Portfolio of works completed during the second year of M.Arc_1 program by SCI-Arc student
Kirill Ryadchenko Southern California Institute of Architecture Lo s Angeles_2014
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table of content
2GA POLITICS OF OBJECTHOOD page_8 Architecture’s Integration page_50
Advanced Computation I
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Environmental Systems II
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Architecture & Culture II
2GB
ASSOCIATIVE MAGNITUDE
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Architecture’s Intervention
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Difficult Holes
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Design Development
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Urban Culture
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Architecture’s Integration [DS_1120] Advanced Computation I [VS_4120] Environmental Systems II [AS_3123] Architecture and Culture II [CS_2120]
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Design Studio [1120] The first term in the second year of the core M.Arch 1 sequence builds upon the awareness of the discipline and knowledge of architectural production by focusing on issues of comprehensive design. The studio is structured to hone each student’s awareness of the complex and layered issues involved in an architectural problem. Elemental spatial constructs and organizational systems are seen as resulting from and reacting to forces of site, context and territory. These influences are considered physical and virtual, permanent and ephemeral, situational and circumstantial. Qualities of site, situation and environment, as well as cultural contexts, are considered as potential tools with which to challenge conventional approaches to architectural design.
instructor
Tom Wiscombe
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OBJECT’S GENEOLOGY.
To define an object it is necessary to refer to the definition of the concept of object. The definition though varies among a disciplinary domains. The great well for architectural insperation the phiosophy looks at the ojects in the dialectics with subjecs. In the Kantian scense the objective exists regardesly form the observer while the subjective is a product of interpretation of the observer .
Inspired by the creative interpretation of philosophcal concepts of Peter Eisenman the formal study resulted in a formulation of a conceptual construct aiding to crystalyze the criterias of objecthood in the formal experiments. The process was curated by Tom Wiscombe in the invariant competition of multiple candidates for the level of objects.
page_11 GENE POOL it is three prospective objects acquired through merging a couple of familliar objects with strong visual features //
THE PROSPECTIVE OBJECTS ARE COMPETIng In THE ZOO fOR THE TITLE Of “THE OBJECT�. The initial form finding built a geneology of cmpeeting breeds with the reward of a scale differentiation of surfaces and the dynamic of the silouhette. The larger the geen pool the higher probability to seccede with finding the strong
object in the divercity of species. The champions of the gene pool are graduating to the level of objects and proced to the mating stage, where their objecthood qualities will be challenged in a struggle with their partners.
page_12 CUMULATIVE OBJECT the commulative object can not be reduced to the sum of its parts, as the exact position or the objects create the antiobject.
Objects are things-in-themselves. Objects “exist equally but differently”, as noted by Ian Bogost, and constitute a “flat ontology”. Objects may act upon one another (depending on what flavor of Speculative Realism you subscribe to), but do not fuse into a super-unity, nor are they reducible into smaller subdivisions. Individual character and difference of objects is critical, as is their withdrawn way of interacting with other objects.
All objects, as Graham Harman has proposed, “are wrapped in other objects”. Objects can exist inside of, next to, on top of, other objects; they can kiss, nestle, and squish into one another— anything short of fusing together and losing their distinction and object-hood. In this model, the sum of the parts is greater than the whole. To be clear, this does not mean a return to disjunction or collage as a model for architecture;
“Because objects are autonomous, because objects are wrapped in other objects, the subsets of the larger set persist as autonomous objects in their own right independent of the new set, but also as having entered into composition with this larger scale object or set� -Graham Harman
rather it opens the door to
new models of coherence where difference is maximized and that difference becomes an opportunity to create spatial and aesthetic tension. In this realm, things are not always fluid, particulate, identity-less, and mixed together in
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MORPHING THE TRINITY
page_14 MUTATIONS OF JUXTAPOSITION while the objects negotiate the interstitial space their formal features been transformed by the radiant features of the another object.
page_15 LOOSE FIT the component objects posess their geometry of volune and surfece, while the anti-object emerges form the exact position of the component objects.
page_16 FORMING A NEW OBJECT the original objects behave icollectively creating the new cumulative object. wraping one about another.
for this discussion, but it would be problematic to turn architecture into an application of these theories. A return to the Critical Project of the 1990’s where architects confused philosophy with architecture, would certainly be unproductive. Instead, we can ask the question: what constitutes an architectural object and what is not an object?
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a homogenous pool of intensities. Instead, things are chunky, they have contour and silhouette and figuration, and they interoperate without becoming one another. Our architecture, to put it crudely, might be more like a Korean seafood pancake or a basket of fruit than a buttermilk pancake or a fruit smoothie. Contemporary philosophical discussions of object-oriented philosophy may set the stage
TRIPLE BIRD the triple bird; production of a new obeject. from the sylabus of the studio by coordinator Tom Wiscombe
page_18 UNIGYING SLICE slicing the cumulative object reveals the relationshop of the objects surfaces and unigy the the new object with the comon face
page_19 HARD / SOFT the formal vocabulary of the shepe with the divercity of edge crease.
page_20 OBEY/REBEL while forming a new object the components negotiate its formal differences following similarities and manifesting the differences
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“While an ontology based on relations between general types and particular instances is hierarchical, each level representing a different ontological category (organism, species, genera), an approach in terms of interacting parts and emergent wholes leads to a flat ontology, one made exclusively of unique, singular individuals, differing in spatiotemporal scale but not ontological status.� -Manuel DeLanda
Is IT valuable to put disciplinary issues of ground, massing, interior, and detail/ ornament into the model of the flat ontology? By saying that architectural objects exist equally but differently, are we promoting unstructured play in the design studio? How can we increase
the heterogeneity of things and ensembles of things rather than forcing total coherence? How do we use the computer in support of objecthood rather than fields and smoothness?
page_22 VOID RESIDUAL the interstitial space between objects forme and void-antiobject
INTERSTITIAL OBJECT
new object, as the synthetic space.
The cummulative object is greater that the sum of all parts. It produces the new associative object that is incepted at the moment of the communication of the formal features of the originals
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The juxtaposition of several objects create the tention in the interstitial space. Formal features start negotiating the void creating the new negative object. That new object has features of both but unline the initial ones the spatial tention of that intersitial space is much higher. The synthetical space is beyond compositional effort. It is the child of the objects relations with strong formal features that creates the cummulative
LOOSE FIT the study of an interstitial space and legible recognition thet of
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page_25 FORMAL DIFFERENTIATION the object comprising the cumullative one ought to support tis objectivity of form
The Embassy as type is historically strict and focused on defensibility, but it is also heavily laden with symbolism. An embassy quite literally is a piece of one country superimposed into another country. There is always the anxiety of what architectural best represents a particular country, of course. But more importantly,
it is an uneasy agreement to allow what is essentially a city-state to exist within the borders of a sovereign state. Embassy design is thus a political act as much as an architectural act. Defensibility is only one angle of this complex problem.
page_26 GROUND OBJECT the architectural problem of meeting the ground defines the relationship of the object to the environment.
page_27 FORMAL UNITY the cummulative object is not a collage of independent objects but a whole consisted of parts
CURVE CUT the conventional planar section doesn’t allow to reveal the desired features of the project and interferes with formal language
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TRANSITIONAL SPACE the interstitial space holds a communicative, transitional function between city and the object existing semultaneusly in
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two realms.
page_30 ACTIVE REPRESENTATION the curvedcut representation start acting as an object reflecting the fenomenolgical reflection into a design process
page_31 GROUND OBJECT the groung object draws the clear demarcation between the composed univerce of the building and anarchy of the junk space environment.
page_32 SURFACE-OBJECT problem of apperture demands to subdivide the surface. the flat ontology prompt to look at the obects in democratic conection the surface doesn’t necessarily guide the pattern
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FLAT ONTOLOGY 2^DIMENTIONAL OBJECT it is three prospective objects acquired through merging a couple of familliar objects with strong visual features // the top study was generated merging primitive figures of hammer-head shark and stealth bobmer plane.
