2021
Peter Zuroweste
Teaching Portfolio
Table of Contents
Teaching Portfolio
Peter Zuroweste
Postdisastropias: Earth, Air, Fire, Water, Architecture Universidad Torcuato Di Tella, Buenos Aires, Argentina Visiting Professor, School of Architecture and Urban Studies Advanced Undergraduate-level (4th year, 2nd semester) 4
Student Work Samples
38
Studio Brief Interpolation: A Negotiated Residence Harvard University, Cambridge, MA Studio Instructor, Design Discovery Program Introductory Graduate-level (1st year, 1st semester)
60
Student Work Samples
88
Studio Brief Somerville Film Archive Harvard University, Cambridge, MA Studio Instructor, Design Discovery Program Introductory Graduate-level (1st year, 1st semester)
102
Student Work Samples
142
Studio Brief
2
Table of Contents
2021
Borrominations, or The Auratic Dome Harvard University, Cambridge, MA Studio Teaching Assistant and Workshop Instructor Advanced Graduate-level Professors: Ciro Najle and Hanif Kara
3
162
Student Work Samples
172
Studio Brief
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Climatological Disaster subtypes: Wildfire. Drought, Glacial Lake Outburst
4
Postdisastropias: Earth, Air, Fire, Water, Architecture
Students: Juan Cruz Begino, Malena Bilik, Bautista Zeitler.
5
20.37
%
20.4
%
32.58 %
32.55 %
%
23.88
%
6.68 %
%
5.31 %
7.06 %
3.94
%
%
%
19.64
%
4.86
% 4.86
%
9.85
9.85
7.09
9.64 % %
% % % %
%
%
%
4.79 %
9.74 6.72
8.13
7.99
7.98 %
%
% %
%
4.79 %
4.79 % 4.79 %
4.79 % 4.79 %
4.79 %
7.91
9.74
8.13
7.99
7.98
7.98
%
%
%
%
%
% 7.91
9.74
9.74
7.08 8.13
7.99
7.19
7.98 %
%
%
%
% % %
% 12.49
4.79 %
9.74
7.08
7.08 12.5
8.07 7.99
7.19 7.34
4.04
7.98 %
%
%
%
%
%
% %
% %
%
4.09
4.09 % %
2.41
5.75
1.73 %
1.73 %
% 4.09 %
1.73 %
0.72 %
7.39
7.39
7.4
7.4 %
% %
% 7.39
7.5
13.89
% %
7.5
7.5
13.89
13.89
%
%
4.02
4.02 4.03
%
%
31.71
15.65 %
%
3.0
13.04 11.73
%
4.32
16.53
14.16
14.16
%
4.32 8.82
7.97
% %
%
16.53
14.16
%
5.89
5.89
5.89 %
%
% %
% 8.82
8.82
7.97
%
%
5.89
5.89
5.89 %
% %
%
13.72
8.82
7.97
%
% %
13.72
8.82
%
% 2.61
2.61
2.61 %
%
% 2.61
2.61 %
% 2.6 %
4.05
4.04
4.03 4.63
%
%
%
20.49
20.49
18.64
%
8.05
5.6
%
% 18.36
6.33 %
6.33 %
6.33 % %
18.36
18.36
%
%
18.36
18.38
18.39
7.98 %
2.74
%
% %
2.59
2.59
7.12
%
%
7.06
4.35
3.07
%
%
%
%
% %
3.07 %
10.68
%
%
12.09
12.06 12.3
%
11.34
11.34
%
1.55
4.83 %
10.6
11.94
12.06
12.06 11.69
12.3
%
% 1.42 %
1.42 %
1.42 % 1.42 %
1.42 %
1.42 % 1.55
1.55
%
%
%
%
11.69
11.34 1.55
4.83
9.11
10.94
10.94
%
8.79
12.23
11.69
11.69
13.29
%
% 7.07
%
%
%
%
%
%
%
%
%
%
%
% % %
%
11.69
11.69 1.55
4.83
12.03 12.13
11.98
11.69
13.29
13.29
%
%
7.07
%
%
%
11.15
10.94 %
8.79
8.79
12.23
%
%
%
% % %
%
11.09
11.69 1.41
%
%
4.83
1.98
%
%
5.8
8.02
8.02
9.87
9.87
9.85
%
12.11
12.11 %
%
2.64
8.14
8.14
5.98
%
2.64
1.42 % 5.98
1.55
%
%
%
11.34
11.34
11.45
11.45
% %
% 16.28
16.28
17.78
17.78 6.2
%
%
%
%
13.07
%
% % % %
% %
13.07
11.53
11.53
8.02
9.87
9.85
9.85
%
12.11
%
%
% %
% %
% %
2.64
11.34 13.44
16.28
13.44
17.78 6.2
6.2
% %
%
%
%
%
%
%
%
%
% %
9.85
9.85
9.85
%
%
8.14
8.14
8.14
8.14
% %
%
%
11.53
11.53
11.53
11.53
%
5.98
5.98
11.34 17.27
5.98
5.98
17.27
17.27 6.2
6.2
9.85
% % % %
%
%
%
9.85
9.85
%
%
%
%
%
8.14
8.14
8.14
%
% %
%
%
%
14.79
%
%
14.79
14.79
%
5.49
15.19
10.59
12.3
12.3
%
% %
5.98 5.98
9.48
%
%
%
% %
15.19
10.59
10.59
%
%
9.85 %
%
4.31
8.14
14.66
%
%
%
7.61 7.61
%
%
%
%
%
10.99
7.61
5.98
9.48
14.79
18.75
11.05
14.21
7.82
14.75
15.21
%
%
%
%
%
%
%
10.38
10.46
11.79
11.79
%
%
11.05
11.05
10.55
7.82
%
%
%
%
%
%
%
%
%
%
%
%
16.8 %
%
14.66
14.66
% %
%
%
10.07
%
%
%
%
%
%
%
%
10.38
11.2
13.47
13.47
16.8 %
16.8 %
20.15 %
17.0 %
17.0 % 19.02 %
19.42
19.42
2.99 %
6.57
%
%
20.15 % 13.86 %
%
%
18.57 %
18.57 %
18.57 %
19.42
19.42
6.57
%
%
20.15 %
%
% %
%
%
%
19.29
19.29
8.33
8.33 14.1
%
17.24 %
18.57 %
18.57 %
19.42
19.42
%
%
20.25 %
18.57 %
13.19
14.28
%
%
16.79
13.19
13.19
%
% 26.1 %
% 26.1 %
%
%
%
18.58
11.54
8.86
8.86 8.86
%
%
%
%
%
% %
19.29
8.33 14.1
14.1
14.1
10.95
8.89
8.86
8.86
%
%
%
%
%
%
%
%
15.34
15.34
15.34
10.93
10.94
8.85
8.85
% % % %
%
% %
15.34
15.34
10.94 10.94
10.94
%
%
8.86
% %
%
%
20.19
10.93
10.95
10.94
10.94
%
%
%
39.16
40.44
40.43
16.66
17.61
17.74
17.75
17.76
16.69
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
22.27
22.27
22.27
22.27
%
18.58
19.02
19.
24.21
11.54
17.77
17.74
16.69
16.69
%
%
%
%
%
11.54
%
%
%
%
%
%
%
%
%
%
%
%
22.76
20.23
18.6
18.6
20.88
22.66
24.21
24.21
19.02
17.53
17.53
11.97
17.74
16.69
16.68
16.69
%
%
%
%
%
11.54
9.41 %
%
%
%
%
9.41 %
18.66
18.66
16.88
13.77
15.28
15.28
15.27
15.27
%
%
%
%
%
%
13.56
13.56
7.39 %
9.41 %
9.41 %
18.66
%
11.44 %
14.44
15.25
15.29
15.28
%
%
%
%
%
%
%
13.56
13.77
13.77
7.39 %
9.41 %
9.41 %
11.44 %
15.28
15.18
15.28
%
%
%
%
%
%
%
%
12.91
13.65
13.65
14.44
15.19
%
17.3
9.41 %
9.41 %
16.12
15.18
24.33
15.29
%
%
31.13
31.13
45.49
45.49
%
%
%
%
%
24.2 %
24.2 %
36.43
35.96
%
41.07 %
8.94 %
%
%
%
%
%
%
%
12.91
12.91
13.65
14.15
15.19
31.13
45.49
35.96
33.5
35.96
36.43
36.43
36.43
33.5
35.96
35.96
45.49
36.43
%
%
%
%
%
%
%
30.99
30.99
%
%
24.18 %
41.04 %
35.96
48.26
16.62
16.62
%
%
10.65 %
37.73
37.73
%
%
%
19.78
19.86
19.88
%
%
%
15.01 %
%
19.88
%
%
%
%
%
8.98 %
19.48
20.79
20.88
18.5
20.02
20.02
15.2 %
%
%
8.96 %
%
%
18.5
20.02
16.57 %
19.22 %
%
22.64
27.67 %
%
8.95 %
17.13 %
19.05 %
%
%
41.04 %
17.35 %
%
17.35 %
18.69
%
17.13 %
17.35 %
%
%
%
%
%
%
%
%
%
24.2 %
36.43
36.43
36.43
19.46
16.57 %
16.57 %
17.35 %
18.94 %
19.47
19.47
%
8.88
22.02
10.58
10.58 25.1
% %
%
%
%
%
%
%
%
%
%
%
%
%
19.47
%
14.28
39.19
39.17
40.41
16.75
16.66
16.67
16.66
17.79
17.75
17.74
17.75
17.72
18.86 %
11.54
%
18.86 %
19.35
17.24 %
17.24 %
10.91
% 2.99 %
2.99 %
%
%
11.05
10.55
6.92
11.84
13.86 %
12.0 %
15.82 2.99 %
2.99 %
2.99 %
%
10.38
10.38
11.2
10.46
13.47
11.05
11.05
10.55
16.8 %
10.55
16.8 %
%
%
16.8 %
16.8 %
16.8 %
20.48
15.21
%
%
%
%
%
10.38
10.46
10.46
%
%
10.46
2.99 %
2.99 %
2.99 %
2.99 %
2.99 %
7.7
%
% 8.88
%
10.57 25.1
% %
% 8.88
8.88
10.56
24.85
%
25.83
1.29
1.29 5.47
8.49
8.49
5.18
% %
% % %
%
%
1.29
% 5.47
5.47
8.49
5.18
5.18
15.97
15.97
%
5.47
%
%
%
%
6.58 %
% 5.47
5.47
5.18
5.18
%
2.5
5.47
13.37 13.37
19.38
21.14
21.14 %
% 15.97
% 10.36
10.36
%
% %
6.58 %
6.58 %
% 5.47
5.18
9.1
%
%
2.5
2.5
%
% 15.33
% %
15.33
15.33
%
%
5.59
5.59
%
%
%
%
%
%
%
3.26
5.49
13.37
15.33
%
% %
5.84
16.32
16.32
%
% %
%
%
%
21.42
21.42
18.57
5.59
%
%
3.26
3.26
3.26
19.4 % %
5.84
5.84
5.84
16.32
%
%
%
%
%
%
%
%
16.01
16.01
3.26
3.26
3.26
3.26
% %
5.84
5.84
5.84
5.84
%
%
%
16.01
16.01
16.01
3.26
3.26 1.1 %
21.08 %
21.08 %
%
21.08 %
19.4 %
%
19.4 % 8.26
8.26
19.4 %
%
% %
%
%
%
%
14.34 5.84
5.84 %
16.01
16.01
%
%
%
% 8.26 %
%
3.74
% %
%
3.74
3.74 5.99
5.99
4.82
4.82
%
%
% %
%
%
%
22.85
22.85
3.74
3.74 5.99
4.82
%
%
%
%
% %
%
15.63
22.85
3.74
%
%
%
15.63
22.86
15.63
9.61
9.61
9.61
9.61
%
%
% % %
%
%
2.97
% 2.97
2.97
%
15.62
15.62
15.62
15.62
% % 15.62
%
% 7.62
7.62
4.98
%
%
%
4.06
1.37
1.55
1.55
10.89
%
%
% 7.03
7.15 8.56
% % 3.65
%
%
%
4.98
7.66 %
4.35 % 6.57 %
5.0 %
5.0 % %
%
7.03
7.03
7.15
%
4.35 % 6.56 %
% %
%
%
3.8
4.98
4.98
5.46
5.0 %
5.46
5.0 % 6.63
5.0 % 6.63
5.0 % 7.03
7.15 7.99
%
4.97
%
% 4.98 10.6
6.56 %
%
%
% %
%
% % 7.15 7.99
5.46
5.46 6.96 8.0
7.0
5.1
%
%
%
5.45
5.45
% %
% %
%
%
%
%
5.45
5.45
1.12
1.12
% %
%
% 5.45
5.45
5.45
5.45
%
%
4.19
4.19
4.19
5.45
1.12 %
%
% %
% 5.45
5.45 8.66
%
%
%
%
2.86
2.86
2.86
4.0
% % % 7.23
7.23
% %
%
%
%
5.44 3.18
4.0
4.0
4.0
%
%
%
% % 7.23
4.99
4.99
%
%
2.51
2.51 7.84
7.84 7.23
7.23
13.08
13.08 11.26
11.26
% %
% %
%
12.1
%
% 4.99
%
% %
% %
%
%
1.79
1.79
2.51
7.57
7.57
7.84 7.23
5.5
5.5
5.5
13.08 9.05
9.05
11.26
% %
%
%
12.09
12.1
% 1.79
% %
%
%
%
%
% %
7.57
7.57
7.57
5.5
5.5
5.5
5.5
9.05
9.05
9.05
9.05
%
%
%
%
%
7.66 %
%
%
%
%
%
%
%
% %
7.7
%
9.51 % %
%
%
%
%
12.0 %
12.3
9.51 %
9.51 % 13.08
13.08
13.09 %
8.64
8.64
11.72
13.07
% %
%
%
%
9.11
%
14.66
10.59 %
10.59 %
8.94 %
8.94 %
6.45 %
7.2
11.15
%
9.85 %
16.32
20.67
20.77
20.69
%
12.03
%
%
%
%
%
12.12
12.12
12.01
%
%
%
9.5
%
%
%
7.66 %
7.04 %
7.57
7.57
5.5
5.5
%
9.05
9.05
9.05
% %
%
%
% %
16.02
12.06 %
5.45 %
% 16.4
16.24
13.23 %
13.23 %
15.36 %
%
%
%
%
%
2.01
13.08
13.09
13.08
13.52
13.54
20.68
20.68
20.68
%
12.03
9.11
6.51 %
8.94 %
8.94 %
8.94 %
10.59 %
%
%
%
11.15
12.03
5.26 %
%
%
%
%
%
%
%
12.03
%
16.4
20.67
20.67
16.02
12.03
7.7 %
%
5.26 %
5.26 %
9.11
9.11 2.01
2.01
%
1.81
13.09
%
%
%
%
%
%
%
13.24 %
15.36 %
15.36 %
15.36 %
15.62
16.42
16.79
11.16
%
%
6.51 %
10.94
9.02 %
9.02 %
9.02 %
%
%
%
%
%
13.09
13.52
13.52
13.53
18.51
%
% %
%
2.01
2.01
2.01
%
%
% 11.18
11.18
%
1.81
1.81
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
10.94
%
11.26
7.02
10.94
9.02 %
9.02 %
10.94
%
%
%
%
2.01
20.42
16.4
16.4
16.41
16.27
15.36 %
15.36 %
15.36 %
15.36 %
19.5
19.55
19.55
19.57
20.81
18.32
18.32
18.32
18.36
14.81 %
13.53
13.53
13.53
13.53
10.62 %
%
%
12.09
15.85
12.09
12.11 12.23
%
%
9.5
%
%
7.57
5.5
%
%
9.05 %
9.29
9.29 7.23
11.49
7.76
7.66 %
7.04 %
7.04 %
% 2.84
2.88 2.83
2.83
5.34
5.34 6.77
28.15
27.96
%
%
%
%
%
%
% %
9.3
11.49
% 7.76
7.23
7.23
7.23
%
%
% % 2.84
2.84
2.88 2.83
7.76
7.76
27.96
%
% %
% % %
5.34
5.34 6.77
6.77
% %
%
%
%
11.16
%
% %
%
%
%
11.16
%
%
35.89
36.21
16.22
%
%
10.37
4.39
5.74 %
10.78
14.22
14.55
14.55
16.59
%
11.26 %
%
%
%
%
%
%
11.26 8.98
%
%
11.26
%
%
6.97
%
%
%
%
13.67
13.67
20.06
18.42 %
%
6.92
11.69
%
%
16.53
11.94
% %
%
%
%
%
%
%
11.94
%
35.85
%
17.28
4.39
4.39
4.39
10.78
10.78
14.22
14.22
11.24
11.24
6.91
11.26
%
%
%
%
%
%
6.87
11.26
%
%
%
11.26 8.98
8.98
13.67
13.67
13.67
13.67
%
19.08 %
19.08 %
%
%
%
% %
4.51 % 6.56
7.76
2.84
2.84
2.84
2.84
7.76
%
%
%
%
%
%
5.34
5.34 6.77
6.77
% %
%
% %
%
%
%
16.02
10.68
%
8.26
8.26
14.26
7.83 %
19.63 %
19.63 %
19.65 %
%
%
%
%
12.16
35.84
14.22
14.22
14.22
%
10.68
% %
%
%
%
19.08 %
4.39
4.39
4.39
7.94
10.78
10.78
11.24
%
%
%
8.26
14.26
14.26
14.26
19.08 %
19.63 %
19.08 %
%
%
%
%
%
%
%
4.56
6.88
17.28
17.28
%
%
%
19.75 %
8.98
8.98
8.98
19.08 %
18.87 %
21.6
16.16
16.16
%
18.87 %
18.53 %
11.64
11.64
11.64
18.38 %
%
%
6.89
11.26 %
%
%
%
%
%
%
6.88
% %
%
%
6.66
7.94
7.94
7.94
12.16
12.16
14.22
14.22
14.22
14.22
%
4.35 %
%
%
6.33 % %
%
%
%
%
%
%
%
%
6.33 % 21.6
21.6
19.75 %
19.75 %
19.75 %
8.98
8.98
8.98
8.98
4.56
4.56
30.93
% %
18.53 %
%
%
%
%
%
30.93
%
4.51 % 6.56
7.76
2.84
2.79
2.84
2.84
11.26
%
%
% %
%
5.34 6.77
%
%
%
%
%
%
%
%
%
%
%
%
% 12.13
12.13
4.49
4.49
%
%
%
%
12.13
7.95
4.49
8.27
8.27
6.88
% 6.88
% % %
%
%
%
7.95
7.95
4.49
8.27
8.27
8.27
8.27
%
3.12
%
% 4.43
% 6.88
%
% %
%
%
7.95
3.51
10.9 8.27
8.27
8.27
%
3.12
3.12
%
% %
%
%
% %
6.17 %
%
%
%
%
30.93
4.04
8.78
20.99
20.97
20.94
21.15
12.23 %
%
% 8.16
8.16
6.91
7.5
7.5
8.29
7.97
5.02 %
5.02 %
11.64
11.64
18.38 %
%18.38 %
%
%
1.46
5.32
5.32
5.32
13.04 %
15.7
15.14
15.14
15.14
%
%
%
%
%
%
4.32
% 5.17
5.97
%
12.8 %
12.8 %
10.63
9.8 %
18.96
18.96
16.26
%
%
%
%
23.32
%
%
%
%
10.65 %
10.65 %
10.65 %
10.65 %
10.65 %
22.64
22.64
19.78
19.85
19.91
19.86
19.86
20.03
%
%
%
%
%
%
%
%
19.22 %
8.39
8.39
%
%
19.85
19.85
19.91
19.86
19.96
20.03
%
%
%
%
%
%
%
%
%
%
%
%
19.22 %
22.64
30.72
29.92
29.92
29.92
29.92
16.04 %
16.04 %
8.39
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
19.86
19.85
19.91
19.96
19.96
20.09
22.64
30.72
30.72
31.49
28.75
28.75
22.11
%
8.39
18.76
%
%
43.82
43.82
43.17
35.99
55.68
16.14
16.14
16.14
%
24.3
24.3
39.0
44.81
42.08
40.02
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
13.49
25.27
25.27
38.43
37.38
37.45
31.37
42.65
38.03
%
%
43.82
43.17
43.17
43.17
41.84
43.01
35.99
35.99
8.54
8.54
8.54
16.14
38.43
39.0
38.43
40.02
42.65
40.02
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
13.49
13.49
13.49
13.49
31.37
31.37
31.37
31.37
43.33
42.65
38.03
42.48
%
%
44.51
43.18
43.18
43.18
42.57
42.96
42.93
35.99
35.99
9.81
9.81
9.81
%
%
%
%
%
%
%
%
45.83
%
%
48.65
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
31.37
%
%
%
20.17 %
48.64
40.83
40.02
39.0
38.43
35.97
%
%
%
%
%
%
%
%
%
%
%
%
%
%
34.91 %
42.49
43.33
42.65
34.35
32.79
33.55
33.55
34.32
45.81
44.57
44.57
%
%
%
%
%
%
%
%
%
%
%
%
21.4
14.4
14.4
1.82
1.82
%
%
41.2
41.2
34.31
34.31
34.81
%
%
11.65
11.65
3.38 %
3.6
3.6
9.81
9.81
12.94 %
16.34
34.81
%
%
%
%
%
%
42.6 %
44.51
44.51
43.18
42.57
42.57
43.16
%
%
43.0
42.53
42.92
35.99
20.17 %
39.0
40.02
40.84
33.06
%
20.17 %
%
%
%
%
%
%
%
%
%
21.48
38.43
35.98
31.37
31.37
31.37
20.17 %
21.48
11.65
11.65
3.6
9.81
43.33
43.33
42.65
33.37
33.37
7.07
8.33
13.39
%
%
%
%
%
%
%
%
%
%
%
%
%
%
1.06
0.78
0.78
0.66
0.72
0.72
0.72
1.05
47.55
47.55
40.42
48.15
47.04
47.05
%
%
%
%
%
%
41.56 %
48.15
48.15
55.87
47.37
45.82
45.81
45.81
44.57
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
21.4
21.4
21.4
14.4
8.15
8.15
1.82
%
%
41.2
36.61
36.61
36.61
34.31
%
%
%
%
0.85
0.78
0.78
%
%
%
0.7 %
0.72
0.72
0.72
0.72
7.07
8.33
13.39
30.73
30.73
28.19
40.43
%
%
%
%
%
%
%
41.56 %
48.15
47.05
55.9
52.51
%
%
%
%
%
%
%
41.56 %
48.15
52.57
51.97
47.37
47.37
47.37
45.82
45.82
45.81
45.81
35.5
35.5
35.5
35.5
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
41.53
45.82
45.81
%
%
%
%
%
%
10.74
10.74
%
%
%
%
%
%
%
%
%
%
%
%
26.75
26.75
26.75
31.84
31.84
32.04
32.04
30.06
19.29
26.48
%
%
%
0.0
0.74
0.74
7.89
7.89
56.56
56.56
38.59
0.06
30.06
%
%
%
%
%
%
%
%
%
%
%
26.75
26.75
26.75
26.75
31.84
32.04
31.78
31.78
19.29
19.29
%
%
0.0
14.14
0.17
0.17
30.07
%
%
%
%
%
%
%
%
%
%
%
%
22.41
27.12
27.12
27.12
27.12
31.78
31.78
31.78
31.78
19.29
19.29
%
%
%
0.13 %
0.06
%
0.37
0.74
10.04
10.04
%
35.59
%
%
%
%
%
%
12.36
10.61
%
12.1
0.0
%
%
0.37
3.4
0.37
%
14.15
14.13
14.13
14.15
10.74
14.11
14.12
0.18
30.17
%
%
24.74
24.77
42.5
42.54
45.69
45.69
%
%
%
51.85 %
51.84 %
53.24 %
35.58 %
23.5
23.5
%
%
%
%
%
%
25.85
24.71
1.28 %
0.05 % 0.0 %
34.5
%
%
%
%
%
%
%
%
%
%
%
%
%
0.19
0.19
0.19
42.52
31.42
31.42
31.42
45.63
%
%
%
%
%
%
%
%
%
%
%
%
8.17 %
8.17 %
23.5
25.46
25.45
18.1
%
%
%
%
%
%
%
%
%
%
38.34
%
%
%
38.35
%
%
%
%
43.3 %
38.12
38.12
0.03
%
0.17
0.17
0.19
0.19
%
%
%
0.22 %
1.84
32.8
29.23
29.23
29.23
1.73
0.03
0.03
%
%
%
%
%
%
%
%
%
%
%
%
25.94
17.93
1.73
1.73
%
%
%
%
%
%
%
%
0.03
0.06
%
%
45.72
45.6
%
%
%
%
%
%
%
21.91
21.91
21.89
67.34
21.89
%
%
%
%
%
21.89
21.95
21.89
22.21
22.86
10.11
%
%
%
%
7.26 %
7.26 %
7.26 %
7.26 %
7.26 %
7.26 %
%
%
%
%
%
%
6.82
6.82
6.82
23.74
23.74
14.06
46.3
36.24
%
%
%
%
0.54
6.82
14.06
14.06
23.74
14.06
36.24
%
5.6
%
%
%
%
%
%
%
22.88
10.11
10.11
%
%
%
%
0.27
%
%
%
%
8.57
%
%
%
%
%
5.61
22.93
10.11
%
%
%
%
19.62
22.82
22.86
%
%
%
%
22.21
22.21
22.21
%
7.26 %
25.01
3.97 %
5.6
5.6
0.03 %
%
%
%
%
%
%
%
%
%
40.41
0.02
0.02
0.02
0.02
0.02
0.27
0.27
0.27
14.06
14.06
14.06
14.06
14.06
36.24
36.24
36.24
18.4 %
40.67
36.24
40.35
%
%
%
%
%
%
%
%
%
18.45 %
18.4 %
18.41 %
46.3
36.24
22.87
%
%
%
%
21.89
22.21
22.2
7.26 %
7.26 %
25.21
3.97 %
%
3.97 %
%
%
%
%
%
%
%
%
%
%
18.4 %
18.4 %
18.41 %
18.41 %
20.43
5.6
0.03 %
0.03 %
%
%
%
%
%
%
%
%
%
%
%
%
%
%
0.03 %
0.03 %
29.23
29.23
45.93
39.59
%
0.03 %
5.6
3.97 %
%
3.97 %
3.97 %
25.16
19.47 %
19.47 %
0.27
0.03 %
%
%
%
44.59
41.56
41.56
41.56
0.27
0.03 %
0.03 %
3.97 %
3.97 %
3.97 %
3.97 %
19.76 %
19.54 %
19.44 %
19.45 %
8.17 %
8.17 %
22.96
7.26 % 20.57 %
30.03
30.03
30.03
45.62
0.54
0.03 %
1.84
39.68
28.41 %
42.57 %
18.73 %
16.69 %
17.65
17.65
18.39
0.54
% 0.13 0.03 %
0.13
0.22 %
0.03 % 0.22 %
0.03 % 0.22 %
0.03 % 0.18 %
0.24 %
1.42
1.42
7.94
7.94
7.94
2.36 %
2.36 %
20.04
20.04
20.04
10.23 %
28.42 %
%
%
%
%
%
%
%
%
%
%
%
%
28.07 %
18.38
18.38
18.9 %
18.9 %
18.9 %
29.23
29.23
29.23
29.23
41.32
41.32
41.32
41.32
41.32
39.68
39.68
39.68
32.79
%
45.62
%
%
%
%
%
1.28 %
0.25 %
1.84
7.94
7.94
7.94
1.73
0.05 %
%
%
%
%
8.17 %
8.17 %
8.17 %
8.17 %
42.2
42.2
42.2
42.2
