone courses dividing the walls into portions, string-course cornices at the lines of springing vaults, arches, conchs and gallery levels. And the most spectacular the pattern of brick arrangement informing the structure and methods of vaults and arches construction.

40< Leland M. Roth, Understanding Architecture, Westview Press, Oxford, 1992, p252

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CONCLUSION The Church of Hagie Sophia is unique in its place of firs Constantinople churches. In the beginning of Christian architecture the churches were experiencing rapid metamorphosis translating existing architectural panoply to the needs of emerging liturgical procession and theological experience. The transition of the Roman Empire from west to east wasn’t immediate, but was fueled with power and political will of young religion and visionary Emperor Constantine I. He is the one who built Basilica of Maxentius and Constantine in Rome and then almost 10 years later Hagia Eirene in Constantinople. These two building signify transitional period for the Roman Empire. And encompass further development of architecture for the new Christian Civilization. The plan of Hagia Eirene is elongated basilical with central nave and two isles. However it accommodates the cross sectin of barrel vaults that support the dome and four pierce at the intersection of the vaults. The rectangular nave in its present condition divided on two squared space. The Eastern one under the dome, and the Western under the domical vault. IN ESSENCE THE MERGER OF BASILICA IN PLAN AND CROSS SECTION OF VAULTS WITH THE DOME, PRODUCE HYBRID OF CROSS-DOMED CHURCH AND THE BASILICAL CHURCH IN ONE EDIFICE. Lack of decoration and use of brick in Byzantine architecture respond to the radical gist of Orthodox Christianity. The main attention in the church turned to the interior of the building40. The exterior of the church conveys it’s tectonic as transparent reading of structure via brick masonry. Bricks brutal look strips the façade from decorations and tells the gist of the form being truthful to its structure. The material logic of the masonry creates tectonic datum on Constantinople which demarcates it form the smooth liquid nature of a concrete in Rome. Roman decoration of Pilasters, Entablature and Freezes attached to the concrete structures followed inherited tradition of antiquity plunging the buildings into narrative of ornament. The architecture of Constantinople was liberated from that kind of decoration language, and was free to explore the spatial organization in its own term, independent from the canon of pagan world. The pivotal position of Hagia Eirene in development of BYZANTIAN ARCHITECTURE WAS DEFINED BY ITS EARLY SYNTHETICAL PRINCIPLE OF INTERSECTING EXISTING UNDERSTANDING OF BUILT STRUCTURES AND THE THEOLOGICAL NECESSITY FOR LITURGICAL PROCESSION. That fact that the Church was fully operational after Hagia Sophia was built supports the significance and unique position in the history Christian architecture.

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TECHNIQUES OF //// REPRESENTATION 2 222

Visual Studies [4101]

Instructor: Anna Neimark The course forms the continuation of Strategies of Representation 1 by expanding on the conceptions of representational tools, emphasizing diagramming and spatial representations, and incorporating site analysis, topography and three-dimensional realizations. The program focuses on developing the precision of intentions in the production of architectural drawings and instilling a critical sensitivity for the inherent bias and interface of each deployed medium of representation.

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Assignment_1 AThe Roman du Roi is the typeface comissioned by Louis XIV to Imprimerie Royale in 1692. The typeface is predecessor of The Enlightment and represents the pixelatad composition of familliar figures. THE TYPEFACE ROMAN DU ROI WAS CHOSEN AS AN INITIAL CONDITIONS OF FAMILIAR FIGURES WITH NUANCE FEATURES TO BE ABLE TO TRACK MODIFICATIONS THAT WILL FOLLOW. The typeface was carefully constructed out of circular arches and straight lines to being clearly recognized in a variety of scales it have been used. The letter O was randomly assigned and redrawned following the method of construction of the typeface. Abscence of sherifs and straight lines provide the charachterâ&#x20AC;&#x2122;s continuity formed by two carfully constructed lines.

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Assignment_2 AThe modificatino of the charecter was subsided by chifting the center point of its constructive circle according to mixelation grid. The thin connetion of the ring of the character creates double reading as continuous and separated ring of the letter. THE INNER CIRCLE ATTEMPTS TO ESCAPE THE OUTER CIRCLE AND DEPART FROM LEGIBLE FIGURE OF THE CHARACTER, WHILE STILL BEING A LETTER <<O>> The transformation operate within a conditions of legibility of the character exploring it to the point decay of the recognisable figure. That nuanced transformation aimed to maintain the structure of letter o and comply with its architecture of one circle inclosed within the other while pushing that definintion to the limit

Assignment_3>>>>> The next step of transformation projected one acharacter against another with intent to create three dimentional object. If the first letter <<O>> was assigned randomly the second letter <<S>> was chosen intentionally. The second letter have simmilar continuity outline as the first one constructed by the circular arches only but with higher complexity. THE COMMON CONTINUITY OF BOTH LETTERS CREATE THTEE DIMENTIONAL OBJECT OF THE SAME QUALITIES COMPRISED BY THREE CONTINUOUS SURFACES.