Flat ontology undermines subordination of the part putting all the parts of a hole on the flat hierarchical plane. In the problem of architectural aperture the opening has a loose fit with the surface and volume of the building (which are non-hierarchical themselves). 2D object lies on the surface of 3D object in a free way following and undrmining the surface.
The flat object is independent, it negotiate the surface but doesn’t follow it’s geometry completely. That loose fit reveals the objecthood of 2D object itself, which inscribe the appertures projecting its pattern on the surface of the volume.
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TRANSCRIPTION at the point of meeting a flat object and the volume of a new whole the topological misalignment create a new mutated meanings to teh clear text
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of both objects
page_36 BINDER OBJECT the flat object joins the parts of the volumes jumpiong across the seam
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page_38 OFFICE BLOCK hermetically tight office spaces ocasionally spilled out into a conecting shafts squished into an object’s interior
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page_41 PLAN OF A PUBLIC PLAZA the ground objects levitate above the ground connecting the plaza with the city through the tunneled ramp.
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page_43 PLAN OF THE THEATER LEVEL the programmatic differentiation is bleeding some functions into each diverting the programmvolumetric demarcation.
page_44 SECTION the interstitial space is acessible from multiple levels endorsing the communication space, that binds different programms and accessibilities into a democratical arena
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CULTURE BUSSINESS
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3D ART EXPOSITION
ATTACHE’S BUSSINESS LOUNGE
OFFICES
RESTAURANT TEATER
OFFICES
LOUNGE
BUSSINESS
PUBLIC RECEPTION
2D ART EXPOSITION
MEDIATHEQUE
CULTURE
CULTURE
PUBLIC PLAZA
BUSSINESS
BUSSINESS SECURITY CHECK
CULTURE FREE ACCESS
CIRCULATION the ground object negatiates the connection of the object to the city and filters the cirvulation
Autonomous impenetrable objects consist of components and are comprised of cumulative, aggregated objects.
RELATIOnS BETWEEn OBJECTS CREATE A DEnSE POLITICAL CORRELATIOn, PROJECTIng THEIR CHARACTER AnD SUBJECTIng OTHERS TO THEIR fORMAL DOMInAnCE.
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FORMAL POLITICS
The project explores the qualities of formal objecthood and reveals its magnitude through comparative dialectics of candidate objects. The formal dialectics qualify some candidate formal studies to the level of objects. While qualified as such, the object projects its authority on its environment and resists design intervention, challenging the authority of the author. Objects with the strong formal magnitude
comprise a bigger cumulative object. Juxtaposition of objects create a formally charged void between, forming a new whole as a building/object. The new cumulative object is greater than the sum of its components, forming a new negative of interstitial space, charged by the formal radiance of competing components.
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Visual Studies [1120] This course provides an introduction to advanced techniques in modeling and fabrication processes by focusing on digital drawing and production tools enabling the development of complex and dynamic surfaces, procedural and parametric forms and the development of the relationship between Architecture and geometry. Projects include prints of digital models using CnC and laser cutter devices.
instructors
Florencia Pita & Eric Carcamo
page_52 THE LOGIC OF THE TOOL the produc is natively bares the generation methods it its formal scars.
The choice of the tool is the design decission on its own for the architect and the designer. The method and its dirrevative tool puts the defined number of restrains and opportunities on a designer. Liberties and restrictions of the tool define the understanding of the medium and narrows down the decision making. Two stages of the pleeted motion project explored the inception of the project in a digital 3D environment and to provide the transition between the virtual environment and the ream world. The focus on the fabrication enforced the architectural necessity to bring the project into the world and facilitate the connection between ideal conditions on the screen and the contemporary means of production.
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PLEETED MOTION
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Composition 1
TEXTURE STUDY the studgy of texture and the geometry within MAyA Autodesk environment
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Composition 2
Composition 3
page_56 MAPPING THE OBJECT the conventional relation of the texture and volume is subordinate with the dominance fo the firs one.
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Composition 3
page_58 VOLUMETRIC GRAPHICS transitional stage between flat and volumetric is 2.5D where the essentially flat data gains the depth but lack the topology.
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Composition 4
page_60 FILE ALIVE one of the key goals of the key goals of the project was to bring the virtual object alive through the conventional fabrication means
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Composition 5
page_62 4D REAL the necessity to contemplate the object in a real world adds the emotional component to the perception of color and form
page_63 RGB the texture mapping of the object allow spectator to see only two maps at the time hiding the third one behind
page_64 PRINTING BED the dgital means of fabrication put the restrains of a size. the industrial requirement to inscribe the surface into an elements poses classical architectural problem of subdividing the whole
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page_66 NECESSITY designer /architect operate within the culture including the technological one. the need to built, fabricate, fulfill set the cecessity of resolving the classical problem of subdivision
page_67 OPPORTUNITY fabrications essential problem of transfigurating teh project into a real world asks questions which exploits the pivotal value of architectural discipline - the design decision
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Aplied Studies [3123] This course provides an introduction to advanced techniques in modeling and fabrication processes by focusing on digital drawing and production tools enabling the development of complex and dynamic surfaces, procedural and parametric forms and the development of the relationship between Architecture and geometry. Projects include prints of digital models using CnC and laser cutter devices.
instructors
Illaria Mazoleni & Jeffery Landreth
page_70 Ø28” Ø24” Ø18” Ø16” Ø14” Ø10” Ø8”
Layout of supply diffusers under seats. One diffuser per each second seat
PLAn BELOW THE SEATS 75 CFM per diffuser. HVAC system for theater box sheet number
project: drawn by:
consultants: THEATER PLANS
M 1.0
department:
960 E. 3rd Street Los Angeles, CA 90013 +1.213.613.200
US Embessy in Rio De Janeiro
Rua fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
Kirill Ryadchenko Ilaria Mazzoleni / Jefferey Landreth 2gA_Applied Studies [3123]
SCI-Arc
page_71 20”x20” 27”x30” 40”x30” 54”x30” 67”x30”
Plan at celling level. Layout of supply and return diffusers. CFM of return diffuser 1400
960 E. 3rd Street PLAn ABOVEGross THE section CEILIng of supply as well as return ducts 84”x47” which comprises the areo of 27sqft. Los Angeles, CA 90013
HVAC system for theater box sheet number
project: drawn by:
M 1.1
+1.213.613.200
US Embessy in Rio De Janeiro
Rua fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
Kirill Ryadchenko
SCI-Arc
consultants:
Cody Miner & Kirill Ryadchenko / Landreth - Mazzoleni / ABS / Spring 2013 Ilaria Mazzoleni / Jefferey Landreth
department:
2gA_Applied Studies [3123]
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Fresh Air Inlet
DING SECTION
960 E. 3rd Street Los Angeles, CA 90013 +1.213.613.200
SECTIOn THROUgH THE THEATER HVAC system for theater box
Top_Row 109' - 6"
project:
Level 2 91' - 6"
Mechanical 4 80' - 6"
US Embessy in Rio De Janeiro
Rua fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
drawn by:
Duct Shaft
Kirill Ryadchenko
consultants:
Air Handling Unit 13550 CFM 25x8x7
Ilaria Mazzoleni Jefferey Landreth department: 2gA_Applied Studies [3123] sheet number
Basement 5' - 0" Level 1 0' - 0"
M 2.0 Cody Miner & Kirill Ryadchenko / Landreth - Mazzoleni / ABS / Spring 2013
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SCI-Arc
page_74 Air Handling Unit dimentions are 25’x8’x7’ situated in a basement close to duct shaft
960 E. 3rd Street Los Angeles, CA 90013 +1.213.613.200
SUPPLy AnD RETURn DUCTS LOCATIOn In THE BUILDIng & AIR HAnDLIng UnIT ROOM HVAC system for theater box
project: US Embessy in Rio De Janeiro
Rua fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
drawn by: Kirill Ryadchenko
consultants:
Return Return AHU Duct Duct
Fresh Air Inlet
CFM15000
Fresh Fresh Air Inlet Air Inlet
Ilaria Mazzoleni Jefferey Landreth Supply Duct
AHU AHU CFM15000 CFM15000
19’
19’
19’
Return Duct
31’
31’ 31’
Supply Supply Duct Duct
department: 2gA_Applied Studies [3123] sheet number
M 3.0
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SCI-Arc
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MeCHAnICAl; SUPPly, ReTURn AnD AHU lOCATIOn HVAC system for theater box
960 E. 3rd Street Los Angeles, CA 90013 +1.213.613.200
MECHANICAL AXONOMETRY
sheet number
project:
drawn by:
M 3.1
US Embessy in Rio De Janeiro
Rua fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
Kirill Ryadchenko
consultants:
Ilaria Mazzoleni / Jefferey Landreth
department:
2gA_Applied Studies [3123]
SCI-Arc
page_77 Section of the floor with supply duct Supply slot diffusers 4”x21”x10” are placed behind every other seat. One duct per two rows of seats under the floor connected to duffusers through flex-duct.