45.62
0.13
0.22
0.22
0.19
0.22 %
0.22 %
0.22 %
1.42
1.42
2.36 %
20.04
20.04
20.04
28.41 %
18.9 %
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
29.23
%
%
39.68
39.68
39.68
32.76
%
0.25 %
0.22 %
1.42
1.42
3.06
7.94
7.94
32.79
20.04
38.12
40.25
40.25
40.25
43.29
17.73
17.73
17.73
17.11
18.38
18.39
18.37
45.63
%
%
%
%
%
18.08
18.02
1.28 %
1.28 %
%
1.28 %
%
%
%
0.25 %
32.8
32.8
%
0.25 %
3.06
3.06
12.34
32.75
32.76
32.76
45.58
43.29
43.29
18.18
18.39
18.45
%
0.05 %
0.05 %
41.2
41.2
44.3
49.12
49.13
39.74
1.73
0.05 %
1.73
1.28 %
1.28 %
18.32
18.01
13.85 %
24.88
24.99
13.88 %
13.85 %
1.28 %
13.85 %
13.85 %
13.85 %
13.85 %
% 0.0 1.28 %
1.28 % 0.0 %
1.28 % 0.0 %
%
0.05 %
0.05 %
0.05 %
53.91
53.91
50.75
34.49
27.81 %
27.81 %
16.58
16.59
%
0.05 %
%
%
% 3.4 0.05 %
3.4
3.4
46.36 %
56.37 %
55.9 %
%
%
%
0.17
% 0.37 0.05 %
5.81 %
46.4 %
%
%
%
%
%
0.05 % 0.53 %
53.72 %
%
53.73 %
%
%
54.65 %
16.54
39.74
41.2
41.2
44.3
49.13
50.52
50.75
50.75
53.91
55.9 %
%
%
%
%
%
0.25
0.05 % 0.53 %
%
%
%
35.59
46.36 %
59.81 %
38.59
30.06 %
53.72 %
%
53.72 %
38.59
24.74
% 24.74 %
%
%
%
%
%
%
%
%
%
%
%
%
11.22
12.1
12.1
%
20.92
22.41
22.41
27.12
27.12
28.7
33.5
31.78
31.78
31.61
19.29
%
%
%
%
%
%
%
%
%
%
%
0.17
0.17
0.17
0.02 %
%
%
%
%
%
6.39
6.39
6.39
10.04
13.76 %
10.61
13.75 %
35.59
%
%
%
%
5.81 %
10.04
12.36
10.61
13.76 %
30.06 %
53.73 %
%
56.56
53.73 %
52.56
54.65 %
56.37 %
60.18 %
53.72 %
56.37 %
%
53.72 %
54.65 %
%
54.65 %
56.37 %
59.78 %
61.58
53.73 %
38.59
30.06 %
0.0
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
48.67
48.67
61.58
52.56
51.17 %
51.17 %
59.78 %
59.78 %
61.58
%
0.02 %
%
0.02 %
0.17
0.02 %
0.02 %
0.02 %
0.13 %
%
%
46.16 %
0.0
0.13 %
7.07
8.33
43.82 %
43.82 %
10.04
15.93
%
%
%
%
%
%
%
10.61
48.88
48.88
51.16
52.51
62.61
51.97
51.97
54.17 %
%
%
4.1 %
%
%
%
%
%
4.1 %
%
4.1 %
14.15
14.13
14.15
10.74
10.74
4.1 %
4.1 %
4.1 %
14.13
9.65 %
0.0
9.65 %
%
%
%
%
%
%
4.1 %
14.13
14.15
10.74
10.74
10.74
4.1 %
4.1 %
14.13
9.66 %
9.66 %
9.66 %
0.0
0.02 %
0.02 %
%0.13 %
%0.13 %
0.78
0.78
0.13 % 0.52 %
0.02 % 0.52 %
%
%
0.02 % 0.96 %
0.77
0.77
%
10.19 %
10.18 %
28.19
38.57 %
%
%
%
%
%
%
43.82 %
38.93 %
38.56 %
48.15
51.16
51.16
52.51
55.9
52.57
%
9.66 %
9.65 %
9.66 %
9.66 %
10.74 % %
10.74 % %
%
10.4 %
10.58
10.58
21.4
30.25 %
1.62
0.98 %
7.07
8.33
8.33
10.74
30.25 %
%
%
%
%
%
%
%
%
%
%
%
%
%
%
47.46
47.37
47.37
47.37
47.37
32.52
36.63
35.5
38.93
38.92
32.08
8.15
8.15
0.98 %
%
0.85
28.19
%
0.98 %
0.78
0.78
0.7 %
0.77
0.77
0.77
0.77
%
%
%
%
10.58
21.4
21.4
21.4
30.25 %
8.15
8.15
8.15
8.15
%
%
30.73
28.19
41.56 %
41.56 %
41.56 %
41.56 %
38.57 %
51.97
51.97
39.48
33.39
50.75
50.75
50.52
47.64
0.32
0.32
%
%
%
0.39 %
3.56
3.56
%
%
0.39 %
%
%
%
5.18 %
5.18 %
14.06
14.06
14.06
40.41
40.4
40.41
38.57
33.63
33.63
21.22
%
%
%
%
%
%
%
19.19 %
8.57
8.57
22.2
%
%
8.4
8.4
8.4
%
%
%
%
48.87
8.4
24.52
24.51
24.58
5.08
5.08
%
%
%
%
%
%
%
%
%
%
%
%
18.49
18.49
21.48
21.48
17.27
19.54
%
8.4
8.4
%
%
%
%
%
%
%
0.0
%
%
9.11
%
0.0
%
%
20.45
5.08
5.08
5.08
5.08
%
%
%
%
%
%
%
%
%
%
%
%
%
18.49
18.49
18.49
18.49
21.48
%
%
%
%
%
0.87
0.0
0.0 %
24.5
24.51
24.46
29.89
%
%
%
48.2
8.4
17.13 %
23.09
22.67
17.13 %
17.13 %
%
0.87
0.66 %
%
0.66 %
5.18 %
5.18 %
0.0
0.0 %
0.39 %
40.4
0.87
0.66 %
%
0.66 %
0.66 %
0.66 %
17.13 %
17.13 %
17.13 %
17.13 %
28.36
27.16 %
%
%
%
%
%
%
%
%
%
19.62
19.62
10.11
%
%
38.16
38.14
38.18
38.18
51.75
22.86
22.86
22.86
22.86
%
%
%
%
%
%
%
22.21
5.6
5.6
5.6
5.61
0.32
0.39 %
0.39 %
5.18 %
5.18 %
14.06
40.41
38.57
38.57
21.22
21.22
19.19 %
19.19 %
9.13
%
%
%
%
9.4
8.4
8.4
0.0
%
%
%
%
0.87
0.87
0.87
0.66 %
29.9
5.08
5.08
%
%
%
%
%
%
%
%
%
%
%
%
%
%
16.18
15.56
18.49
18.49
18.49
20.13
20.45
20.45
24.47
24.4
29.93
0.05 %
9.4
%
%
%
%
%
%
9.4
8.4
0.0
0.87
0.87
29.93
%
%
%
%
%
4.94
10.04
10.04
%
%
%
%
%
%
%
9.73
9.72
9.72
% 8.65
% 8.66
% 8.66
% 8.66
%
%
%
%
%
%
%
16.18
16.18
15.56
15.56
20.13
20.13
20.13
20.45
20.45
20.45
20.45
29.83
4.08
2.96 %
8.66
8.66
%
%
5.0
%
%
%
4.94
6.84
10.04
%
%
%
9.73
9.73
8.61
%
8.66
8.67
4.07
4.07
%
%
%
%
%
%
%
0.06
0.11
0.11
0.36
0.24
0.25
0.25
%
%
%
%
0.14 %
0.12
0.12
0.12
0.12
4.07
%
%
%
%
%
%
%
%
%
0.05 %
0.25
0.24
%
0.05 %
%
%
0.05 %
%
0.05 %
0.11
0.11
0.14 %
0.14 %
0.06
0.05 %
4.06
4.08
0.05 %
0.05 %
0.05 %
0.05 %
0.05 %
0.14 %
0.05 %
0.31 % 0.05 %
0.25
0.25
0.36
0.24
%
%
%
%
5.0
%
4.94
%
%
4.07
4.07
4.05
%
%
%
0.05 %
%
8.29 %
6.84
11.48
0.12
0.17
0.12
0.36
0.36
0.25
%
%
%
4.94
%
4.94
%
%
12.81
%
%
%
%
%
%
3.42 %
%
1.62 %
1.61 %
1.61 %
3.78
%
3.42 %
3.77
3.42 %
1.61 %
1.61 %
1.61 %
1.61 %
%
3.42 %
3.77
3.42 %
10.33
%
6.0 %
30.16
30.21
30.17
%
24.11 % %
%
9.48
9.5 %
9.48
3.42 %
3.42 %
9.48
5.99 %
%
%
12.81
%
12.81
%
%
%
%
%
1.63 %
1.62 %
3.78
3.77
3.77
3.43 %
10.33
10.33
10.33
%
%
12.8
%
12.74
24.17 % 8.29 %
5.0
11.51
%
%
%
%
7.83 % %
%
%
%
%
7.5
7.5
7.5
7.5
%
%
%
%
0.23
6.65 %
%
%
%
%
7.8
7.8
7.8
15.03
8.78
8.78
20.96
%
14.22
14.11
14.81
14.81
14.81
7.8
5.02 %
5.02 %
5.02 %
5.02 %
8.16
20.95
20.96
%
14.22 %
%
0.23
14.22
%
%
%
%
0.23
% 5.97
5.97
%
%
5.17
5.17
12.8 %
12.8 %
12.8 %
9.15
18.96
12.8 %
%
%
%
%
0.1
%
9.79 %
9.79 %
%
%
%
%
%
%
%
% %
3.14
%
%
%
%
%
%
%
%
%
%
%
19.84
%
10.41
10.41
10.41
15.03
15.03
%
%
%
7.8 %
7.25
7.25
7.25
7.75
%
%
6.16
16.17 %
14.11
14.11
14.11
14.81
14.81
10.41
3.26
5.02 %
5.02 %
8.78
8.78
8.78
20.93
20.97
%
%
%
%
%
%
%
%
%
1.6
9.85
%
21.65
21.65
21.65
21.65
3.14
3.14
%
%
%
1.6
9.85
6.16
%
%
5.97
1.38
8.75 %
%
%
%
%
%
10.33
10.33
%
%
1.38
10.29
7.83 %
22.61
21.65
21.65
21.65
16.48
25.03
%
%
%
5.17
12.8 %
12.8 %
9.95 %
9.15
17.19
12.8 %
%
%
%
10.29
7.83 % %
10.33
10.33
10.33
%
%
7.83 % %
%
%
%
%
%
%
%
6.6
7.38
10.33
10.33
%
%
%
%
%
7.83 % 25.03
20.07 %
%
%
%
%
6.6
6.6
7.38
7.38
10.33
%
%
%
%
%
%
%
%
%
%
14.22 16.48
24.7 %
24.7 %
20.07 %
%
20.07 %
18.23
20.07 %
%
%
%
%
%
%
%
12.07
12.07
18.23
18.23
20.07 %
25.03
20.07 %
%
20.07 %
11.03
11.03
10.41
%
%
7.8 %
7.8 %
7.25
6.25
1.6
10.25
%
%
%
15.03
15.03
15.03
14.03
14.11
14.11
15.73
3.26
3.26
7.75
7.75
7.04
8.78
8.78
8.78
8.78
8.78
1.6
10.25 %
%
%
%
%
%
%
1.6
10.25 4.16
4.16
%
%
%
%
%
%
5.97
1.38
%
%
%
%
%
%
%
%
%
%
11.29
5.38
5.38
4.46
12.7
17.19
17.19
15.82 %
%
%
22.61
8.83
8.83
8.72
9.25
9.25
8.6 %
8.6 %
4.9 %
13.29
13.29
12.95
13.22
13.12
13.51
%
%
%
%
% %
%
%
%
%
%
%
%
%
%
11.37
11.37
10.17
12.14 %
12.01 %
16.48
22.61
4.56
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
3.7
3.81
4.14
3.87
4.05
5.62
4.05
4.56 %
12.8 %
9.95 %
%
9.95 %
11.61
8.4 %
8.4 %
16.24
16.24
16.24
14.78 %
%
%
4.56
4.56
4.56
4.56
9.25
9.25
9.25
9.25
4.46
4.46
4.46
4.46
5.38
8.6 %
8.6 %
8.6 %
8.6 %
11.37
11.37
11.37
11.37
10.33
13.29
12.95
13.22
13.12
13.12
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
3.81
3.81
3.87
3.87
4.05
4.56 %
%
15.47
11.61
8.4 %
16.24
16.24
15.47
4.56 %
%
%
11.39
10.33
12.95
13.22
13.12
13.08
%
%
%
%
%
%
4.56 %
3.87
%
3.81
3.46
3.7
4.84 %
%
%
11.45
12.12
12.12
12.12
4.84 %
1.6
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
11.39
11.39
13.22
13.57
13.08
13.08
%
%
%
%
%
%
%
%
3.47
3.7
3.7
3.93
5.29 %
1.6
%
3.88
11.45
11.45
11.19 % 12.12
%
%
4.84 %
%
1.6
9.85
4.46
4.46
4.46
11.19 %
4.41
4.41
3.59 %
%
%
%
%
%
4.91
4.91
%
%
%
%
%
%
7.47
7.1
7.1
%
10.87
10.89
10.99
10.99
11.15
9.03
7.9
7.9
5.43
1.6
9.85
4.18
13.05
8.6 %
8.6 %
8.6 %
3.55
%
%
%
%
%
%
%
0.36 %
4.18
4.18
10.21
9.25
9.25
7.27
6.9 %
10.73
12.61
11.37
11.37
4.92
11.19 %
%
%
% 16.71
26.82
26.81
21.82
3.59 %
%
%
%
%
%
%
%
%
%
%
%
%
%
%
10.89
10.89
10.79
10.99
10.94
7.1
7.9
7.9
7.9
7.9
5.43
5.43
5.43
5.43
%
3.59 %
%
3.59 %
6.57
6.37 %
%
%
%
%
%
%
%
%
8.5 %
6.37 %
5.43
5.43
5.43
3.83 %
%
8.75
%
%
11.19 %
%
7.47 %
%
%
%
%
10.65
10.89
10.79
10.99
10.94
7.9
7.9
7.9
8.48
6.4 %
%
7.83 %
%
%
%
%
%
%
%
%
%
%
%
%
%
11.19 %
%
6.37 %
4.41
7.47 %
%
7.47 %
5.13
26.81
11.19 %
20.53 %
11.19 %
7.99 %
7.47 %
%
%
%
%
%
7.83 %
3.88
3.88
%
%
%
7.47 %
%
%
%
%
%
%
1.6
10.98
%
%
%
13.05
13.05
4.46
3.55
3.55
5.13
5.13
%
%
7.87 %
5.43
3.83 %
3.83 %
1.6
10.25
4.18
7.27
10.21
10.21
7.27
%
10.73
10.73
12.61
12.61
4.92
4.92
%
20.53 %
20.53 %
22.22
11.19 %
%
%
%
%
%
7.87 %
6.79
6.79
8.48
8.48
10.65
10.89
10.79
10.94
10.94
7.99 %
6.61
6.61
8.69 %
6.4 %
6.4 %
1.6
10.25
%
%
%
%
%
1.6
%
%
%
%
1.63
1.63
%
%
%
%
0.36 % 7.23 %
%
%
8.59
17.02
13.32
13.32
%
%
%
9.69
9.69
12.88
4.85 %
3.26
2.83
3.32
3.32
%
10.25
%
18.02
18.02
%
%
%
4.43
4.54 3.51
3.51
10.9
10.9 8.27
6.17
6.17
%
%
%
%
%
%
11.76
% %
11.76
13.63
11.2
26.74
%
%
%
%
%
25.02 26.72
26.72 %
11.76
11.76 14.62
13.2 11.2 %
%
%
% %
1.89
% %
%
%
%
%
35.98
%
%
%
10.64
7.23 %
%
%
6.9 % 8.33 %
4.26
4.26
%
12.68 %
14.37 %
14.37 %
16.34 %
14.61
13.2
13.2 11.6
11.6
9.32 9.18
%
9.06 18.02
10.64
%
%
%
%
9.53
8.92
19.3 %
19.3 %
22.32 %
22.32 %
22.89
15.17 %
15.17 %
16.26 %
13.79
13.79
14.01
15.56
12.68 %
%
%
%
2.54
%
%
%
9.85
32.37
24.93 %
24.93 %
24.93 %
10.64
10.64
7.23 %
0.36 % 7.23 %
%
%
%
%
%
%
7.23 %
4.26
4.26
4.26
4.26
%
4.18
8.33 %
7.23 %
%
%
%
%
%
%
1.63
7.23 %
8.32 %
19.3 %
19.3 %
19.3 %
19.3 %
14.37 %
14.37 %
14.37 %
14.37 %
8.33 %
8.33 %
8.33 %
15.17 %
15.17 %
15.17 %
15.17 %
22.32 %
%
%
%
%
15.86
15.86
15.86
9.69
13.32
4.85 %
4.85 %
4.85 %
3.26
3.32
3.32
35.98
9.85
%
%
%
%
%
3.32
35.98
7.83 %
7.83 %
6.58
14.56 %
24.93 %
24.93 %
24.93 %
24.93 %
6.58
6.58
6.58
%
%
7.27 %
4.26
4.26
11.14
%
%
14.01
14.01
14.01
14.01
12.68 %
6.99 %
%
%
%
%
%
10.98
%
%
10.94
14.38 %
14.38 %
14.38 %
16.25 %
16.72
19.3 %
19.3 %
19.3 %
22.66 %
23.52
15.17 %
15.17 %
% %
10.33 %
%
%
14.34 11.6
11.6
9.32 14.6
7.01 % %
% %
%
%
15.74
15.74
21.26
21.19
5.41
5.41
9.61
9.61
9.61 4.19
4.19
%
%
% % %
% % %
%
%
%
15.74 21.24
21.24
4.58
4.58
5.41
9.61
9.61 4.19 %
% %
%
%
% %
%
% 21.24
21.24
4.58
4.58
4.58
4.58
%
%
%
% % %
21.24
22.92 39.47
4.57
4.57 %
9.2
9.59
%
% %
11.26
%
10.25
%
%
12.82
12.82
15.01
14.48 %
%
%
%
12.82
%
%
%
%
4.85 %
4.85 %
4.85 %
9.94
9.94
3.57
3.28
3.28
3.28
19.34
10.25
14.56 %
%
%
%
%
%
19.34
%
14.54 %
14.54 %
8.33 %
8.34 %
8.33 %
11.14
11.14
%
%
16.72
16.72
12.57 %
12.57 %
8.73
%
%
%
14.56 % 5.83 %
1.56
6.58
14.56 %
10.94
10.94
22.66 %
22.66 %
23.52
23.52
19.3 %
16.25 %
16.25 %
%
%
%
%
%
13.76
12.46
13.7
13.7
14.4
12.57 %
6.99 %
6.99 %
%
%
%
%
%
19.34
%
%
24.93 %
29.56 % 9.62 %
8.54 %
7.29
7.91 %
5.83 %
%
8.54 %
8.54 %
7.91 %
7.29
%
%
%
14.91
14.9
14.79
11.42
8.45 %
%
%
%
%
%
%
%
13.76
13.76
12.46
12.46
14.4
14.4
12.57 %
12.82
15.01
15.01
14.48 %
%
%
%
%
10.08
%
%
%
4.85 %
9.94
9.94
9.94
3.57
3.57
11.26
11.26
%
% %
%
%
%
%
1.81
%
%
%
%
%
% 3.28
14.15
9.06 %
%
8.31
8.31
9.51
9.51
13.05 %
24.53
23.82
22.12
22.12
14.82
13.05 %
18.14 %
%
%
%
9.85
%
14.88
%
%
%
%
%
%
%
%
%
%
8.73
8.73
%
9.85
7.29
7.91 %
8.54 %
10.3
11.43
11.43
8.31
9.51
9.51
9.51
9.51
22.12
22.12
22.12
22.12
13.05 %
18.14 %
18.14 %
18.14 %
6.99 %
6.99 %
6.99 %
%
%
%
%
%
%
%
%
%
7.52
6.87
6.62
6.31
8.28
8.28
14.14
7.83 %
7.83 %
7.83 % %
2.76
6.98
6.98
5.75 %
%
2.76
3.65
14.15
13.28 %
%
%
%
% %
%
4.52 %
%
4.53 %
%
%
%
%
28.49
9.02 %
%
%
%
%
%
6.87
6.57 %
6.62
6.62
8.28
%
% 11.43
11.42
4.53 %
11.42
4.53 %
6.98
4.53 %
9.51
9.51
9.51
9.51
22.12
22.12
18.14 %
18.14 %
18.14 %
2.0 %
2.0 %
3.65 %
2.76
4.53 %
%
2.65 %
2.65 %
6.76
%
14.15
%
%
%
7.91 %
8.54 %
10.3
6.86
%
%
%
%
%
18.14 %
%
%
%
14.15
%
11.41
%
%
%
%
28.49
%
%
2.65 %
6.76
6.76
2.65 %
6.87
6.57 %
6.62
6.62
6.29
%
%
11.43
11.49
12.95
4.53 %
9.51
16.22
16.22
22.12
23.26
15.9 %
15.9 %
%
%
%
9.26
7.09
10.19
%
%
%
20.46
9.26
%
%
%
%
%
%
%
%
%
%
%
2.33
2.33
%
20.24
5.44
%
%
%
%
%
%
10.95
12.56
12.56
31.42
%
%
%
5.44
8.65
7.65
10.99
11.04
%
%
%
%
13.17
13.16
13.16
13.16
9.89
28.05
26.82
24.06
24.06
24.06
10.02 %
28.05
28.06
11.82
3.72
3.72
%
5.44
%
%
%
%
%
%
%
%
%
%
%
7.09
6.6
5.74
5.74
6.71
2.61
5.7 %
5.7 %
6.21
20.46
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
4.3 %
20.46
% 7.65
7.65
%
%
%
%
%
10.95
10.98
13.2
13.15
13.16
9.89
9.88
26.82
26.82
26.82
10.14
10.14
10.02 %
10.02 %
28.05
28.05
%
%
%
3.85
2.61
%
%
14.11
14.11
14.11
14.11
6.6
6.6
5.74
6.6
5.7 %
3.72
20.24
11.21 %
4.3 %
%
11.21 3.72
%
6.26 %
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
11.11
% 6.6
6.6
%
3.85
7.43
6.6
2.61
5.31
11.11
%
7.65
7.65
7.65
10.99
8.68
%
%
%
%
13.17
9.89
9.89
9.88
25.2
25.2
25.2
25.47
10.14
10.02 %
10.02 %
%
25.2
28.05
14.11
14.11
14.11
14.11
%
%
4.3 %
%
%
%
%
%
%
%
%
%
10.81 %
3.94
3.29
7.2 %
6.57 %
6.62
5.93 %
6.29
6.29
22.92
39.28 %
%
12.74
15.65
18.65
18.65
18.65
18.65
18.65 33.57
%
%
%
%
%
%
% 12.74
12.74
18.65
18.65 34.86
9.59
9.59
9.2
9.2
%
%
% %
% %
% %
%
% 12.74
12.74
18.65
18.65 34.86
9.59
9.59
9.2
9.2
%
% %
% %
% %
%
% 12.74
12.74
12.03
18.65 34.86
9.59
9.2
9.2
%
%
15.07
% 15.07
%
%
%
%
%
% 15.07
15.07
15.25
15.25
35.94
17.1
17.1 %
%
%
%
%
% % %
%
15.93
15.92 15.07
15.07
15.07
15.25
32.06
35.91
17.1
%
%
% % %
% %
% %
15.93
15.93
15.92
15.92 15.07
15.07
32.06 32.09
%
%
%
%
% %
%
15.92
15.93 15.07
32.07
32.06
%
% %
22.57
11.11
5.44 %
%
%
%
%
%
%
%
5.04 %
7.36 %
7.65
7.65
%
5.44
%
%
%
%
%
27.74
25.85
25.85
25.47
25.47
10.02 %
6.6
%
%
%
%
3.85
7.43
7.43
7.45
5.31
5.31
5.04 %
%
5.44
7.64
7.65
7.65
7.65
8.68
8.72
%
%
%
%
%
13.18
9.89
9.89
9.89
3.55
3.55
9.16 %
%
%
%
%
%
%
5.04 %
5.04 %
7.36 %
29.17
%
5.46
%
%
29.6
27.74
13.55 % %
13.55 % %
13.55 % %
4.48 %
%
%
%
%
%
%
%
%
%
%
29.17
%
10.1
6.97
5.46
3.23
17.55
17.55
%
%
3.69
3.69 %
23.68
23.68
19.44
19.67
20.69
20.7
23.28
23.28
%
%
%
3.4
3.4
4.03
5.04 %
5.04 %
5.04 %
6.32
%
% %
%
%
%
%
5.92
7.02
7.02
5.75
5.75
4.33
%
%
29.17
%
5.45
%
%
%
%
%
%
%
%
7.45 %
7.45 %
5.04 %
6.32
6.32
%
%
7.31
7.31
%
%
%
%
%
3.69
%
%
%
%
6.32
12.88 6.97
6.97
17.55
17.55
17.55
%
3.4
%
%
13.89
12.52
23.68
19.67
19.67
19.67
19.67
17.55
17.55
%
%
%
5.75
4.33
4.33
4.33
%
3.66
%
11.21 5.92
5.92
5.92
7.02
%
%
%
6.26 %
%
%
%
%
%
%
3.66
%
6.26 %
%
%
%
%
%
5.44
7.31
7.31
6.97
8.59 %
11.33
11.33
11.33
%
18.51
18.51
9.07
11.16
%
%
%
%
%
%
%
%
%
%
0.77
6.32
6.26
%
%
%
%
%
%
%
%
%
13.89
13.89
12.52
12.52
19.79
19.79
19.79
19.79
19.34
18.51
%
%
4.33
4.33
4.33
5.08 %
1.36 %
6.32
%
6.57
%
5.46
4.01 %
6.97
8.59 %
8.59 %
9.5
%
%
18.51
9.07
9.07
11.16
11.16
%
%
%
6.11
6.11
6.11
6.11
%
6.32
% %
%
%
%
%
%
%
%
%
13.89
12.52
17.69 %
18.9
19.49
19.49
20.19
19.34
19.34
4.16
%
0.77
%
% 8.35
7.68
7.68
%
%
%
%
%
%
2.85 %
3.0 %
4.33
5.08 %
5.08 %
5.04 %
1.36 %
%
% %
%
%
%
%
%
6.93 %
6.93 %
6.93 %
6.95 %
%
%
%
%
%
6.53
6.53
4.86
4.86
7.23
7.23
7.23
13.84
13.84
%
%
%
7.03
7.03
6.11
6.11
6.05
4.99 %
4.99 %
%
%
% 3.84
3.84
%
%
16.66
16.66
%
%
%
11.37
9.91
9.91
12.5
12.5
13.66
%
%
%
%
0.77
%
% %
%
%
%
%
9.6 %
6.94 %
6.93 %
6.93 %
%
%
%
8.35
7.68
8.27
5.91
5.91
%
%
%
2.85 %
21.42
% %
%
%
9.6 %
%
5.31
5.31
5.31
4.86
7.23
%
%
9.6 %
13.84
14.32
%
%
16.66
%
%
11.42
9.91
12.5
13.66
11.91
%
%
%
5.78
5.78
0.84 %
0.84 %
21.42
5.7 %
%
%
%
%
2.42
2.42
2.42
7.03
8.02
2.22
2.22
4.18 %
%
%
21.42
5.7 4.75
6.47
1.93 %
1.93 %
1.93 %
%
%
%
%
9.6 %
6.51
5.31
5.31
5.31
%
%
9.6 %
9.6 %
9.6 %
6.94 %
14.33
14.32
7.68
8.27
8.27
%
6.47
4.25 %
5.49 %
5.49 %
5.49 %
2.13 %
3.34 %
17.3
21.42
5.7 %
%
%
%
%
%
%
%
%
%
%
5.91
%
%
%
5.48
4.53 %
4.53 %
4.53 %
%
5.7 4.75
6.09
6.47
11.21
11.21
11.78 %
4.75
2.44 %
2.44 %
2.44 %
2.44 %
%
%
3.33
11.42
11.42
11.91
11.91
%
%
6.47
%
0.84 %
28.03
5.07
%
6.51
6.51
6.01 %
%
%
4.14 %
5.31
5.31
%
%
%
%
%
%
%
%
%
9.6 %
9.6 %
13.47
14.32
14.32
14.32
8.53
8.02
8.27
9.1
9.88
7.9
8.02
4.25 %
4.25 %
%
5.49 %
5.49 %
5.48
5.78
%
%
%
5.07
%
%
%
%
%
%
%
3.86
2.22
2.13 %
3.34 %
3.34 %
3.34 %
17.3
%
5.07
4.75
6.09
6.47
3.34
9.95
13.19
%
%
%
%
11.42
11.91
12.5
3.86
%
%
%
%
5.24
4.53 %
4.53 %
28.03
% %
%
%
%
4.25 %
5.49 %
5.48
0.84 %
28.03
% 11.21
11.78 %
12.47
13.35 %
9.84 %
%
%
%
%
%
%
%
%
%
%
%
7.9
7.9
7.31
4.25 %
%
%
3.86
3.86
5.44
2.16 %
2.16 %
2.16 %
2.16 %
%
4.53 %