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Both letters are lower case and their posion in the grid wasnâ&#x20AC;&#x2122;t altered for the boolean extruded projection.

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<<<< Assignment_4 The object of projecting the letters over each other was depicted through different techniques to revieal its qualities and accentuate the effect that method infuse in the object. THE CLASSICAL ACADEMIC METHOD IS BASED ON ARCHITECTURAL REPRESENTATION DEVELOPED IN ECOLE DES BEAUX-ARTS IN PARIS RENDERING CLASSICAL ANTIQUITY. The light lits the object under forty five degree in plan and elevation casting a shadow of the object onto itself. That statuary volume of the object reveals its three-dimentionality by an outline of a shadow first of all, and secondly by the curvelinear character of surface the shadow being casted on. That method merge two approaches to the depicting an object. One is the orthogonal abstraction of a drawing focusing on explanation of the geometry that never could be perceived in real life. And sade & shadow gradient baring a depth datum of two dimentional representation.

Assignment_5 Through the atomar units the pieces on object reveal the mass difference, densitying on more massive episodes and being dissolved and scattered in teh thinner ones. THE METHOD FOCUSES ON DESCRIBING THE SURFACE QUALITY AND HOW DOES SURFECE CONTRIBUTE TO THE PERCEPTION OF THE MASS. That way of describing the object in massive qualities suggest the more ambiguous reading in the episodes whare the field of elements close to a decay, and more bold articulatoin inmassice episodes.

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Assignment_6 Further exploration of vector articulation of the object describes the qualities of surface continuity. The object is bounded by three continuous surfaces that varies in its degree of curvature and width. THE SINGLE LINES FOLLOWS THE DIRECTION OT A SURFACE WHILE THE TONE CONVEYS THE WIDTH OF IT CREATING TOGATHER A FIELD OF ELEMENTS CONVEYING THE GEOMETRY OF THE FIGURE AND ITS VOLUMEâ&#x20AC;&#x2122;S CHARACTER. The color revieals the density of the surface field with shorter range in thiner places and full spectrum in wider ones. That method percieves the object as a field of spatial characteristics measured in single point, with assembly of those poins conveying the full datum about the object in methodological spectrum.

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Assignment_7 Capturing the multiplicity of figures the object produces create a dynamical picture of its qualities blurring the still caption of the image into the time. That multiplicity has a potential to revieal some qualities that slip away during conventional still examination of the figure. THE SUPERPOSITION OF MULTIPLE FIGURES PRODUCED BY THE OBJECT ALLOW TO EXAMINE THE OBJECTâ&#x20AC;&#x2122;S SPATIALITY FURTHER THAN CONVENTIONAL STILL PROJECTIONS CAPTURING ORTHOGONAL VIEW ONE AT A TIME. Particulary this object examined with the method of blurred time superposition revealed the the dynamic continuity of the depth and massive density. So the surface continuity suggests direction and dynamic, propogating the reading of a movement in the continuous space.

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Epilogue Concluding the academic year multiple topics of current architectural discourse were evoked through studio, visual, applied and cultural studies. The problem of architectural medium and ways of rendition to represent and perform design process. The multiplicity of figures produced by an object and appreciation of opaque qualities of space springing variety of readings. That multiplicity of readings and fertile diagrams that subside the initial formal condition for architectural development of a project. The attitude toward the meaning and understanding of the process is supported by post-structuralism hegemony among faculty members. Incorporation of cultural studies, studio and visual studies address the same problems from their perspective creating united academic influence and exploration of the problems in a deep multifaceted way. The fertile variety of topics within the academic community of the school supported by carful attitude to the popular problems in the avant-garde discourse allowing new problems to emerge and gain its potential. However the conventional way of first year studioâ&#x20AC;&#x2122;s successful groove restrain any deviations endeavoring into architectural discourse of personal interest, and seal it temporarily, steaming it for the thesis project. The most important benefit from the â&#x20AC;&#x2122;12-â&#x20AC;&#x2122;13 academic year is widening the methodological and theoretical horizon beyond single view perspective, embracing independence in multiplicity of opinions. And getting initial understanding of architectural discourse in southern California. The dynamics of academic process in SCI-Arc subsides its position in avantgarde architecture range and that dynamics passed on to the instructors who are active participant of current architectural discourse with their area of interest. One question though arise at the 40 years of successful operation of the institute with its traditions and history founded by rebellious students and teachers in 1972. Should successful student of SCI-Arc be a rebel, or not?

2012-2013 Academic year SCI-Arc by Kirill Ryadchenko M.Arc 1 [first year] Los Angeles 2013