Section of return duct Return diffusers 24”x24” are placed up in the ceiling due to low hight of the theater
AIR SUPPLy & RETURn DIffUSERS DETAILS HVAC system for theater box sheet number
project: drawn by:
M 4.0
960 E. 3rd Street Los Angeles, CA 90013 +1.213.613.200
US Embessy in Rio De Janeiro
Rua fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
Kirill Ryadchenko
consultants:
Ilaria Mazzoleni / Jefferey Landreth
department:
2gA_Applied Studies [3123]
SCI-Arc
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Cultural Studies [2120] This course provides an introduction to advanced techniques in modeling and fabrication processes by focusing on digital drawing and production tools enabling the development of complex and dynamic surfaces, procedural and parametric forms and the development of the relationship between Architecture and geometry. Projects include prints of digital models using CnC and laser cutter devices.
instructors
Dr. Amit Wolf
FROM ORDERS TO SPATIALLYVOLUMETRIC COMPOSITION
The retrospective view on the processes that took place in the second decade of the past century help to understand the architectural leap into formal autonomy, graduated from the centuries of architectural practice fused with Mediterranean antiquity and its mutations. That turn from the architecture of classical system of orders into a wider understanding of architecture as a practice and discipline
page_80 resolving (programmatically-functional) x (spatially-volumetric) equations. The questioning of the hegemony of Greco-Roman heritage as the building blocks of architecture were raised by Heinrich Hübsch in his book “In What Style Should We Build” 1828. That question suggested the end of Greco-Roman antiquity and possibility employing another styles. Alternative to Greco-Roman heritage, but the past none the
The goal of that change was not just to reciprocate to the industrial age of machines but to construct the new, unseen before social system under the rule of workers and peasants, overturning the old world upside down2. Before revolution in Imperial Russia the training of architects unlike painters conducted in Beaux Art tradition. The students of Moscow Institute page_81
less (Gothic, Egyptian, Russian stylizations). That mascaraed of styles and historical texts created the systemic rejection of decorative dress1 on the body of buildings sharply expressed by Adolf Loos, who stripped the architecture to the bone revealing the essence of the architecture. That experience of ascetic volumes with blunt apertures gave the way for the new vocabulary of elementary geometry in the hands of architects
looking for the new language all over Europe. Soviet Russia takes some special place among all European countries due to the catalyst that artists and architects got as the result of October revolution of 1917.
Total neglection of THE old world order demanded from architects and artists new form for the new life.
1. Adolf Loos, “Ornament und Verbrechen” Cahiers d’aujourd’hui, Paris,1913 2. S. Frederick Starr, “Melnikov, Solo Architect in a Mass Society” Princeton University Press, Princeton NJ 1981 p.64
architecture. He graduated after two years and got the diploma with distinction in 1917 before revolution. In those years of World War I Melnikov gets a job in the atelier of eminent scholar of neoclassicism Zholtovsly for Moscow Automobile Factory. In the war years the only commission the architect could find were industrial buildings. Brought up in the traditions of academic classicism the very
of Painting, Sculpture and Architecture when he was 15. After two years in general course he applied to the faculty of Painting (as it was the most prestigious among faculties) and was admitted. After four years he accomplished it and admitted to architectural faculty where he was granted an advanced placement. During school years Melnikov doesn’t participate in students organizations interested in avant-garde
first project doesn’t bear any signs of modern architecture. It is very traditional brick building with classical arched windows, stripped version of late eighteen century Moscow estate. Due to general aloofness to the political life the October revolution didn’t touch Melnikov in a significant way. He was anticipating what that new order will bring him as an architect. New Bolshevik government had a great plans about
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of Painting Sculpture and Architecture designed projects like Vestibule in the Roman style; CaféRestaurant in Renaissance style; a military museum in Doric order. From that background was brought up one of the most inventive and productive author of constructivism Konstantin Melnikov3. It is worth to briefly note the student years of Melnikov. He was admitted to Moscow Institute
THE DISCIPLINE Melnikov. students projects (clockwise) Vestibule in Roman Style , 1914 Cafe Restaurant in the Renaissance style, 1014 A military museum 1916
from well accustomed romantic classicism into a new unexperienced formal language. But the program of the competition demanded new aesthetical solution contradicting historical analogies. The foundation of the church on which the project had to stand was in the Donskoi Monastery in Moscow and should not even slightly resemble the Orthodox Church5. Melnikov suggested to create muli-level space page_83
rebuilding entire country by the order of workers and peasants 4. The entire life of the country had to be changed in a propagandist way assuring that the liberation from the tsar and bourgeoisie is a positive change and communists came firmly and for long. The transformation of the old life meant arranging new ceremonials with new atheistic resolving the delicate matter of death in the new revolutionary manner.
THE PRACTICE Moscow Automobile Factory, Main administrative building by Melnikov 1917
The first project of Melnikov for the new government was the competition entry for the crematorium 1919 build on the foundation of Christian church. Cremation was the antithetical solution with revolutionary rationale, forbidden by Jews, Muslims or Orthodox Christians therefore the perfect example of establishing new civic ceremony. That project is the first deviation of Melnikov
3. S. O. Khan Magomedov, ”Mastera Architektury: Konstantin Melnikov” Stroiizdat, Moscow,1990 p.50 4. E. A. Sparenskaya, “Agitacionno-massovoe iskusstvo pervykh let Oktyabria”, Moscow 1971, p 82. 5. S. O. Khan Magomedov, ”Mastera Architektury: Konstantin Melnikov” Stroiizdat, Moscow,1990 p. 53
connected by stairs to organize the procession of the new kind of civil funerals. Instead of central cupola, Melnikov putting his revolutionary tower, substituting the cross with the compass as more rational way of navigation. The drum of the tower is supported by Medieval-like buttresses of Gothic cathedral. The overall scheme of the building is still recognizable as Orthodox Church with some additions from exposition and factory a contemporary critic noted.
While this first opus of young architect is noticeably influenced by Walter Gropius and Adolf Meyer’s building at the Deutche Werkbund Exposition in 1914 6. This eclectic of forms and borrowings is the most interesting project in tracing the shift form neoclassicism to the new architecture within the career of author. That project reveals Expressionist ambitions in the composition of masses. Important that Melnikov got his first degree from Painting faculty in
page_84 CREMATORIUM PROJECT the competition project by Melnikov 1919
Moscow Institute of Painting Sculpture and Architecture, which was far more advanced that the architectural faculty7. And he gained his second degree as an architecture been already brought up in tradition of plasticity and dynamism of painting. At the architectural faculty he gained professional conventions, safe from perception of architectural clichés of his time. The first attempt of liberation from rigid order of “architectural” as it been known for neoclassical
architects resulted in freely assembled masses, overlapping with another discipline rather than style.