5.96 %
% %
%
%
%
4.25 %
3.86
6.33
%
%
%
%
%
%
%
%
7.9
9.1
9.1
9.88
9.88
%
%
%
%
4.25 %
%
%
%
%
5.48
5.44
4.25 %
4.25 %
%
4.25 %
1.57
5.51 %
3.86
3.86
2.56
4.38
3.39 %
3.39 %
%
%
21.11
%
13.44
6.09
6.09
10.38
9.84 %
9.84 %
11.78 %
13.35 %
13.35 %
6.51
6.51
6.01 %
6.01 %
4.14 %
4.14 %
6.51
13.47
13.47
8.53
8.53
14.3
14.33
14.33
%
%
7.9
7.9
7.31
7.31
7.05
%
%
%
%
%
%
%
%
%
%
%
6.26 %
%
%
%
%
%
%
13.19
13.19
%
7.05
5.44
5.44
21.11
21.11
%
6.26
%
%
12.77
12.77
13.14
9.95
9.95
12.5
12.5
7.05
%
%
%
6.33
6.33
5.51 %
5.51 %
6.33
2.56
2.56
4.38
4.38
%
5.24
%
5.24
5.05
%
%
%
5.05
5.05
5.24
19.94
6.26
10.2
12.72 %
%
%
%
%
%
%
19.94
%
%
%
%
%
11.42
3.63 %
3.63 %
%
%
%
12.77
12.77
12.99
15.52
10.2
11.42
11.42
3.63 %
%
%
%
%
%
%
19.94
% %
%
%
%
%
%
%
%
%
%
%
%
5.67
9.0
9.0
%
%
8.06
8.06
8.21
8.21
9.17
19.94
% %
%
11.29
11.29
11.29
1.92
1.75 %
9.02
1.57
1.57
4.08
8.82 %
%
%
11.44 %
11.35 %
11.35 %
5.71
5.71
7.48
6.98
1.57
%
3.6
1.93 %
3.32 %
4.73 %
10.06
10.72
14.47 %
7.58
7.12
%
% 12.77
12.77
12.99
15.52
%
11.42
11.42
10.2
%
%
%
%
%
%
%
%
%
5.7 %
%
%
%
%
%
%
%
%
%
%
%
5.7 15.52
15.52
12.44
12.44
13.42
%
%
%
%
%
10.34
10.34
10.34
10.34
8.21
8.21
8.75
8.75
%
2.2
4.76 %
3.6
3.6
%
%
8.82 %
8.82 %
4.08
4.08
3.32 %
6.87
6.87
6.87
6.87
%
%
7.58
9.0
11.35 %
11.35 %
11.44 %
11.44 %
10.72
10.72
7.58
7.12
7.12
21.27
5.07 6.4 %
%
%
%
%
%
%
%
%
%
19.94
% 6.4 %
2.44 %
5.34
5.34
5.34
6.54 %
%
%
%
%
%
8.82 %
7.58
%
%
%
%
%
%
19.94
% 4.76 %
2.44 %
2.44 %
2.44 %
%
%
2.44 %
1.92
11.29
9.43 %
%
%
%
10.29 %
%
%
%
5.58
4.08
3.32 %
9.42
11.35 %
11.44 %
15.09
15.41
10.72
8.41 %
8.29
8.29
8.29
8.29
19.94
11.19 6.4 %
%
12.14
11.74 %
11.29
11.29
1.75 %
1.75 %
6.55
11.42
%
7.73 %
10.63
7.73 %
7.73 %
7.73 %
7.73 %
7.73 %
9.88 %
7.73 %
9.88 % 7.04 %
7.73 %
5.25 %
11.29
11.68 %
11.68 %
10.29 %
%
12.77
11.68 %
%
%
1.75 %
1.75 %
1.75 %
11.29
11.29
9.4 %
11.68 %
%
12.44
10.29 %
10.29 %
%
1.75 %
1.75 %
1.75 %
1.75 %
11.29
9.4 %
10.29 %
%
12.44
11.71 %
11.71 %
9.4 %
%
%
5.6 %
6.48 %
6.48 %
8.36
8.36
9.7 %
6.44 %
%
%
5.34
5.34
6.54 %
6.54 %
%
%
4.09
5.44
5.44
5.44
7.12
7.12
6.94 %
%
6.26 6.4 %
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
4.92 %
5.09 %
4.76 %
8.36
8.36
8.36
8.36
6.48 %
6.48 %
8.74
8.74
1.17
2.77
3.83
5.58
5.58
9.43
9.43
15.09
15.09
15.41
15.41
8.41 %
8.41 %
%
%
%
%
%
%
%
7.11
7.11
7.11
8.5
%
5.09 %
5.09 %
5.06 % 6.4 %
%
%
%
6.4 %
3.72
%
%
10.56
6.4 %
9.04
9.04
9.04
6.48 %
6.48 %
7.5 %
6.4 %
%
%
5.6 %
6.55 %
%
%
%
6.36 %
6.36 %
%
%
%
%
%
%
%
4.09
4.09
6.41
6.41
6.21
6.21
6.94 %
%
%
4.92 %
5.02 %
4.92 %
5.02 %
%
%
%
%
%
%
%
9.88 % 6.55 %
5.25 % 6.55 %
1.17
1.17
2.77
2.77
7.07 %
6.55 %
5.25 % 6.11 %
%
6.55 %
%
%
%
%
6.55 %
8.74
6.1 %
1.17
1.17
2.77
2.77
7.03 %
6.55 %
6.55 %
%
6.1 %
7.07 %
%
6.1 %
7.74
7.03 %
7.03 %
3.52
6.33
6.33
8.95 %
8.98 %
5.29
8.74
10.49
10.49
10.98
11.41
5.43
7.64 %
%
%
%
4.17
%
4.17
%
4.17
%
4.17
%
4.18
%
4.19
%
4.17
%
4.17
21.41
5.06 %
5.06 %
5.02 %
3.53
3.53
7.47
7.47
%
9.91 %
9.04
9.04
6.48 %
6.48 %
%
%
%
%
%
9.04
9.91 %
1.17
1.17
2.77
7.74
7.74
7.11 %
%
%
%
%
%
%
%
%
5.43
6.54
%
14.44
21.38
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
6.33
6.33
6.33
6.36 %
6.36 %
10.49
10.49
10.49
10.49
5.43
7.64 %
%
%
%
%
21.77
%
19.94
9.3
2.26
11.49
9.64
5.09 %
14.6
14.58
14.58
8.89
%
%
12.03
12.03
15.97
13.35
13.35
13.17
13.17
13.04
12.68 %
12.68 %
8.29
4.25 %
4.18 %
5.43 %
6.21
7.23 %
%
%
%
6.36 %
6.33
6.36 %
%
%
%
%
%
%
%
%
%
%
5.43
5.43
5.43
%
21.77
21.77
19.94
%
3.53
%
%
%
%
%
%
%
%
%
%
13.3 %
%
9.12
%
%
%
%
%
%
%
%
%
%
%
%
%
%
12.03
12.03
12.03
6.33
6.33
5.76
5.76
5.76
9.68
9.89
12.25
10.49
10.49
10.49
4.33
8.06
%
12.19
%
12.19
%
12.19
12.19
12.19
%
9.18
%
9.18
%
9.18
%
9.18
%
9.18
%
9.18
%
9.18
%
9.19
%
9.18
%
9.18
19.94
9.3
8.29
8.29
13.16
13.16
13.17
13.17
12.98
12.68 %
%
4.33
4.33
%
34.69
9.3
%
%
%
%
%
%
%
%
%
12.66
%
12.66
16.59
14.42 %
35.23
%
8.22
4.89
6.21
6.21
8.89
8.89
14.6
14.6
11.49
5.09 %
5.12 %
5.09 %
%
5.09 %
%
%
%
%
11.49
5.09 %
5.12 %
5.12 %
14.6
8.89
8.89
8.89
6.21
%
%
%
%
%
%
%
%
%
4.25 %
5.43 %
12.03
12.03
%
5.43 %
%
%
13.28
13.16
13.17
12.98
12.98
10.78
10.78
10.78
10.78
5.42 %
6.67
5.43 %
13.58
9.89
%
%
%
%
%
%
%
%
%
%
%
10.29
9.12
9.12
8.06
8.06
%
%
%
%
%
5.76
5.76
9.68
9.68
9.89
12.25
12.25
10.49
4.33
%
% %
%
%
%
%
%
%
%
%
%
%
%
%
%
10.3
% 8.22
8.22
4.89
%
%
%
%
%
12.03
9.82
8.56
10.02
6.8
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
10.3
11.31 %
%
%
%
13.17
%
%
%
7.33
7.33
%
11.29 5.11
%
5.42
%
%
%
%
%
11.49
9.32
5.09 %
8.89
8.89
8.89
8.89
8.01
6.67
6.67
14.52
10.78
12.98
12.98
13.28
13.28
13.58
13.58
%
8.41
8.41
10.3
9.15
%
%
%
10.02
11.67
11.67
11.27
10.81
10.81
10.58
10.77
8.98
%
%
%
%
%
%
9.26
9.26
9.25
8.96
8.96
8.1
%
9.56
11.84
11.84
10.53
10.53
7.8
5.96
5.96
%
9.15 %
%
%
%
8.56
8.56
8.56
10.02
10.02
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
9.56
9.56
9.56
11.84
10.53
5.96
5.96
7.37
7.37
7.37
7.37
7.61
%
%
%
%
%
%
25.57
23.88
23.88
23.88
16.37
17.55
%
%
%
%
%
%
%
12.03
10.02
10.02
10.81
10.81
10.81
10.81
11.67
8.98
8.98
%
%
%
%
%
%
9.25
9.25
9.25
9.25
8.96
8.98
7.8
7.8
7.56
%
%
%
%
%
%
%
%
%
5.75
10.64
8.33
8.05
8.05
%
50.5
16.4
16.4
16.4
16.4
5.11
5.06
5.06
2.46
2.69
2.69
8.42
8.42
8.53
8.53
5.84
%
%
%
%
35.98
%
%
%
%
%
%
%
%
%
%
%
11.55
35.98
%
%
%
%
%
%
%
%
%
%
%
%
%
7.3
10.02
10.02
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
7.37
7.37
7.37
6.33
5.96
%
%
%
%
10.24
10.24
10.24
10.24
7.61
%
6.06
16.4
16.4
16.39
9.86
9.86
9.86
%
%
%
%
%
%
%
%
%
8.05
8.3
8.33
8.33
8.42
%
12.03
8.12
13.24
10.02
10.69
10.69
10.69
11.05
8.33
8.33
10.62 %
8.34
9.53
9.24
9.24
9.24
9.24
8.33
7.8
5.19
7.8
7.56
7.56
%
%
%
%
%
%
%
%
5.11
5.11
%
5.06
2.46
2.46
2.24
2.69
2.69
3.69
5.84
5.56
5.56
%
%
35.98
6.06
6.06
16.4
16.4
9.14
9.14
12.5
%
%
%
%
%
35.98
%
%
%
6.55
5.11
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
8.19
8.3
8.33
8.33
8.42
%
%
%
%
7.37
7.37
11.53
11.54
6.33
%
16.17 %
%
% 4.84
%
%
%
5.78
5.78
7.38
7.38
2.46
2.46
2.24
2.24
2.69
2.69
3.69
5.84
5.56
5.56
7.3
10.02
8.43
8.43
10.24
10.53
7.61
7.61
25.81
%
%
16.17 %
19.93 %
16.59
16.17 %
19.93 %
20.71
19.93 %
5.56
6.06
6.05
6.06
16.4
14.64
9.14
%
%
%
8.68
8.68
8.12
8.12
13.24
13.24
10.69
10.34
11.05
11.05
10.62 %
10.62 %
10.62 %
8.34
8.34
9.53
9.53
9.24
9.24
9.24
6.49 %
5.56
5.19
%
5.19
7.8
9.25 %
9.25 %
38.02
%
%
%
%
5.78
7.38
%
%
%
%
%
%
%
%
%
%
%
%
%
%
25.81
%
25.8
%
25.8
14.42 %
14.42 %
%
%
1.84 %
2.46
8.19
8.19
%
%
%
%
%
%
%
%
%
%
%
%
%
%
9.83
9.83
7.98
25.8
25.8
25.8
%
25.8
%
25.8
14.42 %
%
%
%
%
%
%
%
%
%
%
2.69
2.69
8.56
8.56
8.33
2.95 %
5.84
5.56
7.52 %
9.3
6.92
2.44
8.83
8.83
8.12
8.12
%
6.44
6.44
6.44
6.44
15.07
15.07
8.82
12.91
3.87
11.3
11.84
12.91
%
%
%
%
5.76
%
%
%
4.14 %
5.04 %
5.04 %2.24
2.11
2.11
5.14
6.46 %
6.46 %
8.82 %
8.82 %
8.79 %
8.78
11.09
11.09
8.94 %
2.44
3.25
7.13
6.85 %
%
6.85 %
15.53
16.82
16.82
20.66
20.04 %
20.04 %
14.0 %
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
15.07
3.87
%
%
%
5.84
2.94 %
5.84
6.46 %
6.46 %
7.19 %
8.82 %
8.82 %
8.79 %
%
%
%
%
2.44
2.44
%
%
%
%
%
%
%
%
%
%
9.83
9.83
%
6.44
6.44
6.44
8.82
8.82
8.82
12.91
11.3
4.86
%
15.26
%
8.41
8.78
8.78
9.33
8.82 %
2.44
2.44
3.25
3.25
3.25
15.53
6.85 %
8.2
8.2
8.2
8.2
8.2
16.32
%
%
11.84
11.84
11.84
9.56
5.76
8.51
%
15.18
15.32
15.32
5.54 %
5.54 %
5.54 %
5.54 % 5.84
2.94 %
4.38
6.46 %
6.46 %
7.19 %
8.91 %
8.91 %
8.82 %
%
15.53
15.53
16.82
20.66
20.04 %
14.0 %
14.0 %
16.32
15.91
%
%
%
%
%
%
%
%
%
%
5.04 %
4.79 %
4.52 %
%
7.08
%
%
4.79 %
5.75
1.92
4.35
9.48 %
%
%
%
%
%
%
%
%
2.44
2.44
5.76
8.41
8.78
8.78
9.33
8.91 %
%
%
%
16.32
13.94 %
13.9 %
3.87
%
%
%
%
%
6.44
6.44
9.92
9.92
9.92
9.92
14.19
11.84
11.84
11.84
11.84
4.86
4.86
8.0
4.79 %
4.79 %
%
4.79 %
%
%
5.54 %
5.54 %
5.54 %
15.29
9.47 %
9.47 %
8.5
4.79 %
%
4.39
7.08
%
%
4.79 %
5.75
1.92
%
5.54 %
17.0
9.46 %
2.95 %
4.38
6.46 %
6.46 %
7.19 %
8.91 %
8.8 %
8.8 %
%
%
%
%
%
%
%
2.44
5.24
5.76
5.76
8.78
9.33
9.33
8.95 %
2.44
2.44
15.53
%
%
%
%
%
%
16.32
11.3 %
3.87
9.15
%
%
%
%
%
%
3.87
5.0 %
4.79 %
%
4.79 %
7.08
6.66 %
%
9.47 %
9.46 %
17.04
9.46 %
9.46 %
9.46 %
9.46 %
7.08
4.47 %
%
%
4.47 %
4.9 %
4.77 %
%
4.9 %
5.44
%
%
%
7.09
5.01 %
4.78 %
4.78 %
4.78 %
3.0
3.02
3.03
3.02
%
4.9 %
4.9 %
4.85 %
%
4.93 %
5.44
4.78 %
4.89 %
4.78 %
4.78 %
4.78 %
%
%
%
%
%
10.37
10.36
3.02
3.02
3.02
7.08
4.9 %
4.9 %
4.85 %
%
4.93 %
%
4.9 %
4.88 %
4.89 %
4.78 %
4.78 %
%
%
%
%
%
10.36
10.37
10.35
3.02
3.02
%
%
%
%
%
%
%
4.7 %
5.02 %
4.9 %
4.79 %
%
14.19
11.22
3.87
%
%
%
%
%
%
7.76
5.54 %
4.21
4.21
4.0 %
4.0 %
5.53 %
%
%
%
%
9.89
9.83
%
%
%
%
%
10.12
8.2
8.2
8.2
8.2
8.2
%
7.49
11.36
%
%
%
%
12.05
12.05
16.2
%
%
%
%
6.44
9.92
9.92
4.97
12.56 %
14.19
11.84
11.84
4.86
9.21 %
%
%4.78 %
%4.89 %
4.86 %
2.82 %
1.7
1.71
6.25
10.37
10.36
10.36
10.38
3.02
8.26
%
4.53
4.53
5.12
5.12
5.86
7.54
7.54
7.06 %
%
15.53
15.53
15.53
16.82
16.17 %
14.0 %
40.42 %
40.42 %
11.36
16.2
13.92 %
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
9.12
%
%
%
%
%
%
%
%
%
40.42 %
40.42 %
%
%
12.05
12.75
12.39
9.31
9.77
9.77
7.37
7.37
%
%
%
%
5.95
%
%
%
%
2.44
%
%
%
%
%
10.12
10.12
11.97
9.82
7.58
7.58
8.28
8.28
8.47
45.21 %
44.71 %
39.16 %
25.41
%
%
31.38 %
44.71 %
39.16 %
%
31.38 %
%
25.41
31.38 %
25.41
31.38 %
31.38 %
%
16.2
13.92 %
13.92 %
%
%
%
%
%
%
%
%
3.45 %
4.39
6.18
6.18
6.18
5.54 %
4.21
4.0 %
5.12
4.35
4.53
%
5.53 %
6.35
7.54
5.86
5.86
5.86
%
%
20.94
23.12
15.53
15.53
16.82
10.14 %
%
31.38 %
39.16 %
44.55 % 4.39 %
31.38 %
31.38 %
%
%
12.75
12.75
12.39
9.31
9.31
9.31
9.77
7.37
2.82 %
13.48
13.46
13.46
13.45
%
%
3.98
3.98
%
%
%
%
16.32
14.32
13.92 %
13.92 %
%
%
%
12.75
12.39
9.37
16.55
6.55 %
6.55 %
6.55 %
%
6.55 %
18.87
6.55 %
%
%
%
%
%
%
6.55 %
9.31
9.31
9.31
9.31
8.86
6.55 %
18.87
6.55 %
%
%
%
%
%
%
6.55 %
8.86
19.0 %
18.93
6.55 %
8.86
9.31
9.31
9.36
%
%
%
%
%
%
%
%
%
%
%
%
%
9.6
7.84
7.84
%
%
18.03
16.32
%
%
%
%
%
%
%
%
%
%
%
12.92
12.92
4.4
4.39
4.35
4.35
4.35
4.35
%
13.66
44.71 %
9.74 %
%
25.36
%
18.03
37.23 %
9.74 %
9.74 %
%
0.99 %
0.99 %
0.99 %
0.99 %
%
1.0 %
0.99 %
1.0 %
%
18.03
%
13.66
13.63
1.0 %
1.0 %
1.0 %
%
18.03
%
22.39
%
16.76
%
22.39
%
20.55
22.39
%
16.76
%
16.76
4.39 %
%
%
30.35
31.15
%
15.59
44.55 %
31.15
31.15
31.15
%
%
%
%
%
31.96
%
31.96
%
31.96
0.99 %
%
31.15
0.99 %
%
0.09
%
0.09
%
0.09
10.14 %
8.75 %
%
10.14 %
8.75 %
8.75 %
15.16
%
%
5.94
%
0.0 %
5.94
0.09
0.0 %
0.0 %
1.0 %
0.0 %
0.09
0.0 %
5.94
%
29.63
%
29.63
39.16 %
%
26.0
%
0.44
%
0.44
%
%
25.13
%
26.0
%
0.44
%
0.44
%
29.63
0.52 %
0.52 %
5.36 %
%
0.44
5.36 %
%
3.81
%
3.81
%
0.17 %
11.36
20.23 %
41.18 %
24.62
24.62
24.62
24.62
6.08
11.37
11.37
11.37
11.37
%
%
%
6.72
13.48
13.46
13.48
9.7
%
20.22 %
20.23 %
20.22 %
%
%
%
24.59
24.6
24.6
20.23 %
20.21 %
%
%
%
5.15
5.15
8.68
%
%
%
%
%
%
5.54 %
5.95
5.95
%
5.53 %
6.35
4.3 %
5.86
5.86
5.86
7.01 %
%
%
%
%
5.07
%
0.05
%
0.04
%
0.04
%
0.04
%
0.04
%
0.04
3.81
%
9.92
%
3.81
%
35.21
%
35.21
%
35.21
%
0.05
%
0.03
%
0.05
%
0.03
%
0.03
%
0.03
%
0.02
%
0.02
%
0.02
0.17 %
1.96 %
20.16 %
6.09
12.92
%
%
11.37
11.37
11.37
%
%
%
%
%
%
%
%
%
4.4
4.4
%
%
%
4.35
4.35
3.19
7.84
5.2 %
5.2 %
5.2 %
%
2.98
%
2.98
%
2.98
%
2.98
6.09
8.3
7.89
%
%
6.48
6.45
6.45
7.15
7.91
7.91
9.6
8.68
6.72
6.73
13.49
13.49
6.21
5.54 %
%
4.72
4.35
%
%
%
%
0.04
%
0.04
%
0.04
%
0.04
%
0.04
%
%
0.04
%
0.04
%
0.07
%
0.04
2.96 %
0.07
%
2.96 %
2.96 %
4.18
2.97 %
%
2.95 %
0.04
2.95 %
0.04
2.94 %
%
1.96 %
%
7.29
%
7.29
%
7.29
%
7.29
%
7.29
7.29
%
19.81
%
19.81
%
19.81
%
19.81
%
19.81
%
19.81
% 13.32
8.43 %
12.8
6.92 %
%
2.95 %
2.96 %
0.07
2.95 %
2.95 %
%
11.25
%
11.31
%
11.31
%
11.31
4.45 %
%
2.98
%
2.98
4.45 %
%
14.91
%
14.91
%
14.91
%
33.25
%
33.26
%
33.25
0.04
2.95 %
2.95 %
2.94 %
2.95 %
%
11.27
%
11.31
%
11.31
%
32.86
5.15
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
5.48
5.95
6.35
7.99
5.86
7.01 %
7.01 %
4.3 %
4.3 %
4.2
4.35
%
%
%
5.07
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
3.19
3.19
7.9
4.14 %
6.04 %
%
6.04 %
% 13.73
13.73 %
12.08
% 13.44
13.86 % 13.31
13.31 % 13.31
13.73
9.81 %
13.73
15.22 %
4.14 %
12.19 %
15.78 %
15.78 %
4.14 %
% 11.71
12.19 %
12.19 %
%
9.81 %
9.81 %
9.8 %
6.47
%
%
%
22.27
4.41
21.08
15.72
15.72
15.73
13.82
13.82
13.82
13.82
15.72
7.06 4.55
4.55
5.62
5.62
5.61
5.61
%
%
23.17 %
12.08
% 13.44
% 13.31
% 13.31
6.46
6.71
%
%
4.55
4.55
7.9
7.9
23.17 %
6.45
6.72
6.72
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
%
5.07
3.19
0.08
4.14 %
23.17 %
15.78 %
7.32 %
12.19 %
23.17 %
7.91
%
%
%
15.72
15.73
15.73
13.82
13.84
13.81
7.16
7.15 5.83
4.55
5.62
5.62
5.61
%
%
%
%
%
6.35
6.35
6.35
6.35
1.95
1.78 %
1.78 %
1.78 %
1.78 %
% %
% 13.44 %
7.91
%
%
%
%
%
%
%
15.98
15.98
16.93
17.9
17.9
20.36
20.36
20.37
20.36
%
%
4.55
4.55
0.41 %
%
3.77
%
%
%
%
%
10.33
10.33
10.32
10.33
10.6
%
%
%
10.59
10.59
Postdisastropias Earth, Air, Fire, Water, Architecture 10.72 %
42.27 42.27
7.91
6.47
17.71 %
17.71 %
%
%
%
%
%
%
%
%
%
14.39 10.73 %
32.49
% 12.89
% 32.49
% 14.57
% 13.31
12.19 % 11.53 %
12.19 % 11.53 %
%
12.44 %
%
13.44 % 11.27
% 11.27
12.19 %
% 4.0
% 6.24 %
9.67 % 9.67 %
9.52 % 9.52
4.0 % 4.0 %
% 6.24
%
% 6.24 %
% 6.24 %
% 9.52 % 9.52
% 9.52
6.24 % 9.83
% 9.52 % 9.52
9.83
% 5.67
9.83
9.63 %
7.91
%
%
%
%
%
5.61
5.62
%
%
6.35
6.35
6.35
1.95
1.95
1.78 %
1.78 %
% 29.72 %
12.15 %
29.72
2.1 %
% 13.32
9.82 % 1.78 %
%
11.5 %
% 9.52 %
% 9.52 % 13.28
9.52 % 15.11
% 11.69
% 11.69
8.68
6.45
%
%
%
%
%
15.98
16.04
16.93
16.44
17.9
17.29
20.34
20.37
20.37
17.71 %
7.14
7.16
7.09
5.84
5.84
4.55
4.55
0.41 %
0.41 %
%
%
%
% 1.83
2.1 % 2.1 %
23.17 % 6.23 %
% 15.23
% 15.23 %
% 15.23 %
16.14 %
9.82 % 9.84 %
6.55 % 6.55 %
% 15.23 % 15.23
6.55 % % 10.61
9.82 % % 13.23
%
% 18.05 % 18.07
15.23
% 18.04
15.21
% 15.23
9.82 % 9.81 %
6.55 %
6.6 % 6.52 %
% 15.23 % 17.91
% 18.06
% 18.05
% 15.21
13.17 % 13.2
6.55 %
% 10.6 %
%
%
%
%
% 16.64
% 13.28 % 13.28
13.28
% 13.42
% 11.69
10.81 % 10.81 %
%
13.32 %
% 1.83
6.47 % 6.47 %
% 1.83 % 1.83
6.47 % 6.47
% 1.83 % 1.83
% 1.83
6.47 % 6.47
% 9.53
% 16.64
% 13.28
%
% 15.11
%
% 11.69 %
23.17 % 6.23 %
6.28 %
% 9.54
%
6.34
% 10.46 % 10.46
8.17 5.41 %
% 9.53
13.4 % 13.4 %
% 13.9
% 9.54 9.54
% 12.85
% 13.36
10.2 % 10.2
% 10.2
% 10.2 %
13.32 6.35
% 5.41 %
29.72 4.56
10.73 %
%
10.72 %
%
% %
%
% 7.86 %
12.1
%
10.67
9.17 %
10.67
%
10.67
%
7.86 %
12.1
10.3 %
11.76
% 2.07 %
%
% 9.37
% 9.37
% 9.37
% 15.55
% 13.36
% 14.58 %
9.82 % 1.95
9.6 %
11.76
9.53
%
% 9.53
%
% 13.28
%
6.23 %
6.28 % 6.28 %
20.69
15.4 %
16.0
% 13.73
12.34 % 12.34 %
9.82 % 1.95
% 17.13 %
10.67
%
7.86
9.17 %
9.17 %
9.17 %
10.74 %
% 13.42 % 13.42
13.42 % 13.42
13.4 % 13.4 %
9.53
% %
13.56 % 13.56
%
6.28 % 6.28 % %
6.28 % 6.28 % % 15.42
13.56 12.03
6.28 % % 7.16
% 14.02
% 10.74 %
11.69
13.31 % 2.81
13.4 % 13.4 %
13.31 %
13.31 %
10.73 % %
10.73 % % 2.81
%
15.4 %
13.73
13.3 %
9.37 % 9.37
% 9.37
% 13.36
% 15.55 %
% 1.95
9.6 %
20.71
%
17.13
%
9.6 %
%
% 3.97 %
2.81 %
2.81
%
2.81
%
2.81
12.52 % 12.53
% 12.52 % 12.52
% 12.52 %
% 6.66 %
2.81
2.21 %
3.0 %
2.21 %
3.0 % 3.0 %
3.76 %
12.52 % 12.52
% 12.52
3.0 %
5.52 %
9.8 % %
7.16
%
%
9.8 %
% 4.68
5.67 % 5.02
5.67 % 5.02
10.81 %
% 5.02
9.81 %
% 4.68 %
% 8.24 %
% 8.2 %
% 5.03 % 5.02
8.68 % 8.24
8.2 % 8.2
% 5.03 %
% 4.42 %
% 5.02
%
% 9.42 % 9.42
8.2
% 7.81
% % %
8.24 % 8.24 %
% 8.2
%
% 8.24
%
% 5.02 % 5.01
4.42 % 4.42
4.42 % 4.42
5.02
% 4.42
12.51
7.61 %
7.61 %
% 4.48 %
14.02 %
13.42 %
% 7.81 % 10.87
7.81 % 10.87
8.39 % 10.88
8.24 % 10.87
7.61 % 10.29 %
10.74 %
% 4.28
% 6.6 %
% 8.53 % 8.53
13.51 % 6.6
% 8.53
6.6 6.6
% 8.53
% 10.87
% 10.87
% 10.87
10.29 %
10.29 %
6.66 3.81 %
3.81 % 3.81 % 3.81 %
11.76 %
11.76 %
11.32 % 11.5 % 12.68 %
% 11.56
13.3 % 9.11 %
9.11 %
13.24 1.78 %
10.16
10.67
9.17 %
%
15.99 %
%
% 10.87 % 10.86
% 10.87
% 10.87
% 10.87
6.6
% 5.47
5.32 % 5.32 %
%
4.48 % 4.48 % 4.48 %
%
% 5.47
% 8.53
%
% 8.53 %
% 12.92 % 12.92
9.15 % 9.15
% 10.87
6.67 % 6.67
% 12.97
6.67 % 6.67
% 10.86
%
% 10.86
%
% 10.87 %
% 11.56
6.85 % 6.58 %
% 12.94 %
12.94 %
9.82 % 12.95 %
% 11.71 %
12.49 %
12.49 %
6.86 %
12.95 %
10.6
11.71 %
11.71 %
%
7.63 %
10.6
12.18 %
11.82 %
%
7.63 %
14.58 % 9.61
% 10.11
% 10.11 %
12.21 %
9.94 % 9.94 %
8.67 %
7.63 %
7.63 %
2.07
9.12 %
7.63 %
10.6
12.18 %
%
% 9.93
% 9.93
% 9.55 %
% 11.56 %
% 9.61
%
9.11 %
% 9.93
% 9.93
% 9.93
10.11 10.1 %
2.07
9.12 %
8.36 %
8.38 %
8.36 %
1.94 %
12.49 %
11.82 %
11.76 %
2.08
9.12 %
8.36 %
1.94 %
12.49 %
12.43 %
11.82 %
11.76 %
9.55 % 10.04
9.55 % 9.55 %
% 9.79
%
% 9.79 %
7.63 %
7.68 %
7.68 % 7.68 %
13.04 %
12.43 %
% 9.79 %
9.39
9.17 % 9.17 %
% 10.35 % 10.35
8.36 % 8.36 %
12.18 %
13.04 % %
9.94 %
4.83 %
11.58 %
6.58 %
5.2 %
8.91 % 8.91 %
6.9 %
7.6 % 7.6 %
5.2 %
7.59 % 7.59 % 7.59 %
8.91 % 8.91 % 8.91 %
10.23 % 10.23 % 10.23 %
5.2 %
7.6 %
%
4.83 %
% 7.37
4.83 % % 2.58
% 12.16
8.91 % 8.91 %
5.2 % 5.2 %
5.2 % 6.27 % %
%
3.34 %
%
12.95 % 1.78 %
9.6 % 9.6 %
5.41 %
9.74 %
10.46
%
% 11.07
%
11.07
11.03
5.41 %
9.74 %
% 11.06 % 11.06
% 11.06 %
11.05
% 11.07 %
11.04
17.13 % 6.44
% 6.44
17.12 % 6.44
% 6.44
% 6.44 %
% 6.44 % 6.44
9.74 %
2.67 %
6.44
9.74 % 2.67 %
2.67 %
10.28 %
9.74 % 2.66 %
7.54 %
10.28 %
9.74 %
%
7.54 %
10.28 %
8.17 11.32
9.25 %
7.54 %
2.67 %
9.25 %
%
9.25 %
9.25 % 9.25 %
8.4 % 8.4 %
% 3.9
% 3.08 %
% 3.8 %
% 10.72 % 10.72
8.42 % 10.72
11.52 % 11.52
11.52 % 10.72 %
% 3.08 %
% 3.08 %
% 4.07 % 4.07
12.97 % 2.29
% 10.72
3.08 % 3.54
% 10.72 %
% 10.72
13.06
10.72 % 10.72
12.72 % 7.3 %
3.54
10.85 %
1.81 %
7.3 %
2.93 % 2.93
10.85 %
10.85 %
% 13.01 %
% 2.93
9.02 %
9.02 %
%
13.01 %
% 2.93
9.02 %
9.02 %
% 9.96 % 9.96 %
%
7.39 % 7.39 %
9.02 %
% 9.81 %
7.39 %
9.02 %
9.02 %
5.52 %
% 5.31
9.81 %
5.52 %
% 3.7
9.81 % 9.81 %
2.21 %
% 3.7
% 3.7
3.8
12.1 %
12.1 %
9.96 % %
%
12.1 %
12.1 %
% 3.7 % 3.7
% 3.7
% 2.17
% 3.7 % 3.7 %
% 3.7 4.22 %
% 2.17 % 2.17
4.22 % 4.22 %
12.1 %
12.1 %
12.1 %
% 5.07 %
7.02
% 5.07 % 5.07
5.07 4.33 % 4.33 %
5.98 %
% 9.09
9.81 % %
9.81 % % 21.53 %
3.8
11.93
11.93
2.17
8.93 %
8.93 %
8.93 % 8.93 %
8.62 %
8.5 %
8.93 %
8.93 %
8.93 %
1.29 % 1.29 % 1.29 % 1.29 %
13.01 % 8.36 %
15.9 %
% 15.98
8.53 % 13.41
9.27 %
9.38 %
8.93 %
8.62 %
8.62 % 18.71 %
8.53 %
%
% 13.66 % 13.66
9.38 %
15.57 %
15.57 %
12.92
% 13.41
% 13.66 %
13.66 %
9.38 %
15.57 %
15.57 %
% %
17.17 % 4.92 %
% 13.08
% 13.08
% 13.41 13.41
13.41 13.41
12.39 %
15.57 %
15.57 %
18.64 %
% 16.28 %
10.72 %
3.81 %
% 16.28
13.08 % 13.08
13.08
% 19.19
% 13.41
%
%
%
%
%
10.43 12.83 12.83
% 13.41 % 13.41
12.39 %
12.39 %
15.57 %
18.64 %
9.02 %
9.12 %
9.21 %
% 13.08 % 7.07
14.08
%
7.3 %
% 14.65
18.64 % 17.8 %
4.68
% 4.37
% 17.38 %
% 17.38 % 7.07
% 7.07
% 7.07
% %
% 4.37 % 5.75
% 14.65
% 14.65
17.8 % 17.8 %
9.21 %
10.28 %
10.36 %
14.65 %
% 7.07
9.02 %
%
% 4.37 % 5.39
16.68 % % 6.4
% 19.6
% 14.65
% 7.07 %
%
% %
% 7.07 % 7.07
% 14.78
9.02 %
%
% 14.65 %
% 6.23
%
% %
2.29
14.19 14.19
% 6.4
14.19
14.65
% 13.15
6.4 % 6.4
% 19.6
% 14.65
19.28 %
9.26 %
% 5.39 %
7.19 4.21 % 8.62 %
16.28 4.96 %
21.53
%
5.47 6.59
5.39 % 9.25
% %
% 6.59 % 6.59
9.25 % 9.25
8.62 %
6.96 % 6.96 %
4.96 %
6.96 % 6.96 %
% 8.05 % 7.76
% 7.76
8.62 %
6.96 %
%
% %
4.96 %
6.96 %
% 6.0
% 2.67 %
%
% 4.28
19.28 %
%
%
10.6 %
19.28 %
15.83
21.53 2.6 % 2.6 %
12.83
2.6 % 2.6 %
11.93
10.6 %
9.26 %
9.26 %
%
9.26 %
15.83 15.83
4.25 2.6 %
% % %
% 4.28 2.6 %
15.57 %
% %
% 7.07 5.02 %
%
10.6 %
9.26 %
19.28 %
15.83 15.82
10.36 %
%
12.52
% 3.42
10.6 % %
% % %
7.07 5.02 %
15.83 15.82 15.82
%
%
17.92 % %
10.36 %
% 7.41
% 3.42
% 3.42
% 17.99
9.26 % %
2.6 % 2.51 % 2.51 %
2.6 % 2.51 % 2.51 %
11.23 % 11.23
2.51 %
4.29 %
2.51 %
3.84 % 6.43 %
6.96 %
% 10.58
% 10.58
5.02 %
9.38 % %
% 7.02 %
20.86 %
% 5.31
% 10.58
15.83
5.35 %
7.02 % 7.02
15.82
5.35 %
5.35 %
5.35 %
11.23 3.54 %
17.38
%
% 4.47
7.02 % 7.02
4.68 % 4.68 %
4.47 2.69 %
4.47
7.02 % 7.02
%
% 5.31 %
%
2.69 %
%
% 7.02 %
5.35 %
% 9.85
7.02
%
% 7.02
% 6.5 1.28
3.54 % 3.54 % 3.54 %
7.02 1.28
6.5 % 6.5
%
% 2.35
10.37 % 2.35
%
% 2.35
14.65
%
%
17.78 % %
%
8.94 %
% 12.79 %
8.94
% 9.84
12.79
% 9.84 %
8.94
%
8.75 % %
6.96 % 1.73 %
%
4.68 % 1.73 % %
4.68 % 1.73 %
%
8.75 % %
% 9.84 %
9.84 %
9.84
7.22 %
12.79
11.65 %
9.26 % 1.89
%
9.84 %
5.41
5.41
5.41 % 5.41
9.84
7.22 %
% 11.65 %
11.65 %
9.84 11.65 %
7.41
11.65 %
1.89
%
1.89
%
1.89 % 1.89
%
9.84 %
%
% 9.29
7.22 % 3.96 %
5.6 % 9.25 %
5.16
% 9.15
% 9.29 %
9.47 %
9.25 %
9.48 %
3.54 %
3.96 % %
2.9 % % 3.54
6.65 % 6.65 %
% 2.35
%
% 9.25 %
9.25 %
9.23 %
3.54 %
3.54 %
3.96 % %
9.48 % 9.23
% 3.54
%
3.54 %
9.25 %
9.25 %
3.54 %
3.54 %
2.35
1.69
1.69 1.69
9.29 8.6 % 8.6 %
6.65 % 5.98 % 8.6 %
9.23 % 9.23
% 7.12 %
%
9.9 %
% 2.35 7.12 %
% 9.35
%
4.24
%
3.28
%
3.54
% 3.55
3.54
% 6.19
% 5.09 %
% 4.37 %
5.09 % 5.09
3.55 % 3.55
9.02 % 2.86
9.25 % 2.86
6.19
4.59 %
6.19
% %
21.88 2.6 %
14.08 2.6 % 2.6 %
% 3.81 % 3.81
2.6 % 2.6 % 2.6 %
%
4.59 %
4.59 %
4.59 %
4.59 %
11.49 % 4.9 % 4.9
% 4.9
2.6 % 2.6 %
5.35 %
%
4.59 %
13.12 %
4.69 %
9.96 %
5.31 % 5.59
%
5.31 5.59
% 8.49
4.59 % 13.13 %
4.59 %
%
13.11 %
2.86
12.86 %
2.6 % % 4.8
% 9.44
% 9.44
% 5.59 %
% 14.45 %
14.45 % 14.46
% 9.7 % 9.7 %
7.54 %
9.96 %
10.28 %
9.7 %
10.28 %
4.37
13.12 %
12.86 %
9.96 %
10.28 %
9.7 %
%
13.29 %
13.12 %
13.12 %
2.86
13.8 %
13.29 %
13.12 %
12.92 %
3.22 %
13.43 %
13.29 %
12.79 %
3.22 %
13.43 %
13.12 %
7.54 %
9.26 % 9.7 %
5.59 % 5.59
% 5.59
% 8.49
% 8.49
% 8.49 %
%
%
14.46 %
5.59 % 5.59
% 8.49
%
%
9.44
12.27 12.27
% 5.59 % 5.59
8.49
12.27
9.85 %
9.14 %
9.7 %
9.7 %
3.05 %
8.49 8.49
%
%
9.7 % 3.05 %
3.22 %
13.43 %
13.29 %
5.11 %
9.85 % 9.85 % 3.8 %
3.22 %
8.68 %
7.64 %
5.11 %
7.64 %
% 21.79
3.8 % 3.8 %
21.79
11.68 %
11.68 %
5.11 %
5.11 %
7.64 %
3.05 %
3.4 %
3.4 % 3.4 %
3.4 % 3.4 %
21.79
11.68 %
11.68 %
14.46
13.04 %
%
11.68 %
9.7 %
13.04 %
13.04 % 13.04 %
7.64 % 7.64 %
%
9.7 %
%
% 9.04
3.4 % 3.78 %
7.12 %
3.8 %
7.64 % 7.06 %
9.9 %
3.8 %
%
11.68 %
11.68 %
9.85 %
3.8 %
% 6.14 %
9.85 %
5.11 %
7.64 % 7.06 %
%
13.04 % %
9.32 % 9.32
3.39 % 3.78 %
11.68 %
11.68 %
5.11 % 5.11 %
9.04 % 9.04
% 9.04
% 9.32 %
6.14 %
3.03 % 15.17 %
3.78 %
11.16 %
3.39 % 13.28 %
13.28 %
3.03 % 13.28 %
13.28 %
6.14 % 8.14
% 8.25
% 7.93
% 7.93
% %
8.2 %
8.2 % 8.2
% 8.14
% 16.43 %
% 16.43 %
% 8.28 %
8.2
% 8.22
% 8.22
%
%
% 8.2 %
8.28 % 8.31
% 8.22
3.03 %
13.28 % 13.28 %
16.43 23.97
% 8.2
%
8.2
% 16.87
% 18.56
16.43 % %
% %
% 17.91 %
%
% 21.66
16.87
% 17.91
% 16.87
% 18.56
%
23.97 23.97
21.66
%
%
17.91 % 17.92
% 17.92
% 17.92 %
% 21.66
11.17 % 14.79 %
7.39 %
16.69 %
% %
%
21.66 %
%
17.92 % 18.98
% 17.92
% 17.34
%
17.92 %
21.57
% 23.43
% 13.91
% 13.91
13.11
13.11
13.09
13.09 %
%
%
13.91 %
13.91 %
23.43 % 23.65
% 24.57
13.08
13.08
%
% 23.43
%
% %
13.91 %
13.91 %
13.91
% 24.56
% 23.65
%
23.59 %
13.91 %
13.91 %
24.58 % 24.58
% 24.59 %
%
%
23.59 %
23.59 %
13.91 %
13.94
% 24.57
%
%
24.58
%
23.59 %
23.59 %
24.57
20.09
13.92 % 20.2
% %
22.43 %
22.44 %
20.23 %
% 20.2
20.32
3.34 %
%
% %
2.32 %
1.23
3.11
2.32 %
1.23 %
6.6 %
2.32 %
2.32 %
3.25 % 3.25
6.6 %
2.32 %
2.32 %
% 2.67
8.91 %
3.64 %
6.6 %
2.32 %
2.32 %
%
2.67
%
2.67 %
1.23
% 7.2
% 6.43
%
% 6.43
%
% 7.2 %
% 6.43 % 4.36 % 4.36
% 9.81 %
12.18 % %
9.8 %
11.57 %
%
9.61 % 18.09
7.2 11.16 %
% 10.13
9.61 10.86 %
%
10.87 %
11.16
3.64 %
7.83 %
7.2
10.9 %
10.89 %
5.63
% 4.31
10.21
% 4.31
10.22
% 4.31
% 18.09 %
% 4.31 %
% 18.1 %
7.2 10.13 10.13
6.43 %
10.35
9.48 % 9.47 %
% 6.43 18.91
9.79
9.49 % 9.49 %
2.99 % 3.64 %
5.87 %
11.16
% %
%
%
10.89 %
% 18.1
10.13 10.13 10.13
% 4.31 5.07 %
%
% 14.16
18.16
% 18.1
18.1 % 18.1
5.87 % 7.78 %
12.95 %
%
11.16
% 18.1
5.87 % 5.87 %
12.95 %
%
10.88 %
% 18.1
5.87 % 7.78 % 1.11 %
12.95 %
% 8.31 %
8.38 %
%
% 4.31 %
% 4.22 % 4.22
8.31 % 8.31
6.43 % 6.43 %
% 4.31 % 4.22
6.43 % 6.43
4.87 % 4.87
4.31 % 4.87
6.43 % 6.43
%
% 7.13 %
% 4.22 % 4.22
6.43 % 6.43
7.2 %
22.43 %
22.43 % 22.43
% % %
%
%
% %
%
% 7.13
9.48 %
7.53 %
% 4.87 %
6.43 %
6.42 %
5.2 % 3.49 % %
14.16 %
% 8.02 % 15.51
% 10.66 %
% 11.35
%
% 13.98 %
%
%
% 11.36 %
% 12.09
%
% 16.62
%
% 8.24
%
4.57 15.51 %
15.41 %
7.13
15.08 % 15.08 %
9.49 %
5.87 % 5.87 %
% 4.07 % 4.07
14.36 % 14.36
16.62 % 16.62
13.96 % 13.96
8.46 % 8.45
%
% 14.36 %
11.22
13.96
15.41 % 15.41 % 15.41 %
15.08 %
15.33 % 15.33 %
5.87 % 5.87 % 5.87 %
7.53 % 7.53 % 7.53 %
4.07 % 4.07
10.66 10.66
11.35
10.66
10.66 10.66
13.96
% 10.89
13.98 %
%
13.96
% 14.39
% %
13.98 % 13.98 %
% 14.36 %
% 10.89 %
% 4.07 %
% % 11.52
% % 11.52
14.36 % 17.6
15.41 % 15.41 %
15.83
6.61 %
14.39 8.51 %
7.53 %
5.88 %
6.61 %
10.34 % 9.38 %
7.53 %
5.88 %
5.88 %
15.39 %
14.39
15.39 %
8.37
14.21 %
5.19 %
5.88 %
5.87 %
% 6.77 %
%
6.77 % 6.77 % 6.77 %
%
8.51 % 8.51 % %
8.65 % 8.65 % 8.65 %
% 8.37 % 8.37
% 7.66
7.66 % 7.66
8.37 % 8.37
% 10.04
5.79 %
5.88 %
5.87 %
6.66 %
% %
%
10.04
% %
14.21 %
5.88 %
5.87 %
7.54 %
10.04 19.11
19.12
14.21 %
5.19 %
5.87 %
6.41 %
8.44 %
8.44 %
7.61 %
19.06 19.11
5.19 % 5.19 %
7.54 %
%
7.54 %
8.44 %
8.44 %
7.61 %
10.66 % 5.0
6.41 %
6.41 %
2.58
%
% 11.68 %
6.41 %
7.61 %
7.61 %
7.61 %
5.54 % 5.54
%
% 5.0 %
6.41 %
8.44 %
8.44 %
7.47 %
%
% 5.54
4.65
11.52 % 6.09
6.41 %
9.32 %
8.44 %
8.44 %
% 3.97
% 3.97
% 6.18
6.41 %
9.32 %
8.44 %
7.47 %
7.47 %
5.56
% 6.18
6.41 %
9.32 %
9.32 %
%
6.84 %
%
1.29 %
% 8.34 %
13.96 %
% 5.84 % 5.84
5.56 %
14.36
% 5.84
5.86
% 6.09
3.71 %
% 3.97
% 5.56
4.2 % 4.2 %
11.68
%
% 6.18
%
% 6.09
%
% 6.09
%
% 5.56 %
% 5.56 %
8.24 8.34
8.34 8.34
6.08 % 6.08
4.05 %
4.05 %
4.05 %
5.56 % 5.56
% 5.84 %
11.68
%
% 6.19 %
13.96
%
% 5.56 %
% 3.92 3.92
5.56
4.99
8.62 % 8.62
6.19 % 6.05
6.19 % 6.36
6.19 % 6.19
7.62 % 7.62
4.2 %
4.2 %
4.2 %
6.51 %
%
%
% 7.62 % 5.48
% 10.17
6.05 % 9.43
% 10.17
%
% 8.46
%
10.01
3.92
9.21 %
10.01
%
% 5.48 %
% 9.81 % 9.81
% 9.81
% 9.81
% 9.81
% 10.06 %
% 10.06 %
% 10.06 %
% 9.73 %
6.08
8.89 %
9.21 %
9.68 %
8.87 %
8.89 % 8.89 % 8.07 %
6.08
8.89 %
9.21 %
9.68 %
%
4.2 %
% 5.35
%
8.87 %
9.21 %
%
1.89 %
4.07
5.75
%
1.89 %
1.29 % 6.47 %
%
4.05 %
% 5.35
4.48 %
% 5.35
15.33 % 4.35 %
4.4 %
% 4.37
15.14 %
4.35 %
4.35 %
3.92 % 3.92
15.41 %
4.35 %
4.35 %
6.47 % 6.47 %
%
% 5.35 % 5.35
15.33 %
4.39 %
4.35 %
4.89 %
4.05 %
% 1.69
3.92 % 3.92
5.75
% 6.23
5.75
6.23
% 5.35 %
% 3.92 %
% 4.37 % 4.37
6.23 % 6.23
% 6.23
%
7.42 % 4.35 %
4.89 %
3.87 %
% %
7.42 %
4.89 %
4.89 %
5.48
% 6.08
% 5.35 6.81 %
7.42 %
4.89 %
3.87 %
3.87 %
5.56 % 6.62
% 7.28 %
7.28 %
%
7.61 %
1.69
7.61 %
7.28 %
1.69
7.61 %
5.35 7.28 %
7.28 %
6.23
8.05
% 7.53 %
% 6.08 % 6.62
7.53
% 8.05
8.35
% 6.62 %
% 6.08 %
% 6.62 % 6.62
8.05 7.76
% 6.62 %
6.44 %
7.28 %
6.99
%
% 7.77 %
7.53
6.9 % 6.9 %
% 7.76 % 7.76
7.28 %
% 7.77
6.62
5.0 %
4.35 %
4.89 %
3.87 %
3.86 % %
% 6.62
%
6.62
7.6 %
%
3.87 %
% 0.47
7.77 % 3.53
% 3.53 %
6.62
6.31 % %
% 0.49 % 0.47
0.47
% 0.47
3.14 % 5.32
3.14 % 3.14
% 0.47
%
% 3.53 %
6.31 % 6.31 % % 5.32
5.32 % 5.32
9.73
%
% 0.47
%
% 5.32 %
% 5.32 % 5.32
% 5.32
% 7.61 %
9.73
% 8.32
8.32 % 8.32
5.32 % 5.32
%
% 7.61 %
8.62
%
3.53
7.23
% 12.74
7.61 % 11.59
3.53
% 7.23 7.23
%
% 8.55
8.55 % 8.55
%
% %
11.59 % %
10.27
%
% 8.55 %
7.0
10.84 10.84
10.84 10.84 10.84
7.76
%
26.33 26.35 26.38
% 20.2
26.24
20.2
26.32 26.23
22.43 % 40.87
% 22.52
% 2.06
% % %
% % %
11.59 14.68 14.68
10.84 10.84 14.68
% 8.55
% 8.55
8.55 %
2.43 %
8.55 %
7.07 %
8.55 10.75 % 7.07 %
3.64 % % 2.79
3.92
%
10.45
%
10.06
%
3.92
5.33
8.55 4.77 % 2.43 %
2.43 %
% 2.79 % 2.79
% 7.19
%
% 5.33 % 5.33
7.19 % 7.19
%
% 5.49
3.55 % 3.55
3.55 % 3.55 % 3.55
5.9 % 5.9
% 5.9
% 3.55 %
% 5.16 %
% 5.49 % 4.04
10.64 %
0.47 4.57 %
% 5.9
11.67 %
3.55 % 13.41
5.16
11.67 %
11.67 %
6.29 %
10.94 %
10.94 %
0.47
4.55 % 4.56 %
% 13.41 % 13.4
4.56 % 4.56 % 4.56 %
11.67 % 11.63 %
11.63 % 10.78 %
10.94 %
10.78 %
10.56 %
%
5.21 %
11.63 %
10.78 % 10.78 %
% 5.41 % 5.41
10.78 %
11.6 % 6.21 %
% 5.41
%
1.54 % 1.54 %
2.21 %
5.21 % 5.21 %
7.52 %
10.84
% 5.84
%
5.72 % 5.72
7.52 % % 6.43 %
% 5.84 %
% 5.84 %
5.72 5.98 %
5.98 %
7.07 % %
7.52 % 7.52 % %
6.43 % 6.43
5.84 % 5.84
6.65 % 5.98 %
7.28 %
%
% 5.62 %
%
%
5.84 % 10.96
% 10.96
%
% 9.69 %
5.49 % %
6.43 % 8.11
9.69 % 9.69
5.49 % 5.49 %
5.98 %
3.81
% 7.84 %
% 8.25 %
% 10.96
%
9.72
% 7.84
9.69 % 9.69
3.81 % 3.81
% 9.12 %
% 8.11 %
% 2.95 %
% 7.07 % 7.07
% 11.69
7.84 % 7.84
8.25 % 8.25
8.25 % 8.25
3.81 3.81
% 3.81 %
% 7.84 %
10.02 % 7.28
% 11.69
9.12
11.69
11.6 % 6.21 % % 2.95
2.95 % 2.95
% 7.07
%
% 8.25
%
% 5.62 %
5.62 %
7.07
7.25
% 12.62
9.31 %
% 4.75
% 8.45 %
10.56 % 8.21 %
% 12.11
7.25
% 7.25
4.72
3.2 %
8.37 %
8.34 %
8.41 %
8.39 %
4.74 % 4.73
8.39 % 8.4 %
3.19
% 3.19
% 4.73
%
% %
8.11 %
4.73
9.74 %
9.71 %
6.43 % 16.24 %
16.24 % 16.24
3.2 %
9.75 %
% 7.25
13.04 %
16.24
9.7 %
8.45 %
13.04 %
9.71 %
9.74 %
8.45 %
15.4 %
13.04 %
16.24 % 16.24
% 16.24 % 16.23
9.7 %
9.7 % 9.66 %
9.71 % 9.7 % 9.7 %
9.7 % 9.7 %
9.7 %
19.39 %
13.04 %
15.4 %
% 17.21
9.04
17.21
15.4 %
20.06 % % 16.43
% 16.43
19.43 %
19.92 % 19.92 %
16.43 16.43
% 16.43
%
% 16.43
% 25.28
14.26 %
19.36 21.15 21.15
19.43 %
% 20.8
19.9 %
14.26 %
%
19.36 % % %
14.23 %
% 20.8
% 20.81
%
20.64 20.64 20.64
% 20.8 %
21.15 21.15
20.21 %
20.21 %
18.33 18.33
14.24 %
% 20.8
% 20.8 %
20.73 %
%
% 23.68
% 23.68
20.8 % 21.4
% 21.39 %
21.4
% 45.44
% 23.65
23.43 23.65
% 23.68
38.04 %
38.07 %
21.39 % 21.4
% 21.4
% 45.36
% 23.84
% 23.65
21.4 % 21.4
% 21.4
% 45.36
% 23.84
% 23.65
23.65 23.65
% 21.39 % 45.47
% 23.83
% 23.84 % 22.44
23.59 22.44
% 40.78 % 40.79
% 40.79
% 40.78
% 40.73
22.44
40.42 42.81
% 40.76
% 40.73
P og am Un ve s dad To cua o D Te a Leve Advanced Unde g adua e 4 h yea 2nd semes e Pos on V s ng P o esso
D sas e ype C ma o og ca D sas e sub ype W dfi e
1 D s unc ve Syn hes s @ 150 dw ha o Ea h A F e Wa e O gan sms 6 D s unc ve Syn hes s @ 150 dw ha mode pho o
25 Ea h 2 A 3 F e 4 Wa e 5 O gan sm Te o a za on 7 D s unc ve Syn hes s @ 150 dw ha mode pho o
He e we can see he d ffe en d s unc ve syn hes s a 50 dwe ngs pe hec a e n a Pos d sas oces e 100 dwe ngs pe a ea a Pos d sas obu gh and o fin sh 150 n a Pos d sas opo s The fina d aw ng sequence shows he movemen o he fi e he modynam ca y A se es o mov ng vec o s ha eme ges once he on e o es o he p o ec g ows up o a ce a n he gh and a e eady o d sas e A espons ve p o ec ha c ea es a se es o vec o s ha ep esen og n o de o comba and coo he fi e Once he fi e s ove he w dflowe s eme ge and c ea e a co o u andscape 3
1
4
5
6
7
The C oud versus The C oud A Manua Pos W dfire Per orma v y Towards Dynam c Equ br um The c oud ve sus he c oud s a c y w h no c ea bounda es s a p o ec o figh ng s a wa mach ne The c oud c y gge s he c ea on o a p oduc ve ecoc ma e om he bounda es o s ns des The c oud c y akes advan age o fi e us ng he e z ng p ope es o ash o p oduce a co o u andscape o w dflowe s The c oud c y o ep ays w h he a ways h ea en ng poss b y o w dfi es he c oud ab ca on s cons an bu akes on mpo an e evance once he o ep ay s ove and ac on akes ove The c oud ve sus he c oud m m cs he he modynam c p oduc on o he o es ab ca es a c ea anspa en and e esh ng mass o vapou n esponse o he ha sh cond ons o he Ca o n an d y o es uses s b u ed on e es o con use he da k ox c and
dange ous mass o c ouds c ea ed by fi e o p o ec se Such as he o ch d and he Wasp he c oud c y con uses s opponen ge s os on he vo ag ne o s o eve g ow ng powe o us be mpe cep b e
6 2
% %
%
%
%
%
%
%
%
%
%
%
34.89 %
34.85 %
35.92 %
35.91 %
%
% %
%
%
%
%
%
%
% % %
%
%
%
%
%
%
Postdisastropias: Earth, Air, Fire, Water, Architecture
7
Project: The Cloud versus The Cloud. A Manual Post-Wildfire Performativity Towards Dynamic Equilibrium Location: Magalia, California (USA)
Students: Juan Cruz Begino, Malena Bilik, Bautista Zeitler.