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Sculptural freedom of volumetric plasticity was the method allowing TO COMMUNICATE the narrative of architecture stripped to the bones.
was made in neoclassical style. That followed by commission from Moscow Council to develop a plan called “The New Moscow” of rebuilding entire city for the new social regime, including housing problem9. As a part of this project Melnikov developed projects of wooden three family cottages considering peasant technology for satellite towns of Moscow; city block for workers and participated in competition for the
Melnikov’s project didn’t win but was the boldest one among submitted8. The winning project resembled to office building and had an interior of protestant church. In the first years of his career Melnikov working in the architectural atelier of Moscow Council under the supervision of architect Ivan Zholtovskii. It is hard to tell what level of freedom young Melnikov had in the atelier but his next project for Moscow Psychiatric Clinic
6. S. Frederick Starr, “Melnikov, Solo Architect in a Mass Society” Princeton University Press, Princeton NJ 1981 p 36 . 7. Melnikov, “Arphitektura moei zhizni” Isskusstvo, Moscow 1985 p18. 8. S. Frederick Starr, “Melnikov, Solo Architect in a Mass Society” Princeton University Press, Princeton NJ 1981 p 35 9. K. N. Afanasiev, “Iz istorii sovetskoi arkhitektury 19171925, dokumenty i materialy” Moscow, 1963, p215
exemplar project for workers in Moscow. “The Saw” 1923 was the project which boldly declared Melnikov as progressive avant-gardist and prominent architect. Competition for the project on Serpuhavskaya Ulitsa required to provide suggestion for dwelling of workers. The jury noticed elaborate division of communal and private units10. The block was differentiated by families and singles. Units for single workers page_86 THE SAW workers housing for Serpukhov street, Moscow 1923, presentation drawings
were blocked into four story towers connected by elevated path to cafeteria and other communal facilities. While families were placed into three story rows of houses radially focused on the communal center. Its name “The Saw” project got due to the shifted entrances, that differentiated elongated façade on individual entrances for each family. Melnikov will use this shifting masses many times in Sukharev market
and multiple garage structures11. In that project were first time used features later associated with constructivism: situation plan like suprematist canvas, factory like brutally stripped facades, stretched horizontal planes, and high disregard for the surrounding neighborhood, as if entire city should be transformed by the spatial language of the project. The project lost to rather rational proposal of
would gather all my student into the auditorium and write the names of all present on the board. Then I’d ask each to sign on the board next to his name. ‘Look,’ I’d say, ‘here are your names written in my hand and all identical” and here you each signed and every signature is individual. This is the way you should do individual projects on the same theme.”14 In the new academy was great disinterest to technology, with the notion
of Beaux Art School. Melnikov and Ilya Golosov proposed one year program following the two years of basic training called “The New Academy” in 192213. The program emphasized the novelty of architectural projects and but one possible solution. It was less focused of craftsmen engineering part and more artistic spirit. Every year Melnikov performed the same trick as he put it: ”When projects were turned in I
10. S. O. Khan Magomedov, ”Mastera Architektury: Konstantin Melnikov” Stroiizdat, Moscow,1990 p 58
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Leonid Vesnin12, but Melnikov getting second place for young architect was definite success recognized by professional circuit in Moscow. Besides solely architectural practice Melnikov taught in Vkhutemas, which had to provide architects for Revolutionary State. Vkhutemas takes its beginning in Free Workshops (Svomas) that was formed in 1918 as the result in students demand for progressive professors to instead
THE SAW workers housing for Serpukhov street, Moscow 1923, Axonometry
11. Rodionov. “Tvorchestvo arkhitektora K. S. Melnikova,” p28 12. S. O. Khan Magomedov, ”Mastera Architektury: Konstantin Melnikov” Stroiizdat, Moscow,1990 p. 51 13. A. V. Abramovoi, “Vkhutemas-Vkhutein”, Miskovskoe vysshee khudozhastvenno-promyshlennoe uchilishe, Leningrad, 1965 p. 37 14. Lev Luntz ”The Serapion Brothers: An Early Soviet Controversy”, The American Slavic and East European Review, VIII, No. 1, 1949, p54.
architecture as Art, and stood aside from mechanistic programs flocking creative methods into prescripted algorithms. He opposed Moisei Ginzburg and OSA (Society of Contemporary Architecture) with formulation of rational principles and praising function over form16. Melnikov was prominent critic of any kind of systematization of formal research, while relying on artistic sensibility and creative intuition.
the early projects for Moscow Council. And the demand for avant-garde was rather official state position, while in Western Europe avant-garde architects were in opposition and required the heroic struggle against conventional customs. Migrating from Artists to architects in Moscow Institute of Painting, Sculpture and Architecture Melnikov was an agent of art in architectural camp. Throughlut entire career he treated
Those were the qualities that he was training in his students at “The New Academy”17. The project that stated Melnikov as international architect was the Soviet Pavilion for the International Exposition of Decorative Arts in Paris 1925. The series of sketches for the competition organized by Comissar of Enlightment Lunacharsky reveal the sculptural freedom in the study for the shape of the pavilion.
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that technique to be secondary to the service of architecture. Vkhutemass was the great gathering place where one could meet Bruno Taut (who inspired Melnikov on crystal like sarcophagi for Lenin’s mausoleum)15 or Eric Mendelsohn, debate ideas and listen to futurist poems of Mayakovski. Vkhutemas environment influenced Melnikov to more radical approach in architecture than
PRELIMINARY SKETCHES formal study for the project of the soviet pavilion at the 1925 Paris international Exposition
There is no notion of style in these spatiallyvolumetric compositions. Employing various platonic figures Melnikov created an architectural exercise similar to those at “The New Academy”. In some of the sketches the
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architectural volume adjacent to the main
of neoclassicism, and any notion of history, were employed to create new labor civilization. The freedom of Melnikov creative method is evident from the series of sketches for the Exposition pavilion. The sculptural approach to architectural composition comprised of platonic shapes trapezoid, sphere, and symbolically important for soviet constructivism a triangle. The shift in the single career of the understanding
symbolical composition. The Circle, Triangle, Trapezoid are the new medium of the architecture parlante18. Étienne-Louis Boullée using platonic figures was revolutionary architect of his time, but the difference that architects of 1920’s introduced is dissociation of this forms from a notion of style and order. Abstract geometrical compositions assembled in the new revolutionary language striking out from the civilized heritage
15. S. Frederick Starr, “Melnikov, Solo Architect in a Mass Society” Princeton University Press, Princeton NJ 1981 p. 79 16. El Lisitzky, “Russland: Die rekokstruktion der Architectur in der Sowjetunion”, Vienna, 1930 p 90. 17. S. Frederick Starr, “Melnikov, Solo Architect in a Mass Society” Princeton University Press, Princeton NJ 1981 p. 66 18. K. N. Afanasiev, “Iz istorii sovetskoi arkhitektury 19171925, dokumenty i materialy” Moscow, 1963, p158
of the medium from ordered system of elements as in Beaux Art School to free form abstract composition as in Vkhutemass. Beyond the notion of style (from whichever epoch it might be). The 1920’s revolutionary time liberated architecture from noble connection to antiquity and granted a duty to create its own formalist panoply, starting of platonic shapes in architecture of modernism. After the Soviet Pavilion in Paris Melnikov will page_90 become an international architect personally recognized by Le Corbusier and Auguste Perret19. But the most important for the transition from the old vision of architecture through the prescribed system of elements, and the notion of styles and their combinations to the assemblage of elementary volumes that satisfy aesthetic and functional program. That shift in a career of one architect reflects the processes that were going
on in the world architecture of the beginning of the 20th century. That shift is important for modern architecture nova days because
the most revolutionary change that happened in 1920’s is the change of the notion what IS architecture.
page_91 FINAL PROJECT the soviet pavilion at the 1925 Paris international exposition
Due to the effort of professionals at the edge of technology and art architecture expanded its boundaries beyond the system of roders. Style became term of historians while architects distance themselves from that term arguing for unprecedented novelty and active search of a new way.