8 Visualization, post-carbon materialities, Disjunctive Synthesis (@ 150 dw/ha) 10-12 Disaster (10), precarbon (11), equil. vs far-from-equil. (12), Organ. Relations (13)
9 Earth, Air, Fire Water Organism Relations Matrix 14 Drawing disaster, wildfire morphology
8
9
10
11
12
13
The Disjunctive synthesis works as the literal interplay between organisms, once laid out on site, organisms take more or less responsibility and hierarchy. In this case, water works as the most receptive organism of them all. Given the importance of operating with water in all of its states, both fire and air organisms morph into the pools, generating a feedback loop of new connections, and morphing the largest concatenated organisms according to waterflow. The interplay between Fire, Air and water organisms maximizes the creation of fog. Fog and clouds moistens the walls and earth, creating a new ecoclimate. The different possibilities work according to maximizing both convection and advection fog. The organisms relate to each other depending whether they are in contact or not.
14
trenches always morph according to the perimeter of their closer organism. Air organisms have the responsibility to move onto the water pools. They can be either on the endpoints morphing to a complex morphed organism, to centered elements, with more resemblance to the original shape. Fire organisms have the same responsibility. When in contact with air, they can either remorph into a single element if the connection is great, but if it’s not they work as recognizable elements. While water when collided with itself generates a concatenation of pools. Fire organisms in contact create a larger radiation device.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Climatological Disaster subtype: Drought
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms 6 Disjunctive Synthesis (@ 150 dw/ha) model photo
2-5 Earth (2), Air (3), Fire (4), Water (5) Organism Territorialization 7 Disjunctive Synthesis (@ 150 dw/ha) model photo
2
3
1
4
5
6
7
Nomadopolis: A Manual for Post-Drought (Re)Territorialization Carbon ways of infrastructurally bringing in water have caused deeper and deeper droughts throughout the last century. Nomadopolis proposes a city for thirsty people, a city for a post drought society that understands the need for reusing water. A city for people that respects a non aggressive way of living with the ecosystem but at the same time dependent on technological fabrication processes. The drought is probably the most selfinflicted disaster of them all. We propose a nomadic way of thinking, as Deleuze and Guattari propose, we are thinking about a culture of people that has the same narrative of state critique. We can no longer as nomads stop becoming, and think such a complex situation has a square answer. Therefore, we are creating not only a project, but a culture, a project
that becomes a narrative, a project about the ever becoming, a nomad project that crystalizes itself as a nomadic form of urbanism. We propose a city that becomes whatever lake it searches for, thus we are doing a manual for post drought reterritorialization. The sequence of the disaster shows the distribution of water from tanks and wells constituted according to the relationships of the organisms. The distribution of drinking water in the temples works in loops from conduits under the wooden platforms. The water is distributed inside the dwellings and after being used, the black water is recycled by organisms in order to distribute gray water into the basins to feed the greenhouses. All the excess water goes to the wells organism that store and make a feedback loop of the reuse of water. In the visualization
8
Postdisastropias: Earth, Air, Fire, Water, Architecture
9
Project: Nomadopolis. A Manual for Post-Drought (Re) Territorialization Location: Azusa, California (USA).
Students: Juan Cruz Begino, Malena Bilik, Bautista Zeitler.
8 Visualization, post-carbon materialities, Disjunctive Synthesis (@ 150 dw/ha) 10-12 Disaster (10), precarbon (11), equil. vs far-from-equil. (12), Organ. Relations (13)
9 Earth, Air, Fire Water Organism Relations Matrix 14 Nomadic hydrology system
8
9
10
11
12
13
we can see a view from the inside of a greenhouse constituted by arches and algae, looking down on the nomadic city. The water organism will have doble function of being a canoe that would help fishing activities for fooding. Each organism in contact with the same organism will merge into either a larger slab, a larger sphere, a larger arch or a larger water reservoir. Then, water temples emerge, then the junkspace in between slabs that contain water organisms transform themselves into rainwater capture devices. Then, water temples are interconnected. After this, the water wells are created, then, the recycling facilities. The air organisms transform into the housing units, and the latter are connected to the recycling facilities and the water reservoirs. At last, fire organisms create algae covered greenhouses.
14
The organisms relate to each other depending whether they are in contact or not. When the earth slabs are in contact they merge, creating one large non uniform platform. When the slabs are in contact with the air spheres they create housing that functions either as a connector between slabs or as foundation for a half sphere. When in contact, fire organisms and slabs create post plastic algae greenhouses. If intersected, the water containers and the slabs create covered water fountains that function as temples. If not, then water containers cover the junkspace between slabs, functioning as rain water capture devices. The fire organism and the Air organism if in contact they create a sphere covered with vegetation, if not, they extend themselves to create an individual greenhouse for the housing spheres. If the spheres are in contact with water organisms they function as water recycling facilities. If not, they become wells.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Climatological Disaster subtype: Glacial Lake Outburst
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms 6 Disjunctive Synthesis (@ 150 dw/ha) model photo
2-5 Earth (2), Air (3), Fire (4), Water (5) Organism Territorialization 7 Disjunctive Synthesis (@ 150 dw/ha) model photo
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The City of Sublime Summits. A Manual for Post-Outburst Assemblage in the Andes The city of the sublime summits, is a city that takes advantage of the robust power of water, a city that creates trenches in order to allow water to go to every single point of the project. A sublime by monstrosity and scale series of braided towers that allow he who transits it a protected perspective. A polis that constructs landscape on a landscape, mountain ranges on mountain ranges. The city of the sublime summits needs disaster to densify itself, it needs the transfer of material to increase its own summits.In the case of Huaraz, we can also see the result of the disjunctive synthesis in the three densities: Postdisastrocester, Postdisastroburgh and Postdisastropolis. The sequence of the disaster operates in a trans-scalar way, at the moment when the flood due to the collapse of a glacier
approaches the site, the land organisms, which in equilibrium act as forest generators, begin to distribute the water in their own bifurcations and transfer all the material that the flood brings from the valley: mud, trees, stone. In parallel, air and fire organisms direct the human movement above the zero level. As we zoom in, we see how the chaos of a flood is absorbed by a chaos of organisms that mitigate the disaster. Finally, we can observe a visualization of the city in the far from equilibrium state. The relationship between the new water channels that organize the city and give rise to rock summits. The disjunctive synthesis works as a step by step interplay between each organism with the other. First, earth organisms trim water organisms. Second, earth organisms split the tower’s plinth, maintaining the top, generating twisted braided towers.
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Postdisastropias: Earth, Air, Fire, Water, Architecture
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Project: The City of Sublime Summits. A Manual for PostOutburst Assemblage in the Andes Location: Huaraz (Perú)
Students: Juan Cruz Begino, Malena Bilik, Bautista Zeitler.
8 Visualization, post-carbon materialities, Disjunctive Synthesis (@ 150 dw/ha) 10-12 Disaster (10), precarbon (11), equil. vs far-from-equil. (12), Organ. Relations (13)
9 Earth, Air, Fire Water Organism Relations Matrix 14 Drawing Disaster, outburst morphology
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Then, water organisms pierce the towers. Again, air organisms parasite the towers. The air and earth organisms create the high passes, some allow air to go through, some work as deviators.In this way, as the earth organism organizes a new topography generating a park where there will be water, the rest of the organisms are thermodynamically maximized to begin to generate a simulacrum of the mountainous logics of the Andes Mountains. The organisms relate to each other only when in contact. Earth trenches always split the radiation towers. Water organisms always create tunnels in the organisms plinth. The air organisms when in contact with the radiation tower parasites the latter creating a striated tower. Air and earth organisms create high passes of thermodynamic performativity. Water
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organisms split air organisms. The strata, code, territorialization and organisms are divided into each element. The earth strata works with the topography, it analyzes the height differences. The code, imposes to the contours the course of the river. The territorialization and organisms are understood as arms that deviate the main water course once far from equilibrium.The air strata express vectors in the predominant wind direction. The code, imposes a grid rotated to the direction of wind. The territorialization varies the sizes of the organisms according to the volume of moving air. The Fire code striates the sun exposure map with a rotated grid and the territorialization creates a series of varying twisting towers that go from smaller to larger depending on the values of radiation. The water strata evaluate the water flows.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Geological Disaster subtypes: Tsunami, Earthquake, Volcanic
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Students: Nicolás Codoni, María José Ferrari, Delfina Loro Meyer
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Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Geological Disaster subtype: Tsunami
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms 6 Disjunctive Synthesis (@ 150 dw/ha) model photo
2-5 Earth (2), Air (3), Fire (4), Water (5) Organism Territorialization 7 Disjunctive Synthesis (@ 150 dw/ha) model photo
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The Rhizomatic Lagoonopolis: Reterritorializing PostTsunami Natori for Tides and Seismic Energy The disaster sequence simulates the construction of the city, in general steps, starting from the footprints that left the displacement and destruction of the buildings, after the tsunami disaster. It shows the city of Natori after the disaster of a supposed tsunami, and how from the remains of the destroyed constructions, the material is reused to create organisms in a gradual way. The sequence is shown in 3 parts, simulating a density of 50 dw/ha, then 100 dw/ha and finally 150 dw/ ha, because of the use of material. This is decisive, since the post-disaster city uses the disaster to its advantage, being no longer a negative disaster. The post-disaster city craves the arrival of tsunamis in order to continue growing and being productive. It is a non ending productive loop. Starting with the
most hierarchical, the air or “disaster” organism is generated, with parallel direction as from the water, from the bottom up, then the creation of the earth organism, generating both new topographies. From this, water organisms are generated, both ocean water collectors as well as rainfall, allowing to provide water to the buildings that are generated later, the fire organisms. At the same time it will simulate the different water tides that occur in the site, low, high and tsunami tide, which had a maximum height in the case of the Tsunami disaster in 2010 of 8 m. Each of them create different conditions in the city, each of them productive in different ways, but never interrupting the city activities. For the disjunctive synthesis of Natori, on the site, we first observe the combination that will determine the rest of the
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Project: The Rhizomatic Lagoonopolis: Reterritorializing PostTsunami Natori for Tides and Seismic Energy Location: Natori (Japan)
Students: Nicolás Codoni, María José Ferrari, Delfina Loro Meyer
8 Visualization of far-from-equilibrium condition 10-12 Disaster (10), precarbon (11), elevation of far from equilibrium condition (12)
9 Earth, Air, Fire Water Organism Relations Matrix 13 Drawing disaster, tsunami morphology
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feedback loops: the combination between land and air. Taking into account the direction of the tsunami waves, the land organisms stretch in that direction, generating intersections between several of them, and different high points that will have a great importance in the fire organisms. Then, the water organisms that are below the land organisms, move and relate to the nearest water capture, multiplying, generating an even larger organism.The fire organisms in relation to the earth mounds, are related through the connection between the high points of these earth mounds, which have different heights, solidify taking into account the solar radiation, and generate asymmetrical bridges that interconnect all the high points of the site. Fourth, the combination of fire and fire will produce vertical density. Every time two fire organisms are detected together at the high points of the earth mounds, they will increase their
height, generating different amounts of floors inside, where living spaces are housed. The more intersection, the greater the height and therefore, the greater the habitable density. Then, there is a second operation for the combination between earth and fire, where the fire organisms that remain below the high points are subtracted. As for the air organisms, an emergent of the earth organisms are water capture towers, which are located at the low points of the earth mounds. Their difference with the other water organisms is that these capture rainwater, while the others capture sea water. These have the capacity of feeding water to the housing systems. When they collide with the fire organisms, the operations consist of lifting the towers, taking the housing organisms as a priority, and, on the other hand, they are subtracted when they interact with the fire circulating organisms.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Geological Disaster subtype: Earthquake
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms 6 Disjunctive Synthesis (@ 150 dw/ha) model photo
2-5 Earth (2), Air (3), Fire (4), Water (5) Organism Territorialization 7 Disjunctive Synthesis (@ 150 dw/ha) model photo
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Kombaopolis: Translation of Kinetic Waves, Dancing with Disaster In the disaster sequences the phenomenon of the earthquake is observed affecting the city. In Kompaopolis earthquake means ritual, an event that happens without warning, and shakes the city, from top to bottom in the low buildings, from one side to the other in the high buildings. Here we can see a render of the city, with its colourful palette and the planes around the water flows. Here we can see images of the final project, and the physical model, that shows a zoom of the “panel language” city, that not only can generate gradients of wind, sun and humidification conditions, but also generates ambiguous spaces that are not fully open or not fully closed, and also variable sized panels that can be smalls shaders or land subdivisions, or huge covers and giant walls.
In the case of Haiti, the matrix displays the encounters between agencies, in order to understand possible project potentialities generated by the overlapping. Here we observe the encounters between land and water organisms, and air and water organisms. Then between land and air, and between air and air. Then between fire and fire, and finally earth and fire. For the synthesis in the whole city, we proceed first to superimpose all the devices. Then the encounters between land and water bodies are updated by scaling the sides of the corresponding crosses. The encounters between land and air take into account whether they intersect or not. Where they do not intersect, connections are generated that act as structural supports for the windstoppers. Then, both the windstoppers and the parasols become thick and habitable, so as to generate, by means of their intersection, habitable plans elevated above the
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Project: Kombaopolis: Translation of Kinetic Waves, Dancing with Disaster Location: Puerto Príncipe (Haití)
Students: Nicolás Codoni, María José Ferrari, Delfina Loro Meyer
8 Visualization, post-carbon materialities, Disjunctive Synthesis (@ 150 dw/ha) 13-15 model (13), pre-carbon materiality (14), earthquake aftermath (15)
9-12 Modeling p-waves and s-waves, geologic kinetic energy at architectural scale 16-17 Modeling p-waves and s-waves, geologic kinetic energy at urban scale
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ground. Finally, the ground organisms are updated to support the parasols that do not intersect the windstoppers. In the case of Haiti, the project distributes this series of organisms in order to optimize the functions of each one, the ability to bounce, to deflect the wind, to block the sun, and to humidify the environment. Foundations are distributed to optimize earthquake response through varying heights and sizes. Earth: the strata of the earth presents a topography crossed by a series of hills, with the main elevation standing out in the center of the topography. The coding consists of a grid that becomes denser as a function of slope. This grid distributes devices of varying size, in response to the different transmission of seismic waves as a function of slope. As a general rule, taller buildings respond better to the low seismic frequencies distributed where there is less slope, and lower buildings resist better to the high
frequencies, generated in places with greater slope. The density of this grid is variable, and in this spread three different densities are displayed that follow the same distribution pattern.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Geological Disaster subtype: Volcanic
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms 6 Disjunctive Synthesis (@ 150 dw/ha) model photo
2-5 Earth (2), Air (3), Fire (4), Water (5) Organism Territorialization 7 Disjunctive Synthesis (@ 150 dw/ha) model photo
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Pools, Pyramid, Towers, Pits: Reterritorializing PostVolcanic Pompeii towards Thermal Energy Capture The disjunctive synthesis that we saw in the previous steps can also be analyzed within a site area in the different densities analyzed above. In these cases we see less overlapping or encounters between organisms, leaving more free spaces. Tthe final project, being the highest density, is understood as a more or less dense post disastropolis depending on the sector. It has the particularity of generating different types of pools for different uses, favoring people at the time of the disaster, with closed but at the same time open spaces with a great contrast between inside and outside. The site acts towards a phenomenon such as ashfall or pyroclastic flow. It can be seen in the sequence of cuts, as once the ash arrives, it is deposited on the external surfaces of the city, allowing citizens
to take refuge inside the pyramids. Then, with the arrival of the pyroclastic, the amphitheaters that allow the collection of this material, and being a hot fluid cannot be slowed down, people can climb the various overhangs waiting for the flow to enter and be deposited in the pyramids. Finally in the visualization you can see the main idea of the city and its materialities. How this project could be built using volcanic ash as a material. Also, the difference between inside and outside, being inside a more humid, light blue space, and outside a drier and gray place. The organisms within the site work together once they are combined. These combinations are formed in parts. In the first step the fire pyramids are adapted to the earth channels forming new pyramids, also all of the same height. Then, these pyramids are related to the existing buildings in Pompeii today,
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Project: Pools, Pyramid, Towers, Pits: Reterritorializing PostVolcanic Pompeii towards Thermal Energy Capture Location: Pompeii (Italy)
Students: Nicolás Codoni, María José Ferrari, Delfina Loro Meyer
8 Visualization, post-carbon materialities, Disjunctive Synthesis (@ 150 dw/ha) 10-12 Disaster (10), precarbon (11), section showing ashfall accumulation (12)
9 Disaster drawing sequence, ashfall morphology 13 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms
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where they adapt to the heights of the buildings, leaving room for them. The interior of these pyramids which were in contact with the amphitheaters of earth are transformed into a stepped interior adapted to the shape of the base of the pyramid. Then arise the rainwater basins, which are located at the top of the pyramids, which are cut according to the size of the basin, to benefit the capture of water. The pyramids that are joined by the basins are the cases where the biggest flows of water were on the street, and in this way it is captured. On the other hand are the thermal pools, which are also found in certain sectors of the site, these are distributed at two different heights of the pyramid and inside forming a cascade, leaving the zero level free. Then the air organisms form part of the water, opening a face between the cantilevered basins, leaving room for the cascade. The air towers then adapt to the site, leaving free space for the
streets, and begin to form part of the pyramids to ventilate these interior spaces. And finally the air towers adapt their height to that of their adjacent pyramid to form part of the new height of the city and to be able to capture more air.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Hydrological Disaster subtypes: Landslide, Floof
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Students: María Devecyan, Jimena Giuliani, Belen Lee
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Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms
Disaster type: Hydrological Disaster subtype: Landslide
2-5 Earth (2), Air (3), Fire (4), Water (5) Organism Territorialization 6 Disjunctive Synthesis (@ 150 dw/ha) model photo
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Becoming-Disaster, Resisting-Disaster: Transformations of Speeds and Paces in a Post-Landslide Milieu The landslide of Mocoa was caused by an overflow in the rivers surrounding the city. The landslide started from the east of the city and continued to the west. In this process, some buildings were washed away and others were silted. When the landslide finishes its course and starts to recede, it leaves sediments, logs and rocks. These materials are taken advantage of to form the berms, and the rest of the debris is used for the rest of the organisms.
will find the most comfortable solutions, and becoming will enhance the site’s climate attributes. The earth organisms in Mocoa are the berms, which will vary in composition, size, and direction according to the slope of the site, which is the first code. The second code is the elevation contours of the site, every 4 meters. The becoming disaster area is the one with the more intense slopes, where in a far from equilibrium condition the landslide will be faster. The resisting end of the spectrum will aim to slow down the motion of the mud. The berms will be parallel to the slope when they are becoming disaster, to allow faster motion and prevent material buildup, and they will be perpendicular when resisting so as to act as sorting machines to collect materials to build the rest of the organisms. The air organisms are distributed with a double wind mapping, for both predominant wind directions. The
The project works in what we call a becoming-resisting disaster gradient: relative variations in the strata will determine the thermodynamic performances of the organisms, in terms of “resisting” and “becoming”, where resisting performances
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Project: Becoming-Disaster, Resisting-Disaster: Transformations of Speeds and Paces in a Post-Landslide Milieu Location: Mocoa (Colombia).
7 Organism Relations Chain
Students: María Devecyan, Jimena Giuliani, Belen Lee
8-10 model photo (8), landslide aftermath in Mocoa (9), model photo (10) 11-14 fire orgs. (11), air orgs. (12), earth / air relation (13), water / air relation (14)
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mapping is done with a random populate that will generate variability in the inter-organism relationships within the strata. The organisms create a venturi effect to maximize wind flow, and they bend to the direction of the wind vectors. The intensity of the wind will determine the intensity of the geometry that generates the venturi effect, the amount of stacked pieces, and the size. For the fire organism distribution, the radiation mapping was combined with a square solar grid, to generate blocks that will vary their proportions to allow for more or less solar gain through the east and west sides. This will differentiate the becoming and the resisting areas, which will generate hot and cold water pools respectively. The density of the distribution depends on proximity to tree clusters, which work to alleviate the strong radiation. As the height and diameter of the organisms are inversely proportional, the hot water pools will be
wide and short, to maximize solar gain, and the cold water pools will be tall and skinny to minimize solar gain and help ventilate. Finally, the fog harvesting devices are mapped using a grid that is oriented facing the predominant wind direction, double lined in one direction to improve the performance of the organisms, and densified by elevation to compensate for the differences in fog density in lower and higher areas. The density and size are inversely proportional.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Hydrological Disaster subtype: Landslide
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms 6 Disjunctive Synthesis (@ 150 dw/ha) model photo
2-5 Earth (2), Air (3), Fire (4), Water (5) Organism Territorialization 7-8 Model photo (7), Mississippi River flooding (8)
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The Muddy Mississippi’s Élan Vital: Post-Flood Machinic Assemblages This project makes use of the natural resources that the disaster brings: mud from the Mississippi river. The changes in the topography as well as the 100 year floodplain establish working and living areas. The working areas are where the mud is extracted to create mud bricks and the buildable areas are the dogtrot houses above the 100 year floodplain. Whenever the river floods the city, it brings mud to create buildable materials, and the organisms work together to make a more efficient use of it. The earth plus earth organism is transformed into steps of different heights. The ones that belong to buildable areas are low enough for people to walk through while the ones in non-buildable areas create taller walls that prevent circulation and are more suitable to accumulate mud. Air plus air
make The dogtrot extend their porches to connect to each other in sort of bridges. The air earth organism relation variates the height of the dogtrot houses, making the ones in non-buildable areas higher by triplicating the amount of meters needed to reach the ground. The breeze ways change angles as they go higher following the wind direction and depending on the intensity of the north south wind in greenville, they are splitted in perpendicular direction of the wind. The smaller fire organisms that overlap in plan with porches, are made taller into structure until they reach them. When a bigger fire organism intersects a porch, they are moved to the midpoint between that porch and the closest fire organism. The fire organisms that are within 10m of distance merge into one. Joined with closer ones, they are scaled as downwards as the steps of the topography allow, and adapted to it afterward. All the trees planted in the non-
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Project: The Muddy Mississippi’s Élan Vital: Post-Flood Machinic Assemblages Location: Greenville, Mississippi (USA)
9 Disjunctive Synthesis (@ 150 dw/ha) model photo
Students: María Devecyan, Jimena Giuliani, Belen Lee
10 Organism Relations Chains 11 Disjunctive Synthesis (@ 150 dw/ha) model photo
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buildable area are scaled to reach 12 meters above the 100 year floodplain and pierce the porches in their way in form of structure piles. The fire organisms that overlap with the bald cypress trees morph their structure to create peaks where the trees pass through.
between the dogtrots, and then the dogtrot distribution pattern is checkered to generate interstitial public spaces. Finally, the organisms are scaled according to wind intensity. The fire organisms are territorialized using the radiation mapping and a square grid in the north south direction. The fire organisms will have the bent side facing south, where the bricks will be placed in the racks to dry. The size of the organisms is inversely proportional to the radiation intensity, to minimize exposure when they become transitional shelter in the post disaster order. Then, to maximize the use of intense radiation areas as mud ovens, the smaller organisms are densified. Finally, the water organisms are distributed using the water flow mapping, which will generate higher densities where water accumulates, and lower densities in drier areas.
In Greenville, the earth strata is one continuous organism that covers the whole site, with variations that are informed by the concavity of the topography, and the 100 year flood level. The areas below the floodplain will collect the mud from the flood, which will be used to build up the areas above in order to protect them from flooding in the present and in the long term future. The dogtrot houses are organized on a wind grid oriented North to South as these are the predominant wind directions. This grid is then bent to create wind tunnels
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Meteorological Disaster subtypes: Tornado, Blizzard
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Students: Sofia Catalano, Iara Di Martino, Mora Petti Pagadizábal
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Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Meteorlogical Disaster subtype: Tornado
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms 6 Disjunctive Synthesis (@ 150 dw/ha) model photo
2-5 Earth (2), Air (3), Fire (4), Water (5) Organism Territorialization 7 Drawing disaster, tornado
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The Roots of the Volatile: Post-tornado Codifications on the Great Plains The project on tornado roots the volatile, shelters on the ground what swirls on the atmosphere. Rooted on a the destroyed, the site becomes a shield on far from equilibrium circumstances and a livable ground in equilibrium conditions. After generating the territorialization for each of the elements that determine organisms, the project assembles relationships between organisms. Earth and earth organisms intersect generating chained settlements, earth and air organisms, if they intersect, generate earth lodges covered in bushes while the trees open the space for the settlement. when fire stripes intersect the lodges, these last organism is split and scaled, generating an aperture for light on behalf of the difference in sizes produced. Water and earth organisms in their intersection water canals
adapt to the settlement in order for it to become a source of water on the inside whithout interrupting the flow. Air organisms, as in trees will not intersect between each other, istead trees work as a group for its purpose to disorient and slow down wind. In the enconunter of wind and fire organisms, the trees will make space for fire while this stripe generated by the rows of trees will become a bush above fire. When water intersects rows of trees these will open space without interrupting the flow. Fire organisms will also not intersect in the site. Last, water canals when intersecting with fire wil follow along the topography generated, again, without interrupting the flow. The project on tornado faces the aftermath of the hazard as the organisms will be placed in a destroyed site without buildings, while this materials will become the foundations for the new city. Earth organisms are placed on site varying its size depending
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Postdisastropias: Earth, Air, Fire, Water, Architecture
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Project: The Roots of the Volatile: Post-tornado Codifications on the Great Plains Location: Moore, Oklahoma (USA).
Students: Sofia Catalano, Iara Di Martino, Mora Petti Pagadizábal
8 Visualization, post-carbon materialities, Disjunctive Synthesis (@ 150 dw/ha) 10-11, 14-15 Disaster (10), precarbon (11), equil. vs far-from-equil. (12), Organ. Relations (13)
9 Earth, Air, Fire Water Organism Relations Matrix 12-13, 16-17 Drawing disaster, wind speed, pressure, temperature, humidity
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on the topography. These reconstructed earth lodges resemble mounds that could almost be part of the natural landscape. Bigger and shallow earth lodges are placed on the lower areas of the site while deeper and smaller shelters are placed on the highest areas, reducing the risk of impact. The air organism, consisting of the windbreaks made out of tree barriers, depends on a wind intensity mapping which determines the thickness of the barriers, this is to say the number of rows of trees which vary in size. The rows are facing north related to the predominant wind direction on Moore. The fire organisms are placed on Moore facing the predominant sun incidence direction, and the heights vary depending on a radiation intensity mapping, which is determined by the topography. The water organism, which will provide drainage in the whole site is distributed evenly as rain falls on the site this way, while
the capturing pools become deeper on the lower parts of the site as the flow of water accumulates on these areas. The project works on 4 organisms in each modality, this organisms are earth, water, fire and air. This organisms as we can see have different scales going from sizes S to XL so they can adapt to the different situations that the sites have. Each scale of the organism will be placed in an specific part of the site.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Meteorlogical Disaster subtype: Blizzard
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms 6 Disjunctive Synthesis (@ 150 dw/ha) model photo
2-5 Earth (2), Air (3), Fire (4), Water (5) Organism Territorialization 7-10 Earth (2), Air (3), Fire (4), Water (5) strata
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Haecceities of the Frozen and the Thawed: A Post-blizzard Assemblage for Boston The project on blizzard territorialization contrasts the frozen and the thawed, the trasformation of the organisms in relation to the weather of Boston, in freezing temperatures, a winter playground, fueled by snow, but on an equilibrium state, with warm weather, the snow melts and the site becomes a water playground, the interaction between organisms and the circumstances generated by the disaster define the character of the site.
water and fire and air and fire decodification. Last we can see the decodification of all organisms on site.
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The same procedure of decodification as a sequence was done for blizzard. First the earth organism was territorialized on the site, then the earth organism decodification with air, then, the earth and water relationship, the water and air, earth and fire,
For blizzard, after the organism are placed on site they start having encounters when overlaped, the first relationship its between earth and air, and the air organism gets down till it gets to the pools of earth. Then, between fire and earth, the column of the fire roof places in the center of the earth organism. When it gets to the relation between fire and air then the roof gets shorter till it gets to the air organism. Next relation it´s water- air and in this case the air organism gets sliced by the igloo. For the last relation that it is between water and fire, the roof goes down so the igloos are closed by a heating element so people wouldnt freeze inside.
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Postdisastropias: Earth, Air, Fire, Water, Architecture
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Project: Haecceities of the Frozen and the Thawed: A Postblizzard Assemblage for Boston Location: Boston, Massachusetts (USA)
Students: Sofia Catalano, Iara Di Martino, Mora Petti Pagadizábal
11 Disjunctive Synthesis (@ 150 dw/ha) model photodtiion 13-16 Boston blizzard (13), precarbon materiality (14) org. relations matrix (15) model (16)
12 Visualization, far-from-equilibrium condition (blizzard mode) 17 Visualization, equilibrium condition (summer)
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The project on this modality will intend to generate the concept of a city which feeds back from the conditions generated by temperature. The organisms will become and mutate in different conditions, starting from far from equilibrium freezing conditions, were instead of becoming resilent, the project will intend to nourish from this. Earth organisms make a stair topography, this means that there are plain surfaces along the site, and they variate their size depending on the elevation of the terrain, when the terrain has more slopes then the organism will be smaller and more repeted. When the terrain has more plain places then the organism its going to be bigger. Also, the organism its subdivided in 4 areas on site, this is because of the existing grid on the outskits of the city varies its orientation.
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For air the analysis of wind intensity generated a grid which is orientated embracing warm summer air and opposing towards the winter wind. Each rectangle of the grid takes the intensity of wind in that point and places one size of organism. For fire, it was also analyzed a mapping of radiation and placed a grid that it goes directly with the sun direction. So the same that happened with air happens with fire, these roofs are bigger when radiation is more. Lastly for water, starting from a water flow mapping it was determinate that water goes from the upper central part of the site to the lower perimeter so, the igloos that are made of snow during winter will be shorter in the central part and taller in the perimeter.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
Disaster type: Biological Disaster subtypes: Bacterial (Bubonic Plague), Viral (COVID-19)
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Students: Natalia Bianco, Josefina Escalada, Mateo Juncos
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Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms
Disaster type: Biological Disaster subtype: Bacterial (Bubonic Plague)
2-5 Earth (2), Air (3), Fire (4), Water (5) Organism Territorialization 6-8 Black Death in Venice (6), postcarbon materiality (7), model showing flea screen (8)
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Retroactive Postbubonicopolis: Double Articulation Against Vector-borne Transmission in Venice A biological Disaster is a diverse mode of coding in a semiotic chain. A hazard caused by the exposure to living organisms and their toxic substances or vector-borne diseases that they may carry. These disasters are caused by a virus or a bacteria. A bacteria is a complex, single-celled creature that can reproduce on its own. They are transmitted to humans through air, water, food, or living vectors. Once they get inside the human body, they lay on a healthy bacteria and start to multiply in multiplicities. On the other hand, a virus is thinner and has small infectious agents. They’re made up of a piece of genetic material. The viruses can’t survive without a host, they can only reproduce by attaching themselves to cells in our bodies. Biological disasters don’t have an average of how long they will
last because are always in a relation with the outside and their constant movements. Its duration is linked to strategies of city planning, hospital resources, hygiene, among others. Float and Fly are two ways of these microorganisms can spread. We have Float that spreads when close to infected people by releasing the virus to air when coughing and/or sneezing. Fly It can spread from indirect transmission from person to person by a virus host, such as a mosquito, a tick or rats. In Venice, our post-bubonic organisms takes into account the rapid outbreak of the disease by administrating within distance from the epicenters. They merge into each other to reduce the strength of the disease. The earth element lifts the building with brick arches, a recurrent resource in venice. These arches segment the city in two horizontal circulations. Fleas cannot move in water and die within 24hrs so the earth-water
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Project: Retroactive Postbubonicopolis: Double Articulation Against Vector-borne Transmission in Venice Location: Venice (Italy)
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Students: Natalia Bianco, Josefina Escalada, Mateo Juncos
9 elevation 12 physcial model
10-11, 13-15 Drawing disaster, Black Death spreading in Venice
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organism introduce in the underground sanitizing pools with little depth. The water is collected on top and redistributed to underground and then to the sanitizing pool. Then, we have earth and fire, because of the new heights of the buildings our radiation map changes so we cut out the building that is producing a new shadow. In Earth- Air, we chose sailcloth because is not rigid so it can contain different winds. If water and fire combine the pools interact as an actual flea trap that uses heat to attract fleas and water to make them stop moving. In Venice for our Earth elements assemblage we first apply the strata information and then its proximity to the loading docks. Our earth element is a brick arch that elevates the existing buildings in order not to let fleas reach the buildings. First, we elevate all the buildings 9 meters, which is the maximum a flea can reach. Then we overlap the disease diagram that takes
into account the proximity to the loading docks. The maximum height is when closer to the loading docks and as they go farther away, the heights decrease. For Air, we worked with sailcloth as a barrier that doesn’t let fleas pass through. We first identified the wind direction during summertime, when fleas mostly go out, and choose the facades that should be covered. Its height is also defined by its proximity to the loading docks. The Fire element is a pit that is 9 meters profound and its location was defined by different parameters. First, we analyzed the radiation in different hours to set the pits. The pits have a reflecting mirror defined by the direction of the sun which depends on the hour they will get sun rays on. As the other elements, its size in plan is defined by the disease diagram. Finally, we have the water organism which consists of rainforest collector and storage pools over the buildings.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
1 Disjunctive Synthesis (@ 150 dw/ha) of Earth, Air, Fire, Water Organisms
Disaster type: Biological Disaster subtype: Viral (COVID-19)
2 Drawing disaster, COVID spreading in Wuhan 3 Physical model
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Prospective Postcovidopolis: Double Articulation Against Air-borne Transmission in Wuhan A biological Disaster is a diverse mode of coding in a semiotic chain. A hazard caused by the exposure to living organisms and their toxic substances or vector-borne diseases that they may carry. These disasters are caused by a virus or a bacteria. A bacteria is a complex, single-celled creature that can reproduce on its own. They are transmitted to humans through air, water, food, or living vectors. Once they get inside the human body, they lay on a healthy bacteria and start to multiply in multiplicities. On the other hand, a virus is thinner and has small infectious agents. They’re made up of a piece of genetic material. The viruses can’t survive without a host, they can only reproduce by attaching themselves to cells in our bodies. Biological disasters don’t have an average of how long they will
last because are always in a relation with the outside and their constant movements. Its duration is linked to strategies of city planning, hospital resources, hygiene, among others. Float and Fly are two ways of these microorganisms can spread. We have Float that spreads when close to infected people by releasing the virus to air when coughing and/or sneezing. Fly It can spread from indirect transmission from person to person by a virus host, such as a mosquito, a tick or rats. The city of Wuhan produces movements of deterritorialization by segmenting the city vertically. The double articulation is related by elevating the quarantine zone as a way of overcoming the transmission. In this case is also apply to the process by which an object is produced out of other objects,
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Postdisastropias: Earth, Air, Fire, Water, Architecture
Project: Prospective Postcovidopolis: Double Articulation Against Air-borne Transmission in Wuhan Location: Wuhan (China) 4-7 Drawing disaster, COVID spreading in Wuhan 9-10 physical model (9), virus spreading in post-COVID Wuhan
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it’s the process of producing one architecture out of another architecture, here the original buildings are this required objects. The Covid disease starts with One that becomes two, then of the two that become four or more, like a binary logic or the reality of the root-tree. In the case of Wuhan, the first relation in the chain is earth plus air where the terracotta walls that are located in front of the south face of the buildings are going to be cut by projecting the frame of the windows in order to let the wind flow throw them. The next relation is between earth and fire where we use the side o the buildings and extending in that direction until it overlaps with the axis of the earth walls and let the water rain flow down these walls where air passes through and cools down. When earth and water organism intersect it become columns on that point to support a frame that follow the pools’ footprint, then evaluate the edges of the water pool
Students: Natalia Bianco, Josefina Escalada, Mateo Juncos
8 Physical model
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that are perpendicular to the predominant wind direction and create a vector in order to intersect to the fist earth contour and regenerate the wall. On the other hand fire plus fire organism creates horizontal and vertical circulation to the upper part of the buildings. Lastly when fire and water overlap the area of the uv lights tunes take predominant over the water element so it will be cutting off.
Postdisastropias Earth, Air, Fire, Water, Architecture
Program: Universidad Torcuato Di Tella, Level: Advanced Undergraduate (4th year, 2nd semester) Position: Visiting Professor
38 Abstract This course performs a critical analysis of urbanism’s relationship to “natural disaster” as the basis for cultivating novel processes of postcarbon city building. An initial survey of “natural disasters” is conducted from prehistory to present and develops into an atlas of events categorized as geological, meteorological, hydrological, climatological, or biological phenomena. Events are editorially conditioned through the lens of earth, air, fire, and water as elements which define pre-modern systems of knowledge and precede the scientific development of thermodynamics. Conduction, convection, and radiation are utilized as universal flows to describe the emergence of cities, the disasters which destroy them, and reconstruction. Notions of utopia are strategically collaged with the postdisaster site to elevate its conventionally conservative
status towards more progressive possibilities of social and environmental justice. Precarbon/postcarbon, lowtech/hightech, and permanent/temporary material system dichotomies are cross-pollinated to form multiscalar genotypical models embedded with potentialities of thermodynamic intelligence. Deployed at the postdisaster site, the models exchange energy, matter, and information with local conditions to initialize, multiply, diversify, densify, and self-organize. Postdisastrocesters (lowdensity camps) grow into Postdisastroburghs (medium density small cities) and ultimately into Postdisastropolises (high density vertical cities), establishing patterns of increasingly complex interplay between earth, air, fire, and water. Fluctuations, feedback loops, bifurcation points, and dissipative restructurings define Postdisastropias and unfold towards a horizon where architecture and its environment coexist in dynamic equilibrium.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
39 Objectives The objectives of this studio are to: perform a philological analysis of natural disaster as a critique of notions of “disaster relief” and “disaster recovery” which abdicate the agency of humans in “natural disaster” and promote retrograde status quo forms of fossil-fuel driven reconstruction whose processes induce or increase the frequency and severity of disaster; develop an atlas of disaster that comprehensively catalogs a history of events and corresponding data points for future disciplinary reference; invent systems of representations for visualizing natural disasters as thermodynamic phenomena driven by morphologies of conduction, convection, and radiation; rediscover examples of passive design intelligence in indigenous precarbon architecture; articulate methods for deploying emerging postcarbon building strategies at-scale;
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
40 exemplify the potential of robotic and/or CNC fabrication technologies at postdisaster sites (particularly in developing regions); display possibilities for material systems which are capable of evolving from low to medium to high density building typologies; generate prototypes of passive-design provisional shelter with the capacity to be rapidly deployed across a variety of climate types; achieve an assemblage of postdisaster design processes which leverage thermodynamic principles to create complex internal system behaviors that transform energy from the environment into flows of work capable of replacing fossilfuel driven building systems.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
41 Theoretical Foundations The course embraces the concept of amor fati, or a falling in love with one’s fate, as the origin for developing an intimate language with disaster. Disaster is conceived as an affliction which interrupts our otherwise continuous daily lives, causing sensations of suffering and loss which stimulate new modes of thinking. Disaster is the genesis for new lines of flight along which a productive multiplicity of transformations occur. The theoretical foundations of the course embraces notions of nomadism to construct an intellectual framework for postdisaster design which is an assemblage of post-structuralist critical theory, a historiography of crisis, elemental philosophy, concepts of utopia, and various subsets of systems theory including: thermodynamics of nonequilibirum systems (with an emphasis on dissipative structures, feedback loops, and
bifurcation); systems ecology, and evolutionary algorithms. An initial reading of Reinhart Kosseleck’s “Crisis” provides a primer on the coevolution of Modernity and crisis and the epistemological origins of their codependency. Within this context, the course posits that there is no such thing as “natural disaster,” only planning and policy disasters which disproportionately impact low income communities and disregard the ability of future generations to meet their needs in favor of short term capital interests. The history of earth, air, water, and fire are engaged as elements which ubiquitously figure into the ontological frameworks of the ancient world (including India, China, Japan, Rome, and Greece) and define their corresponding attitudes towards “natural disaster.” As the course moves from theoretical and spatial analyses of disaster through the lens of elemental philosophy towards the
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
42 construction of thermodynamically driven Postdisastropias, Deleuze and Guatarri’s A Thousand Plateaus (ATP) will be instrumentalized to support the hinge from analysis to design. The multiplicities of thought contained in ATP will be distributed amongst the studio as operative intellectual modes: Rhizomes, Bodies without Organs, Nomadology, Assemblages, and the Smooth and the Striated will be among the conceptual lens through which concepts of far-from-equilibrium thermodynamics are engaged. Ilya Prigogine’s and Isabelle Stengers Order out of Chaos will assist in translating ATP’s philosophical discourses into more graspable thermodynamic concepts which span disasters and architectural design such as entropy, heat engines, evolutionary feedback, bifurcation, and randomness. Canonical utopian imagery and their associated texts will be selected based on emergent properties of project developments
and superimposed as a raster layer which challenges projects to relativize computational vector logics and thermodynamical protocols against the city as a cultural image. The relationship between technology and nature is immanent to every stage of the course, the work will function as a critique of and alternative to Modernist modes of production which leverage technology as an instrument for controlling nature’s fluctuations as a means of establishing dominion, comfort, and security. The ongoing development of fossil-fuel extraction, processing, and combustion technologies are posited as myopic absurdities in the context of city building, with peak oil projected to arrive in 20-30 years and global temperatures soaring. The course draws upon the intelligence of ancient and indigenous energy paradigms and emerging postcarbon technologies as the basis for building systems development, while methods of
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
43 construction and assembly feature the conflation of locally abundant raw materials with robots and CNC machines to promote notions of highly customizable, rapidly deployable shelter units. The capacity of units’ material systems to multiply and collectively transform as required per densification processes will be central, and informed by the scientific concepts of singular moments, bifurcation, and dissipative structures found in nonequilibirum thermodynamics and corresponding theoretical concepts found in Deleuze’s poststructuralist critical theory.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
44 Contents 01. Disastrophilology: Ill-fated Stars, the Omnipresent Last Judgment. We will survey the history of disaster to map, chart, index, and organize events by type. This quantitative database will be conditioned by a historical analysis of earth, air, fire and water as elements which define the cosmological systems and corresponding experiences of disaster in the ancient world. Our atlas will trace the evolution of these elements through medieval, renaissance, and modern periods and note how the scientific revolution drove a categorical proliferation of earth, air, fire and water into contemporary understandings of chemistry (which features our periodic table of 118 elements) thermodynamical categories (namely conduction, convection,
and radiation), the transformation of energy, the harnessing of combustion, and the development of the steam engine as the basis for an industrial revolution and ultimately Modernity and its corresponding fossil fuel economy.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
45 02. Disastratlas: A History of Earth, Air, Water and Fire. The creation of an atlas of natural disaster categorized by geological, meteorological, hydrological, climatological, or biological phenomena. The Disastratlas will contain a selection of events ranging from prehistory to present, with an emphasis on selecting an assemblage of events which equally represents western and eastern cultures across northern and southern hemispheres. Events are annotated with quantitative datas (e.g. geographic location, date, number of deaths, costs of damages, etc.) and qualified by the provisional cultural meanings given to earth, air, fire, and water (e.g. floods in ancient India being define through the concepts of water found in the texts of the Vedas, plagues in medieval Europe being explained through worldviews of alchemy, etc).
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
46 03. Thermodisastrodynamics Simulacrum, Part 1: Case Study Construction. Archetypal examples of each disaster type are selected, choices are limited to events which severely impacted urban areas. The affected cities (or parts of cities) which suffered loss are digitally reconstructed as they existed before befallen by disaster.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
47 04. Thermodisastrodynamics Simulacrum, Part 2: Conduction, Convection, Radiation, Destruction Part 2 of the simulacrum will visualize the destruction of our case study locations through the modeling, drawing and/ or animating of conduction, convection, and radiation (or, more archaically, earth, air, fire, and water) as the constituent elements of natural disaster. We will resist the temptation to mimic the conventional systems used to represent disasters and rather aim to invent new forms of representation aimed at qualitative rather than quantitative accuracy.
05. Thermo-disastro-dynamics Simulacrum, Part 3: Interand Intra-territorial Displacement, Migration, Aggregation The final stage of the simulacrum will map the movement of people and material following the destruction of the case study city: how people displaced from their homes move within and across territories (i.e. their paths of travel), the conditions impacting their migration (e.g. speed of travel, mode of transport), where they settle, their type of provisional shelter (e.g. trailers vs tents vs gymnasiums), and the organizational principles (or lack thereof) governing their aggregation.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
48 06. Postdisastrutopias: Canonical Projects of Crisis The concept of utopia will be explored through the lens of certain key thinkers, assigned to each group by the instructor for topical relevance. Authors may include but are not limited to T. More, Foucault, Jameson, Tafuri, Adorno, and Fuller. We will conceptualize the history of utopia as projects of crisis which promise salvation from conditions of sociospatial disaster and offer evocative images for a future – but refrain from describing the incremental revisions of ideology required to arrive there. Case studies will be selected for their conceptual potency in the context of postdisaster dynamics, and analyzed for their ability to offer speculative, suggestive, and seductive forms of urbanism when overlaid on the postdisaster site.
07. Postdisastrentopias: Collaging for Aura Shifting from a concept of utopia (meaning “non place”) to Doxiadis’ concept of entopia (meaning “in place”), we will collage imagery extracted from canonical utopian projects with imagery of the post-disaster site developed during the simulacrum stages. We will situate non-place imagery into the place of our case studies, i.e. we will combine reproductions of iconic utopian images with our simulacrumatic (post)disaster images to arrive at a new originals with distinct auras that oscillate between authenticity and absurdity.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
49 08. Postdisastrotech, Part 1: Precarbon / Postcarbon, Lowtech / Hightech, and Permanent / Temporary Material Systems Post-carbon: The studio will not use any structural or material system that cannot currently be realized at-scale without fossil fuels - this includes: concrete, steel, aluminum and glass. Instead, students will be asked to develop post-carbon conglomerations built exclusively of locally-sourced materials whose processes of extraction, manufacturing, assembly, and installation rely on renewable resources, plausibly local building skills and construction craft capacity in line with the region’s human capital. Pre-carbon: The demountable jungle cities of the Tukano in the Amazon, the radically calibrated densities and porosities of ancient Incan sun cities, the concentrically terraced landforms
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
50 for inducing microclimates at Moray: we’re curious whether systems which predated the fossil fuel economy are also plausible in the post-carbon context. Low-tech / High-tech: An emphasis will be placed on assemblies which utilize the advantages of robotic fabrication to instrumentalize locally available materials into building systems. Rapidly deployable prefabricated technologies (modular, flat-packed, inflatables, collapseables, jammables) and rapid prototyping machines such as cutters and printers will process and manipulate regionally-sourced materials to discover novel tectonic logics capable of serial multiplication and adaptation.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
51 09. Postdisastrotech, Part 2: Genotypical Models of Thermodynamic Constitution We will build generic models as abstractions of systems encountered during Postdisastrotech, Part 1. The generic models will be developed and categorized according to scales: s (device, room), m (room, bldg), l (bldg, block), and xl (block, city). The models will be governed by parameters of thermodynamic performance (or, more archaically, earth/air/ fire/water) with an aim towards ultimately working together as a catalog of parts capable of self-organizing into totalities which maximize internal differentiation and the production of feedback loops.
10. Postdisastrocester: Low-density Phenotypical Proliferations of Earth, Air, Fire, and Water Utilizing the English place name suffix “-cester,” meaning “camp,” we set out with an intention of creating low-density proliferations. Prior to instantiation of our genotypical models of thermodynamic constitution, however, we must first prepare our site-as-environment. While many elements of the site will have been predetermined by the case study (topography, hydrology, solar access/exposure) there are others which must be critically defined.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
52 11. Postdisastroburgh: Medium-density Phenotypical Proliferations of Earth, Air, Fire, and Water Utilizing the English place name suffix “-burgh,” meaning “city,” we set out with an intention of creating mediumdensity proliferations. As our systems densify from low to medium density, we will consider the morphologies of thermodynamic disasters for guidance on dividing, multiplying, adding, subtracting, scaling, moving, rotating, and otherwise transforming the phenotypical expressions of our genotypical models.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
53 12. Postdisastropolis: High-density Phenotypical Proliferations of Earth, Air, Fire, and Water Utilizing the English place name suffix “-polis,” also meaning “city” but with suggestions of verticalism, we create high-density proliferations. It is anticipated that at this stage conditions of groundlessness begin to emerge, feedback loops are established as certain thresholds of relationships are exceeded, and new forms of dissipative structure emerge to negotiate increasingly intense systemic exchanges.
13. Postdisastrographs: Drawings Final production of drawings. 14. Postdisastrographs: Large Physical Models Final production of models. 15. Postdisastrographs: Visualizations Final production of visualizations 16. Postdisastrographs: Web Final production of website 17. Final 5x Postdisastropias are presented as Postdisastrocesters becoming Postdisastroburghs becoming Postdisastropolises.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
54 Each group (geological, meteorological, hydrological, climatological, or biological) will present large printed drawings, a large model or models, large printed visualizations, and the digital presentation of the semester’s work by module.
10_Methodology The studio methodology is Rhizomatic: the above assemblage of modules, while presented here in sequential numerical form, may be rearranged sequentially, fragmented into constituent parts, plugged into other modules, or dissolved entirely and reformulated into emergent multiplicities. Or, each module may be considered a mini machine which performs a role within the larger machinery of the overall studio. The machinic modules are qualified as processes (verbs) rather than products (nouns) whose components and subcomponents may be reconfigured by the Professor and/ or students towards alternative outcomes. Like a slinky, each week will hinge into the next, carried by the impetus of its previous steps along steady gradated rhythms of movement and rest. In this way, the studio will be in a constant state of becoming which integrates moments of discrete singularity with a continuous flow.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
55 11_Operativity The studio will meet Mondays and Thursdays 2:30pm – 7:00pm and will operate on a weekly rhythm of modules. Every Monday, the students will present the outcomes of the previous week’s module, and the Professor will in turn share the roadmap for the next week’s module. In this sense (and with some exceptions), Mondays will be days of exchange characterized by studio-wide presentations, and Thursdays will be days of process development characterized by desk crits. Each module is conceived as a prompt which informs and enriches the flow of projects and contains a collection of images, a synopsis, guidelines for developing the work, and resources (books, book chapters, web links, other). The studio will be supported by periodic technical workshops hosted by the studio Professor and/or Assistant, including tutorials on how to use GIS, Grasshopper, and Webflow.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
56 12_Forms of evaluation and attendance requirements 80% attendance is the minimum class requirement, attendance of the mid-term and final review are mandatory. Students will be evaluated for the richness of their engagement and corresponding productive processes. Students will not be judged by a final product, but rather on the level of investment made into their personal progress. Evaluations will be given individually based on each students degree of inner growth, as opposed to their capacity to take on acquired manners. Participation in group discussion is critical; students that remain quiet will be invited for a personal consultation with the Professor to discuss ways in which participation can be supported.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
57 13_Required bibliography Deleuze, Gilles, and Guattari, Felix. A Thousand Plateaus: Capitalism and Schizophrenia. 2nd ed. Minneapolis, MN: University of Minnesota Press, 1987. Koselleck, Reinhart, and Richter, Michaela. “Crisis.” Journal of the History of Ideas 67, no. 2 (2006): 357-400. Macauley, David. Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas. Albany, NY: State University of New York Press, 2011. Prigogine, Ilya and Stengers, Isabelle. Order out of Chaos. New York, NY: Bantam Doubleday Dell Publishing Group, 1984.
14_Optional bibliography Baudrillard, Jean. Utopia Deferred: Writings from Utopie, (19671978). New York: Semiotext(e), 2006. Benjamin, Walter. On the Concept of History. Createspace Independent Publishing Platform, 2016. Bloch, Ernst, and Anthony A. Nassar. The Spirit of Utopia. Stanford, Cal.: Stanford University Press, 2009. Borradori, Giovanna, Jacques Derrida, and Jürgen Habermas. Philosophy in a Time of Terror: Dialogues with Jürgen Habermas and Jacques Derrida. Chicago: University of Chicago Press, 2003. Deleuze, Gilles, Félix Guattari, and Brian Massumi. A Thousand Plateaus. Minneapolis: University of Minnesota Press, 2005. Deleuze, Gilles, Félix Guattari, Hugh Tomlinson, and Graham Burchell. What Is Philosophy? London: Verso, 2015.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
58 Harvey, David A. Spaces of Hope. Edinburgh: Edinburgh University Press, 2000. Jameson, Frederic. Postmodernism: Or, the Cultural Logic of Late Capitalism. London: Verso Books, 2019. Jameson, Fredric. Marxism and Form. Princeton, N.J: Princeton University Press, 1980. Jameson, Fredric. “The Dialectics of Disaster.” Dissent from the Homeland, 2003, 55-62. Koselleck, Reinhart. Critique and Crisis Enlightenment and the Pathogenesis of Modern Society. Cambridge, MA: MIT Press, 2015. Leach, Neil. Rethinking Architecture A Reader in Cultural Theory. New York, NY: Routledge, 1997. Lefebvre, Henri. The Production of Space. Malden, MA: Blackwell, 2016.
Martin, Reinhold. Utopias Ghost: Architecture and Postmodernism, Again. Minneapolis, MN: Univ. of Minnesota Press, 2010. Odum, Howard T. “Trophic Structure and Productivity of Silver Springs, Florida.” Ecological Monographs 27, no. 1 (1957): 55112. Oudenampsen, Merijn and Miguel Robles-Durán. “Mobility, Crisis, Utopia: An Interview with David Harvey.” Open, no.11 (Im)mobility (2011): 92-105. Ricoeur, Paul, and George Taylor. Lectures on Ideology and Utopia. New York, NY: Columbia University Press, 1986. Rudofsky, Bernard. Architecture without Architects: A Short Introduction to Non-Pedigreed Architecture. Albuquerque, NM: Univ. of New Mexico Press, 1964. Simmel, Georg. Soziologie. Berlin: Duncker & Humblot, 1958.
Postdisastropias: Earth, Air, Fire, Water, Architecture
Studio Brief
59 Tafuri, Manfredo. Architecture and Utopia Design and Capitalist Development. Cambridge, MA: MIT Press, 1977. Virilio, Paul. Speed and Politics: An Essay on Dromology. South Pasadena, CA: Semiotext(e), 2006. Worster, Donald. “Hydraulic society in California: An ecological interpretation.” Agricultural History 56, no. 3 (1982): 503-515
Borrominations The Auratic Dome Program: Harvard University, Advanced Option Studio Level: Graduate Position: Assistant, Technical Workshop Instructor
Student: Ben Burdick Project: Social Circles: The Multitude and the Many
1 Central space from below
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Borromini inscribes a public interior in the circular rings of San Carlo alle Quattro Fontane. Sixteen columns mark points on intersecting rings which organize the chapel’s space, both in plan and section. Planometrically, these rings are expressed by the fluid entablature as it bends in and out of circular and elliptical arcs. In section, apsidal semi-domes and the arched niches turn these rings into vertical space. Using a complete set of rings and their intersections, one could argue that the sixteen columns are more than they appear, comprising of the perfect averages of hundreds of columns where these spatial rings intersect. By re-examining the church under this condition, the sixteen columns attain a new tendency to return to–and surpass–their primitive multiplicitous state before their collapse into sixteen
coincident forms. The aggregation of material systems of architecture becomes a precursor for the clustering of bodies in the city and its spaces of recreation. In this way, Borromini’s averaging of columns in San Carlino becomes a blueprint for the planned and haptic organizations of bodies into groups, clusters and crowds that is Manhattanism.