19. S. Frederick Starr, “Melnikov, Solo Architect in a Mass Society� Princeton University Press, Princeton NJ 1981 p.102
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Architecture’s Intrvention [DS_1121] Difficult Holes [VS_2552] Design Development [AS_3122] Urban Culture [CS_2121]
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Design Studio [1121] This studio examines the interrelationship between Architecture and the city, deepening students’ understanding of the ways in which architecture can both inform, and be informed by, the urban fabric into which it is woven. Through a full integration of design resources and research on various scales of operation—from housing to institutional and commercial building types contributing to the formation of neighborhoods and public space—students are encouraged to design into existing urban conditions with a full understanding of the dynamic and interdependent forces of economics, ethnicity, culture, society, politics and infrastructure that have shaped the contemporary city.
instructor
Peter Zellner
page_96 BARCELONA fragment of the city at the north-east outskirt
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ECCENTRIC TYPES
page_98 CITY BLOCK from the historical part of the city across the part from the cathedral Sagrada Familia
GFA = 539,830 sq. ft. FAR = 4
page_99 MODIFICATIONS of the standard Cerdad block with the original facades
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page_101 MODIFICATIONS of the standard Cerdad block with the original facades
Foot Print/Site area
0.79
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0.58
0.63
0.77
0.73
0.44
0.95
0.77
overhang = 78%
footprint = 58% GFA = 610,682 ft2 FAR = 4.5
overhang = 45%
footprint = 22% GFA = 678,646 ft2 FAR = 5
footprint =61% GFA = 953,634 ft2 FAR = 7.3
overhang = 45%
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overhang = 78%
page_104 Micro 320 units
TOP DOWN populating Cerdad block with the set unit typology
Studio 320 units
One Bedroom 192 units
Two Bedroom 100 units
Two Bedroom 104 units
Two Bedroom 120 units
page_105 Live-Work 164 units
TOWER/GALLERY COMPOSITION organizing units into a larger elements
Penthouse 112 units
One Bedroom 152 units
Two Bedroom 132 units
page_106 Live-Work 174 units
BOTTOM UP irregular composition of individual units around the core and comunal space. the system allow variation of unit shares from the full divercity to the all typical units
Penthouse 147 units
One Bedroom 181 units
Two Bedroom 103 units
overhang =72%
footprint =54% two bedroom
UFA = 850,400 ft2
two bedroom
one bedroom
GFA = 955,358 ft2
circulation = 104,958 ft2
live-work
1156 units penthouse circulation 11%
FAR = 7.1
overhang =51% one bedroom UFA = 541,000 ft2
overhang =51%
footprint =20% two bedroom
live-work
circulation = 114,482ft2
penthouse GFA = 655,482 ft2
560 units circulation 19%
FAR = 4.9
overhang =83%
footprint =11% one bedroom
UFA = 559,050 ft2
two bedroom
live-work
circulation = 347,711 ft2 FAR = 6.8
penthouse GFA = 906,761 ft2
605 units circulation 38%
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overhang =72% one bedroom
page_108 Live-Work 192 units
LARGE ELEMENTS HYBRID large elements has a certain freedom to accomodate limited divercity
Penthouse 168 units
One Bedroom 234 units
Two Bedroom 251 units
page_109 Live-Work 176 units
FIGURE/FIELD the hybrid between the regular figure and an irregular field of units
Penthouse 156 units
One Bedroom 86 units
Two Bedroom 97 units
page_110 Live-Work 184 units
FIELD ELEMENT COMPOSITION the composition out of field elements
Penthouse 152 units
One Bedroom 184 units
Two Bedroom 104 units
page_111 overhang =73% one bedroom
overhang =73%
footprint =32% two bedroom
UFA = 768,300 ft2
live-work
penthouse GFA = 953,634 ft2
circulation = 185,334 ft2
845 units circulation 19%
FAR = 7.1
overhang =83%
overhang =83%
footprint =7% one bedroom
two bedroom
UFA = 509,900 ft2
live-work
penthouse
circulation = 225,084 ft2
515 units GFA = 734,984 ft2
circulation 36%
FAR = 5.5
overhang =95%
UFA = 578,000 ft2
overhang =95%
footprint =10% one bedroom
two bedroom
live-work circulation = 397,384 ft2 FAR = 7.3
penthouse
624 units GFA = 975,384 ft2
circulation 41%
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The study of original Cerdad block modification of the block and other functional studies crystalyzed the scale of the block, the possible subdivion and aggregation methods. The authority of the flatness of the city manifests in a mear extrusion of the outlines of buidings with no significan vertical diffeneciation. Later topdown and bottom up studies of unit aggregation explored the possibilities of undermingin twodimentional logic of the city.
the matimatical effifiency of packing the most amout of units into a smaller volume marked the boundries of an architectural approach to the housing project opposed by geometrical efficiency. The modern structure for housing in a major city of europe inevitabely puts an effort to resolve a poplulation housing which at the end of 2100 will reach 10 billions.
The housing in the historical densities of Europe will inevatably put the project into an architectural retrospective.
page_114 HYBRID the hybrid of all previus studies explores the scale of geometry, topological structure and the human scale in part to whole relationship
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FIGURE () FIELD
on
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it
un
site area = 131,900 ft2
overhang =94%
footprint 8%
overhang =94%
793 units one bedroom
two bedroom
live-work
penthouse
GFA = 1,239,448 ft2
(58%) residence 719,700 ft2
(30%) public 374,710 ft2
(12%) circulation 145,038 ft2
FAR = 9.4 tw ob
Current Barcelona FAR = 4.6
ed
roo
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15
5u
Cerda’s Block FAR = 1.8
nit
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un
page_116 Barcelona ( 41°23 N 2°11 E) Shadow at 9am March 21
East-South Elevation
Barcelona ( 41°23 N 2°11 E) Shadow at 12pm March 21
Barcelona ( 41°23 N 2°11 E) Shadow at 3pm March 21
West-South Elevation
page_117 CIRCULATION circulation and the comunal spaces for public access in the block
page_118 FIGURE-GROUND the footprint and the actual figureground at the ground level . section through the pricate areas
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HUMANILYTH page_122 FIGURE-FIELD parametric gradient between figural monolythic tower and teh heterogeneous field of units. the transition from one condition to another create the sparce interior space for comunal activity
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page_124 PART OF THE WHOLE the articulation of a unit, room, a person inscribes the volume in antropomorphic scale
page_125 INDIVIDUAL WITHIN COLLECTIVE the unified monolythic planes reassure the collective power, wheres the logal differentiation encorage humane scale
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COMMUNAL DIFFERENTIATION
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page_136 UNIT TYPOLOGY within the entropy of the block units have three distinctive types 1) Unit-Cube 2) articulated rooms 3) human scale interlocking volumes
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STRUCTURAL DIAGRAMM entire structure has five towers and five trusses. the building takes two lot spanning over a street
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Visual Studies [2552] Allow the simple play on words. An architecture of complexity and accommodation does not forsake the hole because the hole is difficult to achieve. In fact, I have refferred to a special obligation toward the hole because the hole is difficult to achieve. This visual studies seminar is constructed to integrate the problem of openings in contemporary surfaces and masses. Often reffered to in Architecture as aperture, we will set a less lofty terminology to open the territory for exploration and interpretation. In recent history as architecture has worked through its manifestations as contiguous, homogeneous undifficult wholes the problem of the hole has often been forsaken; In the early days of digital design and the emergence of the differential surface or blob in architecure the problem of the opening was often sidestepped, unsolved or incredibly inelegant. Later the hole was often undestood throygh screens, fields computational gradients and / or of the same form. material and character as the surfaces it opens.
instructor
Darin Johnstone
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COMPOSITIONAL PATTERN flat ontology undermines conventional subordination of elements in architecture. hence 2D pattern has equal power
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FLAT FIGURE APPERTURE
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page_167 DIFFICULT WHOLE the subdivision and the appertures derive from the flat apttern which undermines the geometry of surface synthesizing a cumulative object, the new diffiucl whole.