Borrominations: The Auratic Dome
Student: Ben Burdick Project: Social Circles: The Multitude and the Many
2 Matrix of tower variations
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Borrominations: The Auratic Dome
Student: Ben Burdick Project: Social Circles: The Multitude and the Many
3 Physical model on Bryant Park site
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Borrominations: The Auratic Dome
Student: Ben Burdick Project: Social Circles: The Multitude and the Many
4 Physical model
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Borrominations: The Auratic Dome
Student: Charlotte Lipschitz Project: Inside Out: Knowledge Market
1 Ground level plan
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This project aims to redefine the relationship between the library and the park as contemporary public spaces. Starting from an analysis of San Carlino, the loggia is taken as the architectural means by which the scale of the library (composed of reading room and stacks) can be broken down into a more accessible and relevant public spaces within Bryant Park. The project contains 3 parts: an analysis of San Carlino, a consideration of program and site conditions, and a deployment of systems on site. The analysis of San Carlino couples the chapel and cloister, defining them both in terms of four systems: path, wall, columns, object. These systems are the components of a typical loggia, which
in the case of the San Carlino chapel and cloister, wrap 360 degrees and becomes extroverted (in the chapel) or introverted (in the cloister). Both can be classified in terms of 8 variables, which fundamentally change the nature of the spaces they create. These variables are path radius, wall / column offset, offset asymmetry, number of bays, bulge radius, rotation angle, object offset, and column radius. Two of these –column radius and bulge radius—remain constant between chapel and church. This consistency, leads to a checkerboard aggregation on site. Overlaid on site, the 8 variables within the loggia create an optimized and continuous field of public space. With “chapels” becoming reading rooms and “cloisters” becoming courtyards where the archives of the New York Public Library pierce
Borrominations: The Auratic Dome
Student: Charlotte Lipschitz Project: Inside Out: Knowledge Market
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through the ground plane and are both visually and digitally accessible, the form of the library is broken down in order to become more public. What was once a park packed during lunch hour and a library whose presence was felt but which did not interact with the park, becomes a gradient between library and park: the knowledge market. The knowledge market is a place where one could sit all day and work as well as a place to come to for a 30 min lunch break and expect to encounter interesting people and subjects. It creates a library that is more relevant and essential for the way one thinks in the digital age. The library is an experience, at once, of wandering, curiosity, and repose. 16 subsystems within the plan are used to create the gradients of traffic level, privacy, speed, and axis of movement. Together,
these subsystems suggest variable programmatic infill within the field while leaving room for invention and opportunistic use.
Borrominations: The Auratic Dome
Student: Charlotte Lipschitz Project: Inside Out: Knowledge Market
3 Axonometry from below
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Student: Charlotte Lipschitz Project: Inside Out: Knowledge Market
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Borrominations: The Auratic Dome
Student: Michael Leef Project: Land-Filled: Entertainment, Consumption, Landscape
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The public good, as everything else in New York, is a commodity. Manhattan’s urban corporatocracy shrewdly disguises spaces of consumption in the form of innocent, nice, and photogenic public spaces, which evoke the notion of a “good city,” mild and safe for the distracted user. And we, the benefited users of those spaces, are in fact no freer than consumers being carefully choreographed in a shopping mall. We are actors in a play, persuaded, guided, and constantly monitored. This guidance is, for the most, hidden and subliminal in its mechanisms, hypocritical and insincere in its objectives. As a privately run public space that was once an unsafe and inaccessible territory to the corporate public, Bryant Park is no exemption to this rule. The Park is a distinct example of what Sahron Zukin calls “pacification by cappuccino,” a means
of both aestheticizing control and alleviating the ills of the public realm. Yet these tensions remain intrinsic to the place, which cannot overcome its shadow of perverse appearance of blamelessness. As such, Bryant Park functions on three levels: as immaculate landscape, as hidden retail space, and as selfcelebratory medium for spectacles. Land-Filled is a proposal to exacerbate the tensions implicit in this triade by means of making it formally and spatially explicit. Land-Filled is a landscape allegedly consumed, inflated, and exacerbated by private money, consumerism, and tailored notions of urban life. It celebrates the spatial perversions of the contemporary corporate city, magnifying its content, money flows, to the point of monumentalizing and redefining its masks: the peaceful lawn and the entertainment theatre. The
Borrominations: The Auratic Dome
Student: Michael Leef Project: Land-Filled: Entertainment, Consumption, Landscape
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pendentives of Borromini’s San Carlo Alle Quattro Fontane are used as a system to integrate the three.
Borrominations: The Auratic Dome
Student: Michael Leef Project: Land-Filled: Entertainment, Consumption, Landscape
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Borrominations: The Auratic Dome
Student: Michael Leef Project: Land-Filled: Entertainment, Consumption, Landscape
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Borrominations: The Auratic Dome
Student: Nelson Byun Project: Isole delle Fontane: Winter Rinks, Summer Ponds, Winter Ponds, Summer Rinks
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The project proposes to make Bryant Park into a giant fountain or pond, and within it, islands, mounds, and trees. The new park transforms with the changing seasons relative to the existing fountain and lawn at the park. During the cold season, the pool freezes, forming an ice skating rink, and in the warm season it is a reflection pool. Trees are spread densely across the site and the islands and mounds are sun platforms and stages to view the changing foliage and activities within this field. The domes and apses at San Carlo alle Quattro Fontane were selected as the material system to generate islands and mounds. The system is comprised of four components: (1) Cupola dome (2) Central dome (3) Four apses at the mid-level of the church (4) Twelve apses spaced between the columns at ground level. The geometry of each component was studied thoroughly and the logic and relationships in which they were
formed was the basis for a mechanical system to produce islands and mounds, as well as the structural system to connect them. Finally, the material system can be related to seasonal change, as the geometry of the dome can effect thermal performance. This is proven with precedents such as the Inuit Igloo and Musgum Mud Hut, two dome shelters designed for opposite extreme climates. The thermal approach of these shelters was used to generate variations of islands in correlation to the changing seasons. To take full advantage of the islands, the project has two levels; the top is the pond with exposed islands, beneath the islands is a winter garden with smaller pools. During the cold season, the top is an ice rink and below is the opposite climate with reflection pools. During the warm season, the roles reverse, as the top becomes the reflection pool and below the ice rink.
Borrominations: The Auratic Dome
Student: Nelson Byun Project: Isole delle Fontane: Winter Rinks, Summer Ponds, Winter Ponds, Summer Rinks
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Borrominations: The Auratic Dome
Student: Nelson Byun Project: Isole delle Fontane: Winter Rinks, Summer Ponds, Winter Ponds, Summer Rinks
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Borrominations: The Auratic Dome
Student: Nelson Byun Project: Isole delle Fontane: Winter Rinks, Summer Ponds, Winter Ponds, Summer Rinks
4 Axonometry
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Borrominations: The Auratic Dome
Student: See Jia Ho Project: Field of Windows: Library Urbanism
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There is a window in Borromini’s San Carlo alle Quattro Fontane. Its position was derived from the center point of the entrance apse, and its physical dimensions determined by the calculations used in the form making of the facade. It can be said, in the beginning was the origin point, and the window was formed from the origin point. The sun was created and shone through the window. The rays of the sun form a pyramidal shape as it is bound by the four corners of the window, and cuts an opening in the entrance apse. Bryant Park is a public space in Midtown Manhattan. It is closely connected to the New York City Public Library. With the planned closing of two circulating branch libraries, a new circulating library space under Bryant Park is timely. Thy word is a lamp unto my feet, and a light unto my path. (Psalm 119:105) The windows of the new circulating library let in each hour of sunlight that falls on
Bryant Park across the year and use the paths of light to direct the placement and non-placement of bookshelves, reading rooms, services, circulation and activity. The windows themselves form a landscape public space on Bryant Park level.
Borrominations: The Auratic Dome
Student: See Jia Ho Project: Field of Windows: Library Urbanism
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Borrominations: The Auratic Dome
Student: See Jia Ho Project: Field of Windows: Library Urbanism
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Borrominations: The Auratic Dome
Student: See Jia Ho Project: Field of Windows: Library Urbanism
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Borrominations: The Auratic Dome
Student: Thena Tak Project: Babylonian Slowness: curly strolls, twisted arches, hanging swings and flower power
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Babylonian Slowness is an assemblage of elements that emerges from and between the particulars of San Carlino’s arches to the Hanging Gardens of Babylonia. The project has nuanced itself between these two points of interests with a desire to instantiate Slowness on the site of Bryant Park, which becomes the underlying substrate from which the material of San Carlino’s arches differentiate themselves through a collection of programmatic elements: roundabouts, hanging performances of gardens and swings, and water lifting screws.
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Borrominations: The Auratic Dome
Student: Thena Tak Project: Babylonian Slowness: curly strolls, twisted arches, hanging swings and flower power
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Borrominations: The Auratic Dome
Student: Thena Tak Project: Babylonian Slowness: curly strolls, twisted arches, hanging swings and flower power
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Borrominations: The Auratic Dome
Student: Thena Tak Project: Babylonian Slowness: curly strolls, twisted arches, hanging swings and flower power
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Borrominations: The Auratic Dome
Student: Tristan McGuire Project: Isolation and Atmosphere: The Double Life of Public Intimacy
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Borrominations: The Auratic Dome
Student: Tristan McGuire Project: Isolation and Atmosphere: The Double Life of Public Intimacy
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Borrominations: The Auratic Dome
Student: Tristan McGuire Project: Isolation and Atmosphere: The Double Life of Public Intimacy
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Borrominations: The Auratic Dome
Student: Tristan McGuire Project: Isolation and Atmosphere: The Double Life of Public Intimacy
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Borrominations The Auratic Dome Program: Harvard University, Advanced Option Studio Level: Graduate Position: Assistant, Technical Workshop Instructor
Studio Brief
1 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
2 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
Harvard University Graduate School of Design Borrominations, or the Auratic Dome Professors: Ciro Najle and Hanif Kara Assistant: Peter Zuroweste Spring 2014 Introduction Thousands of lives sharing their lack of reciprocity and involvement under a single roof: this seems to be the way in which public space functions today. The ancient notion of people rapidly looses its meaning in favor of that of networks, and the modern notion of crowd has lost all its former heroic effervescence and the qualitative power of quantity. Absolute communication indiscriminately raises individuals to the position of potential celebrities, in the middle of the ubiquitous indifference in which social networks are flooding both the subject and the collective. Both praised and displaced, millions perform subtle variations of the same, as if doing something particular, personal, and irreducible. The masses have simultaneously lost historical significance and at the same time have opened up to new forms of what constitutes the public. In this context, architecture can take two roads: to follow the loss of political power and aesthetic relevance by means of becoming ornamental and celebratory, or to construct new versions of the public where singular conditions can be built from within and out of the ordinary, the apathetic, and the simply coexistent. Contemporary 1
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Studio Brief
3 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
4 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
architecture is faced nowadays with the challenge of turning indifference into a new form of aura, in this case, of traditions yet-to-come, by engaging its archaic power of congregation at a radically new, non-sacred level. The Studio takes on this challenge by engaging architectures whose elusive and poignant sensibility, often regarded as capricious, delirious, ignorant, or plainly malignant, were able to construct forms of aura that could project themselves to the future and persist in time. Borrominations will explore the potentials of the work of Francesco Borromini, 1599-1667, at San Carlo alle Quatro Fontane, Rome, 1634-1682, with the purpose of using its formal and organizational machinery -complex spatial totalities constructed as if they were indivisible figures- as series of primitives for further differentiation. San Carlino will be adopted as a model and differentiated in order to imagine new forms of public space: fully enveloped exteriorities, abstract forms of nature, vast urban interiors, immersive spatial fields, miniaturized theme parks, immersive artificial landscapes, sky lobbies and atriums, vertiginously deep spaces, and fleet-in-being experiences, ‘where the city itself will be held in a state of suspended animation’, and where the contemporary collective will, at the same time, engender and be subject to new forms of architectural aura.
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Studio Brief
5 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
6 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
01. Public Interiors evidence
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At a first level, the Studio is interested in an ubiquitous cultural phenomenon: the fact that public space in the contemporary city, strangely enough, is getting increasingly significant as a form of commodity, which substantiates, like any other commodity (being the ecology, the environment, the climate, the concept of sustainability, and the like), the current social value of architecture. Through this rapid ‘naturalization’ process taking place at the core of the ruthless economic logics of contemporary development, public space is becoming yet another, and perhaps the ultimate form of currency: a self-evident architectural asset. This is shown by the proliferation of public space in public and private architectural competitions, by its monumentalization, and by its new iconic image: the public interior.
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Studio Brief
7 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
8 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
02. Crowd Forms precedence At a second level, the Studio is mobilized by the fact that, within this naturalized condition, the public interior is treated as a medium to hold an increasingly indifferent form of the notion of a ‘public.’ Either cool or unconcerned, this ‘collective of indifference’ is the evidence (graphic, budgetary, spatial, or terminological) that the more our social constructs are confused and replaced by networks, and the more they rely on networkrelated forms of communication, the less qualitative and the more superfluous the human exchanges taking place are. One could even argue that, after decades of pursuing the latest model to explain the forms that the modern crowd takes out of sheer quantity (the abstract hero of modernity), human cohabitation is progressively reaching a threshold where there is nothing ‘else’ or ‘higher’ than mere coexistence.
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Studio Brief
9 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
10 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
03. Apple Store opportunity
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And at a third level, the Studio believes that this vacuum of sense in the collective is not necessarily a loss in the value system of architecture (the loss of its traditionally heroic role of redeeming society by incarnating the common interest as a discipline), and that the dismantling of its apparent seriousness as a social form may not be seen as a disadvantage but as a new practical capability of distilling qualitative changes in culture. Far from being a sterile scenario that threatens the humanistic values of the discipline, the current situation can be used to empower its forward-looking capabilities of projecting radicality. Two new forms of freedom are emerging as a result: the possibility of programming space through extreme performance, and the cultivation of poignant, absolute form. Slickness is not really the right answer for this.
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Studio Brief
11 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
12 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
04. Wild performance and rich form freedom Of these two new forms of freedom, the former incarnates the opportunity for the conception of secular, sometimes life-threatening performances, like a common stroll in an artificial ski range, an intimate meeting in the heights, or a lonely swim in the rapids. These performances can take place, unnoticed, in the middle of the city, sheltered by architecture, as if lacking any moral or political weight. And the latter freedom undertakes the old role of architecture as an artificially over-intensified spatial experience. Beyond the mere will to ornamentation and celebration that is common nowadays, and away from the mild obsessions of the cultivated contemporary architect, formal expression today requires to be projected at a truly systematic level, as an abstract form of desire incarnated in form and mediated by a single artist-architect.
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Studio Brief
13 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
14 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
05. Borromini subject-matter
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It is in this context that the Studio will engage, this semester, the work of Francesco Borromini, model of the systematically free architect, and permanently mobilized towards the rigorous and meaningful complexification of form. We will learn from his work, and follow his sensitivity towards the integration of continuity and discontinuity, towards the absorption of the multiple within the one, and towards the management of austerity and voluptuousness as if they were one and the same thing. We will look at the way in which his non-structural operations are formally structured and structuring, at his ability to communicate scales, at the way in which the symbolic and the figurative strangely and powerfully communicate with the abstract in his work, and at how the ludic and the free can and must be one with the rigorous and the restrained.
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Studio Brief
15 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
16 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
06. San Carlino model More specifically, San Carlo alle Quattro Fontane, Borromini’s tiny little masterpiece in Rome, gracefully contemporary to the grandeur of the territorial extensions of Saint Peter, will be our model for a complex formal organization concentrated in a single, unique, and irreducible spatial unit. The geometric organization of San Carlino will be abstracted in terms of how formal systems (columnar rhythms, dome patterning, surface undulation, horizontal striation, surface continuity, apse to dome relationships, alternation of concavity and convexity) behave in relation to the others. We will learn how a single space can be teased out at every local condition without its unity being jeopardized, but rather being empowered and singularized by operations that, one way or another, remain embedded in the whole. We will look at those modes of embedment.
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Studio Brief
17 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
18 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
07. Bryant Park site
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Bryant Park in NYC will be our site. But more than a place to occupy, it will work as a model of intense insipidity in a public site, as a field laboratory where extreme forms of insipidity are already taking place by means of public program, although folded and unexploited under the veil of a cute, nice, domesticized form of public space. Who does not ‘like’ or ‘enjoy’ Bryant Park? And yet, it is by now a severe cavity in the middle of Midtown Manhattan, and its past is no less harsh: an old water reservoir adjacent to a failed crystal palace, replaced by a dubiously classical public library and a suspiciously immaculate lawn, laying on top of its stacks and surrounded by the underground infrastructure going through east-west into the two major train stations of New York: Penn Station and Grand Central, and the Port Authority Bus Terminal.
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Studio Brief
19 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
20 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
08. Complex Organization medium The formal operations studied in Borromini’s San Carlino will be abstracted as operations, which we will call borrominations. Borrominations will be, with the permanent risk of becoming simple abominations, a series of tightly controlled wildly complex geometries used to articulate the spatial unity of the projects, and the relationship between the poignant form and the radical programming of the interiority. Niches, undulations, rhythms, striations, concavities and convexities, illusionistic effects, patterning, force-oriented geometries, idiosyncratically differentiated repetitions, performative figurations, strange geometric coexistences, mutually incompatible forms, among other resources of the borrominian repertoire will be adopted as devices of organization of the space, and as the means of singularization of a primitive for its enclosure: the dome.
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Studio Brief
21 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
22 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
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09. Redundancy Engineering constraint
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Studio Brief
23 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
24 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
10. The Auratic Dome archetype The dome, for us the ‘Auratic Dome’, will be the new archetype to contain such pursue: confronting the ubiquitous indifference of the contemporary public, and incarnating the double freedom that results of this new form in a single complex spatial model. We will investigate what forms can the contemporary masses take by means of extreme program and poignant form in contemporary interior public space.
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Studio Brief
25 Image(s) from Brief, selected by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
26 Text from Brief, written by Ciro Najle and Hanif Kara Re-formatted for this publication by Peter Zuroweste
AP. Operativity routine and previous studio
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The Studio will be meeting on Tuesdays and Thursdays every other week, when both Hanif and I will be at the GSD. We will have optional skype sessions on Thursdays in the weeks in-between, and there will be software workshops to support the projects at a technical level, given by our TA Peter Zuroweste. We will also count with the visit of Erika Naginsky from the History department, who will be lecturing on San Carlino and discussing with us. The Studio is open to students from all departments with a desire to design and explore the relation between poignant form and radical performance. Work will be developed individually or in teams of two, this being your decision. We count on a budget to support the making of large models at the end of the semester. At the final presentation you are expected to propose a new form of interior public space out of the lesson of San Carlino. The deliverable is a dome structure for Bryant Park in Manhattan, documented with conventional drawings and a large physical model.
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Image: Model by Michael Leef
Somerville Film Archive Pt 1: Theories of Seeing, Tools of Seeing
Program: Harvard University, Design Discovery Level: Undergraduate Position: Studio Instructor
Student: Kevin Chan
1 Film Still, The Stalker By Andrei Tarkovsky 3 (Re Construction 00
2 System of Visual Notation 00 4 (Re)Perception 00
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Objective: Synthesis Stage 3, the final stage of the final project, requires students to generate an architecture which embodies the concepts and critical eye developed through their Theory of Seeing. Students’ theories have been developed into robust sets of interrelated ideas about cinematic space, which must now undergo a final stage which tests their validity for producing architectural space. These new, inquisitive architectural spaces must integrate the inspiration and knowledge which has aggregated through the course of the project: our Systems of Visual Notation now become the basis for a language of architectural devices (Aperture, Enclosure, Circulation, Enclosure) Our Tools of Seeing provide instruction on how to distribute and pattern
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Student: Kevin Chan
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5 Study Model, Physicalization of (Re)Construction 00 7 Study Model, Physicalization of (Re)Construction 00
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these devices, while our (Re)Perceptions underscore an approach towards softscapes (light, sound, texture, movement). The (Re)Constructions -- where Site was analyzed through perspectival montaging and collaging -- are our conceptual maps for approaching systems of Access, Program, Environment, and Vision. Site: Union Square We will engage the challenges of a highly energized local urban site with programmatic constraints, proximity to mass public transit and site parameters that will initiate an invention of architecture and place ranging in scale from a pedestrian public ground condition to an iconic cultural artifact – The Institution.
Somerville Film Archive
Student: Kevin Chan
9 Film Still, The Stalker By Andrei Tarkovsky 10 (Re Construction 01
11 System of Visual Notation 01 12 (Re)Perception 01
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The particular site and program for this project are intended to introduce you to an interdisciplinary design process and dialogue that is becoming more and more imperative as architects address the complex needs and operations of the 21st century city. Issues of landscape urbanism are undeniably intertwined within the practice and discourse of architecture today. Along with a more interdisciplinary approach to design, you will be asked to consider the complexity and flexibility that is demanded by current culture and the effects, reality, and dynamics of public and programmatic appropriation and intervention. The City today is as much about interpretation and innovation of use as it is about defined program and the perceived rigor of a public institution.
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Somerville Film Archive
Student: Kevin Chan
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Our final project challenges you to embrace this dichotomy through an architecture that both defines program and identity, while allowing for and motivating multiple interpretations and readings of place and operation. Our site is located at Union Square in Somerville, an extremely visible and heavily trafficked area situated at one of the liveliest pedestrian and vehicular intersections of this city. While currently wrapped with retail, residential and commercial spaces, the site anticipates a major revitalization over the next 5-10 years that will create over 4300 new jobs and 850 new housing units. To service this future population surge, the city is planning to extend a green line T stop just one block from the site.
Somerville Film Archive
Student: Kevin Chan
15 Film Still, The Stalker By Andrei Tarkovsky 17 (Re) Construction 02
16 System of Visual Notation 02 18 (Re)Perception 02
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The parcel we are proposing to build on is flanked by Somerville Ave on the south and Washington St. on the north. Your project will be situated on a corner along one of the most well traveled routes from Cambridge and Somerville to I-93. Therefore, your proposals will need to operate at both the scale of the pedestrian as well as the scale (and speed) of the vehicle and this new cityscape. Students will be challenged to re-think and re-imagine the interface between architecture and urban infrastructure to create a new cultural hub for this area of the city. For this project we are proposing an overlap of marketplace, public outdoor space and a cultural center for the design of a new Film Archive and Outdoor Summer Theater for Somerville.
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Student: Kevin Chan
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Program: Negotiating Fixed with Flux Students are asked to consider this project as both urban landscape and institution. The proposals will need to combine adaptable space with fixed program and construction. The ambition is to speculate through the lens of an architect and urbanist, as well as a landscape architect in order to provide a more flexible and interpretive proposal for this new institution – while developing a new cultural identity for this revitalized area of the city. Specifically, we would like you to consider and elaborate on one particular and very successful programmatic and urban intervention which previously existed on the edge of Boston’s Chinatown district: A temporary Outdoor Theater and film festival known as “Films at the Gate.” Previously this event took
Somerville Film Archive
Student: Kevin Chan
23 Final Model, Somerville Film Archive 24 Plan Diagram, Ground Level 25 Plan Diagram, LL1
26 Plan Diagram, LL2 27 Plan Diagram, LL3
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place annually for just one week during the month of August; however for the purposes of this proposal you will imagine extending the concept of an outdoor cinema and festival for the full summer season on the Union Square site. The subject of the Film selections (if any) will be left up to the student. The challenge will be to both design a seasonal Outdoor Theater and Market place that co-exists with a collaborative, more permanent program to the site - a new Film Archive. The programmatic intent is to expose Independent Film as more personal and part of the urban fabric – to promote local film makers as well as national and international film - through the exercise of a temporary and permanent architecture.
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Traditionally the medium of Film has had the power to bring together people of diverse cultures, ages, socio-economic backgrounds, interests, etc. For this reason, Cinema is one of the more inclusive and public programs a city can offer. It has the potential to produce Event, a public experience, a memory – the possibility to recreate one’s awareness and identity with an entire urban district. The objective of hybridizing a temporal (outdoor theater/seating/ market) and permanent program (a Film Archive) is aimed at proposing a social value on the overlap of institution and open use. Markus Miessen and Kenny Cupers would refer to this condition as the intersection of the consumer and the non-consumer. However, in order for the non-consumer to understand the site as accessible and interpretable, adaptability must be explicit.
Somerville Film Archive
Student: Wesley Jeon
1 Film Still, Vertigo by Alfred Hitchcock 3 (Re) Construction 00
2 System of Visual Notation 00 4 (Re)Perception 00
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This initiative toward site appropriation is further referred to by Miessen and Cupers as the micro-politics of public space. They bring to light in “Spaces of Uncertainty” the value in the realities of taking over place outside of a more definitive architecture and planning. The text continues to describe the residual spaces adjacent to and alongside the more structured and designed places of everyday urban life as spaces that allow for those traditionally “excluded from contemporary public space” to engage with those that are considered more a part of the consumer culture. This specific site in Somerville has the potential for this heavily charged intersection of users. Project #3 challenges the student to design a site and architecture that allows for both the film advocate and the general public to intersect – for definitive and improvised space to co-exist.
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Student: Wesley Jeon
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5 Study Model, Physicalization of (Re)Construction 00 7 Study Model, Physicalization of (Re)Construction 00
6 Study Model, Physicalization of (Re)Construction 00 8 Study Model, Physicalization of (Re)Construction 00
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Somerville Film Archive
Student: Wesley Jeon
9 Film Still, Vertigo by Alfred Hitchcock 11 (Re) Construction 01
10 System of Visual Notation 01 12 (Re)Perception 01
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Program Requirements Outdoor Theater: - Outdoor Screen size to be determined by student - Seating accommodate up to 200 - Projection Booth app. 200 SF
Film Archive: Primary Public Spaces: -Public Lobby 1000 - 1500 SF -Indoor Theater (seating up to 500 people) 7000 SF -Café/Lounge (can be indoor and/or outdoor space) 1500 - 3000 SF -Film Bookshop and library (books, rare films, collections, etc) 2000 – 4000 SF -Gallery / Exhibition Space(s) 2000 – 5000 SF -Digital Filmmaking Workshops / Seminar/Lecture/Conf. Rooms (4) rooms 2200 SF (app. 550 sf each)
Public Market Area: - Outdoor public market area Size to be determined by critic and student (can be semienclosed)
112
Somerville Film Archive
Student: Wesley Jeon
113
13 Study Model, Physicalization of (Re)Construction 01
14 Study Model, Physicalization of (Re)Construction 01
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14
Administrative Spaces: -Film Vault (location for immediate film storage) 2000 SF -Conservation Department/Conservation Lab 800 SF -Administrative Offices (5-6 in total) 600 SF total Film Archive Total Sf = app. 26,500 SF
Somerville Film Archive
Student: Wesley Jeon
15 Film Still, Vertigo by Alfred Hitchcock 17 (Re) Construction 00
16 System of Visual Notation 00 18 (Re)Perception 00
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Somerville Film Archive
Student: Wesley Jeon
115
19 Study Model, Physicalization of (Re)Construction 00 21 Study Model, Physicalization of (Re)Construction 00
20 Study Model, Physicalization of (Re)Construction 00 22 Study Model, Physicalization of (Re)Construction 00
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Somerville Film Archive
Student: Wesley Jeon
23 Final Model, Somerville Film Archive 24 Study Model, Somerville Film Archive 25 Study Model, Somerville Film Archive
26 Study Model, Somerville Film Archive 27 Study Model, Somerville Film Archive
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116
Somerville Film Archive
Student: Wesley Jeon
117
28 Final Model, Somerville Film Archive 30 Final Model, Somerville Film Archive
29 Final Model, Somerville Film Archive 31 Site Plan, Somerville Film Archive
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Somerville Film Archive
Student: Jasmine Gao
1 Film still, Citizen Kane 3 System of Visual Notation
2 (Re)Construction 01 (System of Visual Notation + (Re)Perception 01) 4 (Re)Construction 02 (System of Visual Notation + (Re)Perception 02)
1
2
3
4
Objective The objective of this first stage of Project 3 is to develop a theory of seeing. In the first project, students were asked to engage with circulation as a system for integrating two volumes: the tall room and the long room. In the second project, students used geometric primitives and grains of orientation as the criteria for first developing, and later negotiating, the positive and negative spaces of a shared residence. The first stage of the final project challenges students to heighten their perception of space through consideration of an additional criteria: time. Film will be used to animate our interpretation of space -- we seek to understanding the medium of film as a temporal structure which unfolds into sequences of light, sounds, texture, and movements which situate--with highest levels of precision-the eye.