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Applied Studies [3122] This course focuses on construction systems, building technology, the use of materials and system integration. The course includes a review of basic construction methods, analysis of building codes including occupancy and life-safety issues, the design of structural and mechanical systems and familiarizes students with basic principles of sustainable design. Studio projects from the previous semester are developed, focusing on the detailed design of a zone of the building in terms of the resolution of its structural system and building envelope using three-dimensional modeling as well as drafting. Drawings at various scales are produced to introduce students to the language and standards of details, wall sections and overall building representations, culminating in a comprehensive package of drawings. The course also introduces student to the basics of cost control including life-cylce costs
instructor
Herwig Baumgartner & Scott Uriu
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Primary Structure D1.1_2’x3’ I Profile Ribs D1.2_Concrete Deck D1.3_Platform D1.4_Pylon
Envelop Frame D1.5_Primary frame D1.6_Secondary frame page_176
Fiberglass Envelope D1.7_fiberglass Panel
D1.3
D1.3
D1.1
D1.2
D1.5
D1.6
960 E. 3rd Street Los Angeles, CA 90013 +1.213.613.200
D1.7
D1_fLExIBLE CIRCULATIOn STRUCTURE Design Development
project: US Embessy in Rio De Janeiro
Rua fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
drawn by: Kirill Ryadchenko
consultants: Herwig Baumgartner Scott Uriu department: 2gB_Applied Studies [3122] sheet number
S 1.0
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SCI-Arc
SIERRA HELVE ENBO CHEN KIRILL RYADC MATTHEW GR LIU SHA
D2.1 D2.8
ARUP
JEFFEREY LA PE, LEED-AP
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MELNYK EN
MATTHEW ME
D2.5
D2.7
DESIGN DEV APRIL 7 2014
U.S. EMBASSY IN RIO DE JAN
D2.2
D2.2 D2.6
RAINBOW
D2.3 D2.4
900 EAST 3rd Street Los Angeles, CA 9001
D2.9
ENVELOP
N.T.S.U.S. EMBASSY
04/07/2014_SH
Envelop:
Structure
D2.1_fiberglass panel D2.2_Secondary Steel Standoff D2.3_Secondary Steel D2.4_Tertiary Steel
D2.5_Deck Beam D2.6_Edge Beam D2.7_Concreete floor over composite metal deck D2.8_Primary Steel Rib D2.9_Steel Rib braces at edge Beam intersection
D2_fIBERgLASS EnVELOPE DETAIL Desgin Development sheet number
project: drawn by:
S 1.1
960 E. 3rd Street Los Angeles, CA 90013 +1.213.613.200
US Embessy in Rio De Janeiro
Rua fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
Kirill Ryadchenko
consultants:
Herwig Baumgartner ; Scott Uriu
department:
2gB_Applied Studies [3122]
SCI-Arc
SIERRA HELVEY ENBO CHEN KIRILL RYADCHE MATTHEW GROS LIU SHA
D3.1
ARUP
JEFFEREY LAND PE, LEED-AP
MELNYK ENGI
MATTHEW MELN
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D3.2
D3.5 D3.8
D3.6 D3.4 D3.6
DESIGN DEVELO APRIL 7 2014
D3.4
U.S. EMBASSY IN RIO DE JANEIR
D3.5 D3.7
D3.9
RAINBOW N
900 EAST 3rd Street Los Angeles, CA 90013
PANEL DETA
N.T.S.U.S. EMBASSY
04/07/2014_SH
Skin Elements:
Mullion Fixture:
D3.1_fiberglass panel D3.2_Interstitial Metal Cap D3.3_Secondary Steel Branching element D3.4_Secondary Steel Linear element
D3.5_Metal bolt with 1.5’ step D3.6_Pressure Bar D3.7_Under rail gasket D3.8_Cap gasket D3.9_T-shaped gasket with fin
D3_fIBERgLASS PAnEL DETAIL Design Development sheet number
project: drawn by:
S 1.2
960 E. 3rd Street Los Angeles, CA 90013 +1.213.613.200
US Embessy in Rio De Janeiro
Rua fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
Kirill Ryadchenko
consultants:
Herwig Baumgartner ; Scott Uriu
department:
2gB_Applied Studies [3122]
SCI-Arc
A
Waterproof
Soft Liner
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Lasercutted metal sheet
SIERRA HELVEY ENBO CHEN KIRILL RYADCHENKO MATTHEW GROSSMAN LIU SHA
Insertion Between Panels
Metal Plate Connection Between Branches Of The Frame
ARUP JEFFEREY LANDRETH, PE, LEED-AP
MELNYK ENGINEERS
Sealing Bar
MATTHEW MELNYK
Secondary Frame Screw Gasket Stripe Sealing Filler Fiberglass Panel
Gasket Stripe
Metal Flange DESIGN DEVELOPMENT APRIL 7 2014 U.S. EMBASSY IN RIO DE JANEIRO
fIBERgLASS EnVELOPE DETAIL Desgin Development sheet number
RAINBOW NATION
project: drawn by:
S 1.3
960 E. 3rd Street Los Angeles, CA 90013 +1.213.613.200
US Embessy in Rio De Janeiro
Rua fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
Kirill Ryadchenko
consultants:
Herwig Baumgartner ; Scott Uriu
department:
2gB_Applied Studies [3122]
900 EAST 3rd Street Los Angeles, CA 90013
SCI-Arc 3D CHUNK
Metal Brace
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Edge Beam
Primary Steel Rib Floor Beam
Edge Beam
Floor Beam
Primary Steel Rib
Steel Ribbed Sheet
Poured Concrete Floor
INTERSECTION DETAIL OF PRIMARY STEEL WITH EDGE BEAM Design Development sheet number
project: drawn by:
S 2.0
960 E. 3rd Street Los Angeles, CA 90013 +1.213.613.200
US Embessy in Rio De Janeiro
Rua Fernando Mendez, 18A Copacobana, RJ 22021-030, BRAZIL
Kirill Ryadchenko
consultants:
Herwig Baumgartner ; Scott Uriu
department:
2GB_Applied Studies [3122]
SCI-Arc
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The course will introduce students to reading the relationship between architectureand the city. It will follow the collapse of 20th century Modernist planning principles and consider post-modern and contemporary attitudes towards architecture and urban culture. Through a series of directed readings and discussions of contemporary writings, this class will examine the knotted interrelationship between architecture, both visionary and pedestrian, and the city, both real and imagined. Colin Rowe’s seminal Collage City and Aldo Rossi’s Architecture and the City will form the heart of our readings, and we will use them to test a series of ensuing writings on the City. In the former volume, Rowe and fred Koetter argued that the Modernist City contained within itself a “…retarded conception of science and… a reluctant recognition of poetics” that inevitably led to the failure of many cities. Rowe/Koetter’s reaction to the failed Modernist conception of a ‘total-design’ approach to city-making, was to propose and investigate strategies of fragmentation and ‘bricolage’ to invent functioning networks of “pocket utopias.” These utopias were intended to function, in their words, “…as metaphor and Collage City as prescription… the disintegration of modern architecture seems to call for such a strategy… and, possibly, even common sense concurs.”
instructor
Peter Zellner
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Cultural Studies [2121]
THE GEOMETRY OF FIELDS page_184
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euclidean metric
elliptic metric
P=2rπ S=r2π V=4/3πr3
METRIC Length, Area, Volume are fundamental concepts GEOMETRY of the metric space. The metric properties are mapping extensive, so that dividing the length in half we “The Pervasive getting a one half of the distance, unlike intensive Role of geometry properties such as density or temperature. The and Matter in the metric geometry is the most intuitive, grasping Length, Area, Volume are fundamental concepts of the metric space. The metric properties are Life of Cities” by the features of the world we live in with innate extensive, so that dividing the length in half we getting a one half of the distance, unlike Manuel DeLanda intensive properties such as density or temperature. The metric senses, unlike manifold spaces. geometry is the most intuitive, grasping the features of the world we live in with innate senses, unlike manifold spaces.
TOPOLOGICAL GEOMETRY mapping “The Pervasive Role of geometry and Matter in the Life of Cities� by Manuel DeLanda
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tional
men two-di
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tla
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Differential geometry uses the techniques of differential calculus to study problems in geometry. Above is the differentiable manifold described like a set of atlases. Each atlas is a twodimensional surface with the combination of hyperbolic and elliptic metrics. Each surface can Differential geometry uses the techniques of differential calculus to study problems in geometry. be Above visualized a plane surface is the as differentiable manifoldthrough describedthe like a set of atlases. Each atlas is a twomeans of differential calculus. dimensional surface with the combination of hyperbolic and elliptic metrics. Each surface can be visualized as a plane surface through the means of differential calculus.
Convergen ce
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TOPOLOGICAL GEOMETRY mapping “The Pervasive Role of geometry and Matter in the Life of Cities� by Manuel DeLanda
n nti Co uit y
Co
es dn e t ec nn
Topological space relies on set theory and is the most general notion of a mathematical space that allows for the definition of concepts such as continuity, connectedness and convergence. Other spaces, such as manifolds and metric spaces, are specializations of topological spaces Topological isgeometries the most abstract of the Topological space relies on set and is the is the most with extra structures or theory constrains. Topological abstract of the operating with two three and further manifolds of space, which is harder to represent in the intuitive threegeometries operating with two three and further most general notion of a mathematical space dimensional world.
that allows for the definition of concepts such as continuity, connectedness and convergence. Other spaces, such as manifolds and metric spaces, are specializations of topological spaces with extra structures or constrains.
manifolds of space, which is harder to represent in the intuitive threedimensional world.
T h e G e o m e t r y o f F i e ld s P a g e _ 3
MARITIME NETWORK OF MEDIEVAL EUROPE mapping “The Pervasive Role of Geometry and Matter in the Life of Cities� by Manuel DeLanda
ts
hierarchical grid of towns and villlages
or
HY PE RS PA CE
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> >> >> A E eS th
l ne rchica non-hiera
tw
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of
p
With an access to the maritime routes ports had an access to the exchange network of culture, people and commodity. The connectivity provided by hyperspace of the sea allowed to build a closer links with faraway locations due to velocity of communication. That instance reveals the
page_189
With an access to the maritime routes ports had an access to the exchange network of culture, people and commodity. The connectivity provided by hyperspace of the sea allowed to build a closer links with faraway locations due to velocity of communication. That instance reveals the characteristics of topological space of the settlement culture. The exchange distance for time built a logistical framework prioritizing the higher commodity of time due to its stubborn rigidity. As oppose to the flexible characteristics of distance which could be stretched, compressed, divided and rotated.
C S 21 21 0 2 Ur b a n Cu l tu r e / Kir il l R ya dchenko / m ap p i ng “ T h e P e rv as i v e Rol e of G e om e try and M atte r i n th e Li fe of C i ti e s” b y Ma nuel D eLa nda
DENSE NETWORK mapping “The Pervasive Role of Geometry and Matter in the Life of Cities” by Manuel DeLanda
Dense Network
page_190 The density of the network is judged by the connectivity of the agents of the second order. So that the density of interpersonal network will comprise the amount of acquaintances between The density of the network is judged byinterpersonal the The one higher density of the social friends of friends. That density of the networks of the key social characteristics the urbanof environment. The higher density network to store the information connectivity of theofagents the second order. So of the social store theable information on the agents of the network in the form of reputation. The density of the network in a physical world result in increased intensity of interactions. that the density of interpersonal network will on the agents of the network
comprise the amount of acquaintances between friends of friends. That density of the interpersonal networks one of the key social characteristics of the urban environment.
network able to
in the form of reputation. The density of the network in a physical world result in increased intensity of interactions. T h e G e om e tr y o f Fi elds Pa ge_5
CS 2 1 2 1 0 2 Ur ba n Cultur e / K ir ill Ry adc he n k o / map p i n g “ T he Pe rvasi ve R o l e o f G e o me t ry an d Mat t e r i n t he L i fe o f C i t i es ” b y M a n u el D eLa n d a
Sparce Network
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SPARCE NETWORK mapping “The Pervasive Role of Geometry and Matter in the Life of Cities” by Manuel DeLanda
The technology making available to support Even though the intensive The technology making available to support connections almost diminishing the distance connections almost diminishing the distance characteristics time harder to overcome and between the agents of communication. That capability to support contacts of across the is globe creates a space network of contacts, with the increase of a distance. Even though the intensive between the agents of communication. That for direct communication between people characteristics of time is harder to overcome and for direct communication between people capability to support across globe they contacts have to commit a directthe contact and attention. they have to commit a direct contact and creates a space network of contacts, with the attention. increase of a distance.
T h e G eo m et r y o f F i el d s P a g e_6
CS 2121 02 U rb an C u lt u r e / K i r i ll Rya dche n ko / m a p pi n g “Fr o m Ob je ct t o Fi e ld” b y St a n Alle n
INDIVIDUAL IN A COLLECTIVE mapping “From Object to Field” by Stan Allen
The Individual in a Collective
page_192 “…Field condition would be any formal or spatial matrix capable of unifying diverse elements while respecting the identity of each…” Stan Allen The field be is a formal strategy going one step further from object asdoesn’t a final destination “…Field condition would any formal or spatial Thethefield haveof the a shape though it organizational perspective into a way of coordination of the collective power of the objects creating radiant fields or their objecthood. The field doesn’t have a shape though it can have matrix capable of unifying diverse elements can have a direction. Thea relations between direction. The relations between objects succumb to the fundamental concepts of topological while respecting the identity of each…” Stan Allenand CONTINUITY. objects succumb to the fundamental concepts space of CONVERGENCE CONNECTEDNES However if the topology of surface consists of vertices the field is comprised of objects that in the field as individual agents. of of acttopological space CONVERGENCE The field is a formal strategy going one step CONNECTEDNES and CONTINUITY. However if further from the object as a final destination the topology of surface consists of vertices the of the organizational perspective into a way field is comprised of objects that act in the field of coordination of the collective power of as individual agents. the objects creating radiant fields or their objecthood. The Ge o metry of Fiel ds Page_7
Jeffersonian Grid
page_193
JEFFERSONIAN GRID mapping “From Object to Field� by Stan Allen
Thomas Jefferson ordered the subdivision of land The land was divided into a grid of squares sweeping through the continent the pattern of creating rectilinear cadastral survey. That the rational order in the democratic heterogeneity grid with lines along and across the continent of squares. That drew a clear geometry of inscribed land into the map of federal power, politics anchoring the square angle by the Northcommanded from Washington reaching out to Thomas Jefferson ordered the subdivision of land sweeping through the continent the pattern of American colonists. the Pacific shore. in to the grid means the rational order in the democratic heterogeneity of squares. That drew a clearPlugging geometry of politics anchoring the square angle by the North-American colonists. recognition of the federal government driven by democracy liberty science. The land was divided into a grid of squares creating rectilinear cadastral survey. and That grid with lines along and across the continent inscribed land into the map of federal power, commanded from Washington reaching out to the Pacific shore. Plugging in to the grid means recognition of the federal government driven by democracy liberty and science.
Associative Field Magnitude ASSOCIATIVE FIELDS mapping “From Object to Field� by Stan Allen
page_194 The fields consists of agents that doesn’t know the overall shape of the field. The only concern of the individual agent is to subject itself to the environment of attractors and neighboring agents. These collective differentiation brings a new unpredicted qualities. That effect is similar to the That effect is similar the Moire effect whichof two regular Thatpatterns effect is similar to the Moire effect which Moire to effect which emerges on intersection resulting into an irregular one. That third condition produce a new associative entity out of field components unveiling a emerges on intersection of two regular patterns emerges on intersection of two regular patterns powerful generative mechanisms on the transition between morphogenetic stages.
resulting into an irregular one. That third condition produce a new associative entity out of field components unveiling a powerful generative mechanisms on the transition between morphogenetic stages.
resulting into an irregular one. That third condition produce a new associative entity out of field components unveiling a powerful generative mechanisms on the transition between morphogenetic stages. T h e Ge ome t r y o f F i e l d s P a g e _ 9
Flocking Behavior
[full anarchy]
[partial dirictionality]
[partial flocking]
[full dirictionality]
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FLOCKING BEHAVIOR mapping “From Object to Field” by Stan Allen
[full cohesion] [full flocking]
Flock is clearly field behavior that emerges from bottom up through the actions of agents. Craig Reynolds modulated the flocking behavior of birds with the computer. While the computer remain the main tool in applying the field concept to the domain of associative urbanism the question of that the environment is the focus of attention in the given modulation of the “boids’ behavior. behavior emerges from In the instance the flock In the given instance the flock operates in the pristine environment reacting on it’s neighbors.
Flock is clearly field operates in the bottom up through the actions of agents. Craig pristine environment reacting on it’s neighbors. The modulation of the flock above undergo several stages from the anarchy (in the conditions of Reynolds modulated equilibrium/ the flocking behavior of than gaining Thedirectionality modulation ofgaining thetheflock above undergo white noise) than flocking, and finally the stage of dynamic unity. birds with the computer. While the computer several stages from the anarchy (in the conditions remain the main tool in applying the field of equilibrium/ white noise) than flocking, than The Ge om e t ry of F i e ld s Pa ge _1 0 concept to the domain of associative urbanism gaining directionality and finally gaining the the the question of the environment is the focus stage of dynamic unity. of attention in the modulation of the “boids’ behavior.
All Grids Are Fields ALL GRIDS ARE FIELDS mapping “From Object to Field� by Stan Allen
page_196 The grid is a plain field. It holds no information
The grid is a plain field. It holds no information subdividing the space onto indifferently subdividing onto indifferently homogenous parts with no distinction between them. Though the grid isthe an emptyspace conduit asking to be filled with the differences and heterogeneity of urban spaces. The grid is an homogenous parts with no distinction between important start point that will register the data absorbing differences and turning itself into a field. them. Though the grid is an empty conduit
asking to be filled with the differences and heterogeneity of urban spaces. The grid is an important start point that will register the data absorbing differences and turning itself into a The G e ometry of Field s Page_11 field.
auto
pia
autopia lls thi o o f
autopia
The planes of Id fu sur
a rbi The planes of Id
s
foothill
au FOUR ECOLOGIES OF LOS ANGELES mapping “Los Angeles: The Architecture of Four Ecologies� by Reyner Banham
to p
ia
Surfurbia and foothills are essential organs saturated with the unique conditions of the environment. One is highly cultivated by the peculiar architecture. Another is wildly natural stripping off the social machinery of civilization at the edge of the continent before vast body of unimaginably Giant Ocean. In between above mentioned ecologies is the fat of the city. Huge plains of desert subdivided by the rectilinear griddescription depletingof any naturalviadifference of set thethe vocabulary of reading the field The Los Angeles four ecologies conditions of this metropolis in terms of topology, with the distinction between intensive and environment
extensive characteristics of that city. History of the city built its skeleton in a network of autopia branches that hold the city together. Surfurbia and foothills are essential organs saturated with the unique conditions of the environment. One is highly cultivated by the peculiar architecture. Another is wildly natural stripping of the social machinery of civilization at the edge of the
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foot hills
CS 2 1 2 1 0 2 Ur b an Cu l tu r e / Ki r i l l R yad ch enk o / ma ppi ng “ Los Ang eles: Th e Arch i tecture of F our E colog i es” by Re yne r B a n ha m
POST-METRIC TOPOLOGY mapping “Los Angeles: The Architecture of Four Ecologies” by Reyner Banham
Post-metric Topology
page_198 When the ground surrendered itself to the uniformity of the grid the natural locality play no role in that space. The extensive characteristics When the ground surrendered itself to the uniformity the grid the naturalmeasured locality play no ofofdistance being torole entrance portal of in that space. The extensive characteristics of distance being measured to entrance portal of The grid amplifies the emptiness HYPERSPACE. The grid amplifies the emptiness of aHYPERSPACE. desert so that the individual navigation relies on the commands of GPS. of a desert so that the individual navigation relies on the commands of GPS
C S 2121 02 U rb an C u l t u re / K ir i ll Ry a d c h e n k o / ma p p i n g “ Lo s An ge le s: T h e Ar c h i t e c t u r e o f F o u r Ec o lo gies ” by Reyner Banham
Upgrading The Grid
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UPGRADING THE GRID mapping “Los Angeles: The Architecture of Four Ecologies” by Reyner Banham
Grid works perfectly when there is a task to subdivide a sheet of paper. It is plane clear
Grid works perfectly when inthere is a When tasktheto Foothills of Los Angeles has been a valuable homogenous all directions. paper design meets the Earth it undergo misalignments that the geometry of ground and the plane of paper find no subdivide a sheetand ofcorrections, paper. till It the is level plane clear commodity duesheet to the unique hideout, seasoned connecting points. homogenous in all directions. When the paper by the inventive architecture negotiating the Foothills of Los Angeles has been a valuable commodity due to the unique hideout, seasoned by design meets the Earth it undergo misalignments picturesque topography andThenecessity of living. the inventive architecture negotiating the picturesque topography and necessity of living. field conditions of the foothills celebrate life, while the planes of Id depleted by the grid been and corrections, tillroasted the level that the geometry The field conditions of the foothills celebrate life, under the burning sun of Southern California. of ground and the plane sheet of paper find no while the planes of Id depleted by the grid been connecting points. roasted under the burning sun of Southern California.
T he Geom etry of Fields P ag e_ 14
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The advance within a profession are widely attributed to the method which brings an unprecedented novelty into a discipline and understanding the architecture. Those avantegarde methods are at teh edge of a discipline, arguably irrelevant to its main product (whichever it is to be understood by every consecutive style). During the process of collaboration and borrowing from other disciplines the architecture at its avant-garde edge seems qite vaugly relate to the professing at all engageing with Information Technology, Cinema, Philosophy ect. That blurry edge of the discipline is the most furtile ground for the discipline at lage, soaking the studies and experiments from the avant-garde edge steadily to the main steam of the architecture.
In the same way the architecture splitted from Engeneering, Art, Industrial Design and Urban Planning. And the further entropy is erged by the technology development and growing ease of handling complecities.
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Architects at the avant-garde edge are prone to leave the profession to the neighbouring fields of design, culture and art. Disciplines domains also can differentiate itself from the main field gaining the magnitude and the guiding principles. Eventually the independent domains gain such a level of magnitude that they depart from the original field and form the new independent one. That split of the profession demonstrate the disciplinary entropy mulitplying the number of independent fields of knowledge, providing a vital functions to the society. In that scence the new field is compeeteing for social functions with its parent suppying the diversity of services and activities for the society at lage.
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Portfolio of works completed during the second year of M.Arc_1 program by SCI-Arc student
Kirill Ryadchenko Southern California Institute of Architecture L os A n ge le s _ 2 0 1 4