118
Somerville Film Archive
Student: Jasmine Gao
119
5 Study Model, physicalization of (Re)Construction 01 7 Study Model, Somerville Film Archive (Integration of (Re)Construction concepts onto site)
6 Study Model, physicalization of (Re)Construction 02 8 Study Model, Somerville Film Archive (Integration of (Re)Construction concepts onto site)
5
6
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8
We will train our eyes to analyze and extract the spatialtemporal devices which films employ as the basis for a theory of seeing; we will use this theory as the productive basis for a new, reconstructed architecture. I am kino-eye. I am a builder. I have placed you, whom I’ve created today, in an extraordinary room which did not exist until just now when I also created it. In this room there are twelve walls shot by me in various parts of the world. In bringing together shots off walls and details, I’ve managed to arrange them in an order which is pleasing and to construct with intervals, correctly, a film-phrase which is the room. Dziga Vertov, 1923
Somerville Film Archive
Student: Jasmine Gao
9 Final Model, Somerville Film Archive (Integration of (Re)Construction concepts onto site) 11 Section, Somerville Film Archive
10 Site Plan, Somerville Film Archive 12 Section, Somerville Film Archive
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Process 1. Select a film from the following list: Citizen Kane, Orson Welles Metropolis, Fritz Lang Vertigo, Alfred Hitchcock Mon Uncle, Jacques Tati Playtime, Jacques Tati The Belly of an Architect, Peter Greenway Stalker, Andrei Tarkovskly 8 1/2, Federico Fellini Blade Runner, Ridley Scott 2001: A Space Odyssey, Stanley Kubrick Dogville, Lars von Trier
120
Somerville Film Archive
Student: Jasmine Gao
13 Final Model, Somerville Film Archive (Integration of (Re)Construction concepts onto site) 14 Section, Somerville Film Archive
15 Final Model, Somerville Film Archive (Integration of (Re)Construction concepts onto site) 16 Final Model, Somerville Film Archive (Integration of (Re)Construction concepts onto site)
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13
121
14
2. Watch the film, select three scenes which together total no more than 5:00 minutes of footage. 3. While watching the film excerpts as a group, students will diagram in plan or in section the relationship of the mechanical movements of the camera (or lack thereof) to elements in the scene on (18 x 8.5” x 11”). Students must invent for themselves a System of Visual Notation for spatially mapping the following categories: camera movement of the camera cinematic techniques of the camera (zoom, pan, track, focus) body or bodies (both animate and inanimate)
16
Somerville Film Archive
Student: Jiayi Yi
1 Film still, Vertigo by Orson Welles 3,4 (Re)Perception 01, (Re)Perception 02 5,6 (Re)Construction 01, (Re)Construction 02
2 (Re)Perception 00 7 (Re)Construction 00
1
2
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6
movement of body or bodies mass void circulation elements (stairs, ramp, elevator, etc.) apertures (doors, windows) enclosure (walls, roofs, ceiling, glazing, skins, casings, crusts) threshold (spatial and/or temporal devices for transitioning) 4. Returning to their desks with a practiced and developed System of Visual Notation, the students will diagram three scenes from their selected film assigned/selected film (3 x 18” x 24”). Each scene should be diagrammed as an independent spatial-temporal territory, without relationship to the other two scenes.
7
122
Somerville Film Archive
Student: Jiayi Yi
123
8 Study Model, Physicalization of (Re)Construction 01 10 Study Model, Physicalization of (Re)Construction 00
9 Study Model, Physicalization of (Re)Construction 00 11 Study Model, Somerville Film Archive (Integration of (Re)Construction concepts onto site)
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9
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11
5. Scan each drawing. Create three Photoshop collages (using only fills, gradients, textures, masks, and adjustment layers) which construct a softscape as an overlay/underlay to the previously constructed film diagrams, which delineate the hardscapes of the film. Elements of a softscape my include: light (direct vs. diffused, tone, value, gradient) sounds (reverberation, silence, loudness) textures (hard, soft, rough, smooth) climate (hot, warm, cool, cold, wet, dry) movements (wind, walking, running, driving) Deliverables: 3 x 18” x 24” collages Due: Wednesday, July 2 @ 2pm
Somerville Film Archive
Student: Jiayi Yi
12 Plan, Somerville Film Archive 14 Exploded Axon, Somerville Film Archive 15 Final Model, Somerville Film Archive
13 Roof Plan, Somerville Film Archive
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Schedule Tuesday, June 10 - Plan 1:00 – 2:30: Exercise Launch - Brief is introduced. Students pick one Laslo Maholy-Nagy image and are assigned one word. 2:30 – 5:00: Students will be asked to do three different superimpositions of drawing onto plan. 5:00 – 6:00: Students will pick one superimposition which best reflects the word given to them together with instructor. * Students will be asked to write a brief paragraph for Wednesday, elaborating the desired experience within the space. Aspect to take into account can relate to lighting, sound, textures, movements, views, mood, time, sensory experience, and more.
124
Somerville Film Archive
Student: Jiayi Yi
16 Final Model, Somerville Film Archive 17 Section, Somerville Film Archive
18 Somerville Film Archive
16
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17
Wednesday, June 11 - Section 1:00 – 4:00: Students will be asked to devise three optional sections based on the chosen plan from the previous day. 4:00 – 5:00: Students, together with instructor, will pick one section which best reflects the concepts developed from the word and the paragraph they composed the previous evening. 5:00 – 6:00: Students will be given the requirements for final review: plan, section and model. Thursday, June 12 - Model 1:00 – 6:00: go over deliverables with each student, with focus on model building. Friday, June 13 - Review 9:00 – 5:00: Final Review, two studios together + guest critics.
18
Somerville Film Archive
Student: Miranda Brodzky
1 Film Still, Playtime by Jacque Tati 3 Study Model, Physicalization of (Re)Construction
2 Study Model, (Re)Construction 4 Study Model. Somerville Film Archive
1
2
3
4
Objective In Project 3, Stage 1, students developed a kino-eye by analyzing segments of film and building for themselves a System of Visual Notation. The System materialized -- with increasing levels of precision -- onto the architectural territory of the page as three discrete Tools of Seeing. These constituent elements combine to create a Theory of Seeing, a totality whose whole is greater than the sum of its parts. We will expand our Theory of Seeing by absorbing Site. We will bring into our Theory of Seeing photographic images of the site and its context, attempting to capture with our lenses (both figurative and literal) the complex systemic functioning of our parcel within Union Square. Through perspectival and planimetric analysis, we will begin to converge Theory with Site by integrating the following parameters into our Tools:
126
Somerville Film Archive
Student: Miranda Brodzky
127
5 Study Model 7 Section, Somerville Film Archive
6 Study Model. Somerville Film Archive
5
6
7
Access: pedestrian paths, bike paths, vehicular paths Program: commercial, residential, industrial, institutional, green space Environment: radiation (sun), convection (wind), precipitation (water) Visual: icon, monument, gaze, perspective Looking to the existing analytical sets of their Theory for direction, the student will photograph these systems using the following techniques: Single-Frame: portrait or landscape, perspective or orthographic Montage: multiple images rotated and positioned to create one large image Track: a linear montage, frames with specific rates or velocity/ acceleration.
Somerville Film Archive
Student: Miranda Brodzky
8 Final Model, Somerville Film Archive
8
Panorama: stationary camera rotating about a point Orbit: a camera rotating around a single point/object in circular motion Zoom: iterative adjustment of lens length Jump-Cut: montage of highly differentiated images, fragmented Process Part 1: Create (Re)Perceptions 1. Print 3 Tools of Seeing and 3 site plans on 8.5” x 11” paper, for a total of six loose sheets. 2. Go to site with the following items: the four printed pages from Step 1, a camera, a hard flat surface to draw on, a notebook, a lead holder with 2B lead or softer, and a sharpener.
128
Somerville Film Archive
Student: Miranda Brodzky
9 Film Still, Playtime by Jacque Tati 10 Final Model, Somerville Film Archive
11 Final Model, Somerville Film Archive
9
129
10
3. Using the camera techniques of single-frame, montage, track, panorama, orbit, zoom, and jump-cut, perform three perspectival site analyses. Each analysis should be employ one Tool to investigate one of the following site parameters: Access, Program, Environment, Visual. 4. Precisely inscribe onto the site plan the viewing cone(s) of the camera for every exposure. That is, if you perform a montage analysis which consists of 8 sequential exposures, inscribe 8 viewing cones onto the site plan 5. Precisely inscribe and/or trace on the site plan the elements of the city which the camera has captured.
11
Somerville Film Archive
Student: Kelly Wilkinson
1 Film Still, The Belly of an Architect by Peter Greenaway 3 (Re)Construction 00
2 System of Visual Notation 00 4 (Re)Perception 00
1
2
3
4
6. In Photoshop, create a new 18” x 24” document at a resolution of 300 PPI for each of your perspectives. Use these new documents as the canvas for assembling your perspectives. Use only the following PS tools: Transform (Ctrl+T)(Move, Rotate, maybe Scale) Opacity Level (0%-100%) Blending Mode (Normal, Multiply, Overlay, Color Dodge, etc.) *Note: The assembled perspectives will be referred to henceforth referred to as (Re)Perceptions. Part 2: Create (Re)Perceptions 7. Re-open your three Tools of Seeing PS files. and revisit the logic of your System of Visual Notation. For each composition, create a key- using only symbols and text--to clarify how you
130
Somerville Film Archive
Student: Kelly Wilkinson
131
5 Study Model, Physicalization of (Re)Construction 00 7 System of Visual Notation 01 8 (Re)Perception 01 9, 10 (Re)Construction 01, Study Model (Physicalization of (Re)Construction 01)
6 Study Model, Study Model (Physicalization of (Re)Construction 01) 11 Study Model, Somerville Film Archive
5
6
7
8
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10
represented the following elements: camera / movement of the camera cinematic techniques of the camera (zoom, pan, track, focus) body or bodies / movement of body or bodies mass / void circulation elements (stairs, ramp, elevator, etc.) apertures (doors, windows) enclosure (walls, roofs, ceiling, glazing, skins, casings, crusts) threshold (spatial and/or temporal devices for transitioning) 8. Note on each key whether or not the composition is planimetric, sectional, or a combination. 9. If time was used as a metric in your composition, note in
11
Somerville Film Archive
Student: Kelly Wilkinson
12 Final Model, Somerville Film Archive 13 Final Model, Somerville Film Archive
12
13
which direction (i.e. from left to right, in a circle, along an arc, etc.). 10. Having clarified and distilled the System of Visual Notation for each Tool through the creation of keys, and having precisely inscribed onto site plans the elements of the city which were analyzed in your (Re)Perceptions, begin copying and transforming elements from the Tools PS file into their corresponding (Re)Perceptions PS file. *Note: These hybrid compositions will be referred to henceforth referred to as (Re)Constructions. 10. There are no restrictions on the PS techniques for the making of your (Re)Construction.
132
Somerville Film Archive
Student: Kelly Wilkinson
14 Ground Floor Plan, Somerville Film Archive 16 Section, Somerville Film Archive
15 Section, Somerville Film Archive 17 Level 2 Plan, Somerville Film Archive
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14
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11. Be sure to Save As so that you create a separate file and do not overwrite your original (Re)Perception file. Deliverables: 3 (Re)Constructions Due: Thursday, July 3 at Midnight.
17
Somerville Film Archive
Student: Kanika Satnaliwala
1 Film Still, Mon Uncle by Jacque Tati 3 (Re) Construction 00
2 System of Visual Notation 00 4 (Re)Perception 00
1
2
3
4
134
Somerville Film Archive
Student: Kanika Satnaliwala
5 Section, Somerville Film Archive 6 Final Model, Somerville Film Archive
7 Section, Somerville Film Archive
5
135
6
7
Administrative Spaces: -Film Vault (location for immediate film storage) 2000 SF -Conservation Department/Conservation Lab 800 SF -Administrative Offices (5-6 in total) 600 SF total Film Archive Total Sf = app. 26,500 SF
Somerville Film Archive
Student: Kanika Satnaliwala
8 Film Still, Mon Uncle by Jacque Tati 10 (Re) Construction 02
9 System of Visual Notation 02 11 (Re)Perception 02
8
9
10
11
136
Somerville Film Archive
Student: Kanika Satnaliwala
137
12 Ground Floor Plan, Somerville Film Archive 14 LL1 Plan, Somerville Film Archive
13 Final Model, Somerville Film Archive 15 Final Model, Somerville Film Archive
12
13
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15
Somerville Film Archive
Student: Kanika Satnaliwala
16 Film Still, Mon Uncle by Jacque Tati 18 (Re) Construction 02
17 System of Visual Notation 02 18 (Re)Perception 02
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19
138
Somerville Film Archive
Student: Kanika Satnaliwala
139
19 Final Model, Somerville Film Archive 20 Final Model, Somerville Film Archive
21 Plan Study v1 23 Plan Study v2
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Somerville Film Archive
Student: Kanika Satnaliwala
23 Final Model, Somerville Film Archive
23
140
Somerville Film Archive
Student: Kanika Satnaliwala
141
24 Final Model, Somerville Film Archive 26 Final Model, Somerville Film Archive
25 Final Model, Somerville Film Archive
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Somerville Film Archive Pt 1: Theories of Seeing, Tools of Seeing
Program: Harvard University, Career Discovery Level: Undergraduate Position: Studio Instructor
Studio Brief
1 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 1/13
PROJECT 03, STAGE 01 THEORIES OF SEEING, TOOLS OF SEEING HARVARD UNIVERSITY GRADUATE SCHOOL OF DESIGN CAREER DISCOVERY 2014 STUDIO INSTRUCTORS - MICHAEL LEEF, JOSE MAYORAL, PETER ZUROWESTE,
1
142
Somerville Film Archive
Studio Brief
2 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 2/13
3 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 3/13
PROJECT 03, STAGE 01: THEORIES OF SEEING, TOOLS OF SEEING
CAREER DISCOVERY 2014
OBJECTIVE
The objective of this first stage of Project 3 is to develop a theory of
I am kino-eye. I am a builder. I
seeing. In the first project, students were asked to engage with circu-
have placed you, whom I’ve cre-
lation as a system for integrating two volumes: the tall room and the
ated today, in an extraordinary
long room. In the second project, students used geometric primitives
room which did not exist until
and grains of orientation as the criteria for first developing, and later
just now when I also created
negotiating, the positive and negative spaces of a shared residence.
it. In this room there are twelve walls shot by me in various parts of the world. In bringing together
The first stage of the final project challenges students to heighten
shots off walls and details, I’ve
their perception of space through consideration of an additional critera: time. Film will be used to animate our interpretation of space --
Man with a Movie Camera, Still, Dziga Vertov
managed to arrange them in an
we seek to understading the medium of film as a temproal structure
order which is pleasing and to
which unfolds into sequences of light, sounds, texture, and move-
construct with intervals, correct-
ments which situate--with highest levels of precision--the eye.
ly, a film-phrase which is the room.
We will train our eyes to analyze and extract the spatial-temporal Dziga Vertov, 1923
devices which films employ as the basis for a theory of seeing; we will use this theory as the productive basis for a new, reconstructed architecture.
2
143 2
3
3
Somerville Film Archive
Studio Brief
4 Syllabus, Somerville Film Archiv4 Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 4/13
5 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 5/13
CAREER DISCOVERY 2014
PROJECT 03, STAGE 01: THEORIES OF SEEING, TOOLS OF SEEING
PROCESS 1. Select a film from the following list:
the camera (or lack thereof) to elements in the scene on (18 x 8.5” x
Citizen Kane, Orson Welles
11”). Students must invent for themselves a System of Visual Notation
Metropolis, Fritz Lang
for spatially mapping the following categories:
Vertigo, Alfred Hitchcock Mon Uncle, Jacques Tati
camera
Playtime, Jacques Tati
movement of the camera
The Belly of an Architect, Peter Greenway
cinematic techniques of the camera (zoom, pan, track, focus)
Stalker, Andrei Tarkovskly
body or bodies (both animate and inanimate)
8 1/2, Federico Fellini
movement of body or bodies
Blade Runner, Ridley Scott
mass
2001: A Space Odyssey, Stanley Kubrick
void
Dogville, Lars von Trier
circulation elements (stairs, ramp, elevator, etc.) apertures (doors, windows)
2. Watch the flim, select three scenes which together total no more
enclosure (walls, roofs, ceiling, glazing, skins, casings, crusts)
than 5:00 minutes of footage.
threshold (spatial and/or temporal devices for transitioning)
3. While watching the film exceprts as a group, students will diagram
4. Returning to their desks with a practised and developed System of
in plan or in section the relationship of the mechanical movements of
Visual Notation, the students will diagram three scenes from their se-
4
4
5
5
144
Somerville Film Archive
Studio Brief
6 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 6/13
7 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 7/13
PROJECT 03, STAGE 01: THEORIES OF SEEING, TOOLS OF SEEING
CAREER DISCOVERY 2014
lected film assigned/selected film (3 x 18” x 24”). Each scene should be diagrammed as an independent spatial-temporal territory, without relationship to the other two scenes. 5. Scan each drawing. Create three Photoshop collages (using only fills, gradients, textures, masks, and adjustement layers) which construct a softscape as an overlay/underlay to the previously constructed film diagrams, which delineate the hardscapes of the film. Elements of a softscape my include: light (direct vs. diffused, tone, value, gradient) sounds (reverberation, silence, loudness) textures (hard, soft, rough, smooth) climate (hot, warm, cool, cold, wet, dry) movements (wind, Deilverables: 3 x 18” x 24” collages Due: Wednesday, July 2 @ 2pm Slow House, Diller + Scofidio
6
145 6
7
7
Somerville Film Archive
Studio Brief
8 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 8/13
9 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 9/13
CAREER DISCOVERY 2014
PROJECT 03, STAGE 01: THEORIES OF SEEING, TOOLS OF SEEING
Slow House, Diller + Scofidio
8
8
Man with a Movie Camera, Still, Dziga Vertov
9
9
146
Somerville Film Archive
Studio Brief
10 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 10/13
11 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 11/13
CAREER DISCOVERY 2014
PROJECT 03, STAGE 01: THEORIES OF SEEING, TOOLS OF SEEING
Enrique Miralles + Benedetta Tagliabue
Gordon Matta- Clark
10
147
10
11
11
Somerville Film Archive
Studio Brief
12 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 12/13
13 Syllabus, Somerville Film Archive Project 03, Stage 01: Theories of Seeing, Tools of Seeing, p. 13/13
PROJECT 03, STAGE 01: THEORIES OF SEEING, TOOLS OF SEEING
Slow House, Diller + Scofidio
12
12
13
13
148
Somerville Film Archive Pt 2: (Re) Perceptions, (Re) Constructions
Studio Brief
14 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 1/13
PROJECT 03, STAGE 02 CONTEXT – (RE)PERCEPTIONS, (RE)CONSTRUCTIONS HARVARD UNIVERSITY GRADUATE SCHOOL OF DESIGN CAREER DISCOVERY 2014 STUDIO INSTRUCTORS - MICHAEL LEEF, JOSE MAYORAL, PETER ZUROWESTE,
149 14
Somerville Film Archive
Studio Brief
15 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p.2/13
16 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 3/13
PROJECT 03, STAGE 02: CONTEXT – (RE)PERCEPTIONS, (RE)CONSTRUCTIONS
CAREER DISCOVERY 2014
OBJECTIVE
In Project 3, Stage 1, students developed a kino-eye by analyzing
Looking to the existing analytical sets of their Theory for direction,
segments of film and building for themselves a System of Visual
the student will photograph these systems using the following tech-
Notation. The System materized -- with increasing levels of precision
niques:
-- onto the architectural territory of the page as three discrete Tools of Seeing. These constituent elements combine to create a Theory
Single-Frame: portait or landscape, perspective or orthographic
of Seeing, a totality whose whole is greater than the sum of its parts.
Montage: multiple images rotated and positioned to create one large image
We will expand our Theory of Seeing by absorping Site. We will bring
Track: a linear montage, frames with specific rates or veloctiy/acceleration.
into our Theory of Seeing photographic images of the site and its
Panorama: stationary camera rotating about a point
context, attempting to capture with our lenses (both figurative and
Orbit: a camera rotating around a single point/object in circular motion
literal) the complex systemic functioning of our parcel within Union
Zoom: iterative adjustment of lens length
Square. Through perspectival and planimetric analysis, we will beg-
Jump-Cut: montage of highly differentiated images, fragmented
ing to converge Theory with Site by integrating the following paramteris into our Tools: Access: pedestrian paths, bike paths, vehicular paths Program: commercial, residential, industrial, institutional, green space Environment: radiation (sun), convection (wind), precipitation (water) Visual: icon, monument, gaze, perspective
15
2
16
3
150
Somerville Film Archive
Studio Brief
17 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 4/13
18 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 5/13
CAREER DISCOVERY 2014
PROJECT 03, STAGE 02: CONTEXT – (RE)PERCEPTIONS, (RE)CONSTRUCTIONS
PROCESS
Part 1: Create (Re)Perceptions 1. Print 3 Tools of Seeing and 3 site plans on 8.5” x 11” paper, for a total of six loose sheets. 2. Go to site with the following items: the four printed pages from Step 1, a camera, a hard flat surface to draw on, a notebook, a lead holder with 2B lead or softer, and a sharpener. 3. Using the camera techniques of single-frame, montage, track, panorama, orbit, zoom, and jump-cut, peform three perspectival site analyses. Each analysis should be employ one Tool to investigate one of the following site parameters: Access, Program, Environment, Visual. 4. Precisely inscribe onto the site plan the viewing cone(s) of the camera for every exposure. That is, if you perform a montage analysis which consists of 8 sequential exposures, inscribe 8 viewing cones onto the site plan
Marvin Trachtenberg, diagram of Palazzo Vecchio in Florence. From Dominion of the Eye, 1997.
4
151
17
5
18
Somerville Film Archive
Studio Brief
19 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 6/13
20 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 7/13
PROJECT 03, STAGE 02: CONTEXT – (RE)PERCEPTIONS, (RE)CONSTRUCTIONS
CAREER DISCOVERY 2014
5. Precisely inscribe and/or trace on the site plan the elements of the city which the camera has captured. 6. In Photoshop, create a new 18” x 24” document at a resolution of 300 PPI for each of your perspectives. Use these new documents as the canvas for assembling your perspectives. Use only the following PS tools: Transform (Ctrl+T)(Move, Rotate, maybe Scale) Opacity Level (0%-100%) Blending Mode (Normal, Multiply, Overlay, Color Dodge, etc.) *Note: The assembled perspectives will be referred to henceforth referred to as (Re)Perceptions.
Example Montage
6
19
7
20
152
Somerville Film Archive
Studio Brief
21 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 8/13
22 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 9/13
PROJECT 03, STAGE 02: CONTEXT – (RE)PERCEPTIONS, (RE)CONSTRUCTIONS
CAREER DISCOVERY 2014
Example Panorama
8
153
21
9
22
Somerville Film Archive
Studio Brief
23 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 10/13
24 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 11/13
PROJECT 03, STAGE 02: CONTEXT – (RE)PERCEPTIONS, (RE)CONSTRUCTIONS
CAREER DISCOVERY 2014
Example Montage, continuous time
Example Montage, continuous space
10
23
11
24
154
Somerville Film Archive
Studio Brief
25 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 12/13
26 Syllabus, Somerville Film Archive Project 03, Stage 02: Context - (Re)Perception, (Re)Constructions, p. 13/13
CAREER DISCOVERY 2014
PROJECT 03, STAGE 02: CONTEXT – (RE)PERCEPTIONS, (RE)CONSTRUCTIONS
Part 2: Create (Re)Perceptions
(i.e. from left to right, in a circle, along an arc, etc.).
7. Re-open your three Tools of Seeing PS files. and revisit the logic of your.
10. Having clarified and distilled the System of Visual Notation for each Tool
System of Visual Notation. For each composition, create a key--using only
through the creation of keys, and having precisely inscribed onto site plans
symbols and text--to clarify how you represented the following elements:
the elements of the city which were analyzed in your (Re)Perceptions, begin copying and transforming elements from the Tools PS file into their corre-
camera / movement of the camera
sponding (Re)Perceptions PS file.
cinematic techniques of the camera (zoom, pan, track, focus)
*Note: These hybrid compositions will be referred to henceforth referred to as
body or bodies / movement of body or bodies
(Re)Constructions.
mass / void circulation elements (stairs, ramp, elevator, etc.)
10. There are no restrictions on the PS techniques for the making of your (Re)
apertures (doors, windows)
Construction.
enclosure (walls, roofs, ceiling, glazing, skins, casings, crusts) threshold (spatial and/or temporal devices for transitioning)
11. Be sure to Save As so that you create a separate file and do not overwrite your original (Re)Perception file.
8. Note on each key whether or not the composition is planimetric, sectional, or a combination.
Deliverables: 3 (Re)Constructions Due: Thursday, July 3 at Midnight.
9. If time was used as a metric in your composition, note in which direction
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Somerville Film Archive Pt. 3: Synthesis/Implementation, Program/Positioning
Studio Brief
27 Syllabus, Somerville Film Archive Project 03, Stage 03: Synthesis and Implementation: Program and Positioning, p. 1/10
PROJECT 03, STAGE 02 SYNTHESIS AND IMPLEMENTATION: PROGRAM AND POSITIONING HARVARD UNIVERSITY GRADUATE SCHOOL OF DESIGN CAREER DISCOVERY 2014 STUDIO INSTRUCTORS - MICHAEL LEEF, JOSE MAYORAL, PETER ZUROWESTE,
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Somerville Film Archive
Studio Brief
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29 Syllabus, Somerville Film Archive Project 03, Stage 03: Synthesis and Implementation: Program and Positioning, p. 3/10
PROJECT 03, STAGE 02 - SYNTHESIS AND IMPLEMENTATION: PROGRAM AND POSITIONING
PROJECT 03, STAGE 02 - SYNTHESIS AND IMPLEMENTATION: PROGRAM AND POSITIONING
OBJECTIVE: SYNTHESIS
SITE: UNION SQUARE
Stage 3, the final stage of the final project, requires students to generate
We will engage the challenges of a highly energized local urban site
an architecture which embodies the concepts and critical eye developed
with programmatic constraints, proximity to mass public transit and site
through their Theory of Seeing. Students’ theories have been devel-
parameters that will initiate an invention of architecture and place ranging
oped into robust sets of interrelated ideas about cinematic space, which
in scale from a pedestrian public ground condition to an iconic cultural
must now undergo a final stage which tests their validity for producing
artifact – The Institution.
architectural space. The particular site and program for this project are intended to introduce These new, inquisitive architectrual spaces must integreate the inspi-
you to an interdisciplinary design process and dialogue that is becoming
ration and knowledge which has aggregated through the course of the
more and more imperative as architects address the complex needs and
project: our Systems of Visual Notation now become the basis for
operations of the 21st century city. Issues of landscape urbanism are
a language of architectural devices (Aperture, Enclosue, Circulation,
undeniably intertwined within the practice and discourse of architecture
Enclosure) Our Tools of Seeing provide instruction on how to distribute
today.
and pattern these devices, while our (Re)Perceptions underscore an approach towards softscapes (light, sound, texture, movement).
Along with a more interdisciplinary approach to design, you will be asked to consider the complexity and flexibility that is demanded by current
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The (Re)Constructions -- where Site was analyzed through perspectival
culture and the effects, reality, and dynamics of public and programmatic
montaging and collaging -- are our conceptual maps for approaching
appropriation and intervention. The City today is as much about inter-
systems of Access, Program, Environment, and Vision.
pretation and innovation of use as it is about defined program and the
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Somerville Film Archive
Studio Brief
30 Syllabus, Somerville Film Archive Project 03, Stage 03: Synthesis and Implementation: Program and Positioning, p. 4/10
31 Syllabus, Somerville Film Archive Project 03, Stage 03: Synthesis and Implementation: Program and Positioning, p. 4/10
CAREER DISCOVERY 2014 PROJECT 03, STAGE 02 - SYNTHESIS AND IMPLEMENTATION: PROGRAM AND POSITIONING
perceived rigor of a public institution.
on a corner along one of the most well traveled routes from Cambridge and Somerville to I-93. Therefore, your proposals will need to operate at
Our final project challenges you to embrace this dichotomy through an
both the scale of the pedestrian as well as the scale (and speed) of the
architecture that both defines program and identity, while allowing for
vehicle and this new cityscape.
and motivating multiple interpretations and readings of place and operation.
Students will be challenged to re-think and re-imagine the interface between architecture and urban infrastructure to create a new cultural hub for this area of the city. For this project we are proposing an overlap
Our site is located at Union Square in Somerville, an extremely visible
of marketplace, public outdoor space and a cultural center for the
and heavily trafficked area situated at one of the liveliest pedestrian and
design of a new Film Archive and Outdoor Summer Theater for
vehicular intersections of this city. While currently wrapped with retail, res-
Somerville.
idential and commercial spaces, the site anticipates a major revitalization over the next 5-10 years that will create over 4300 new jobs and 850 new housing units. To service this future population surge, the city is planning to extend a green line T stop just one block from the site. The parcel we are proposing to build on is flanked by Somerville Ave on the south and Washington St. on the north. Your project will be situated
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Somerville Film Archive
Studio Brief
32 Syllabus, Somerville Film Archive Project 03, Stage 03: Synthesis and Implementation: Program and Positioning, p. 5/10
33 Syllabus, Somerville Film Archive Project 03, Stage 03: Synthesis and Implementation: Program and Positioning, p. 6/10
CAREER DISCOVERY 2014 PROJECT 03, STAGE 02 - SYNTHESIS AND IMPLEMENTATION: PROGRAM AND POSITIONING
PROGRAM: NEGOTIATING FIXED WITH FLUX
Students are asked to consider this project as both urban landscape and
- a new Film Archive.
institution. The proposals will need to combine adaptable space with fixed program and construction. The ambition is to speculate through the lens of
The programmatic intent is to expose Independent Film as more personal
an architect and urbanist, as well as a landscape architect in order to provide
and part of the urban fabric – to promote local film makers as well as national
a more flexible and interpretive proposal for this new institution – while devel-
and international film - through the exercise of a temporary and permanent
oping a new cultural identity for this revitalized area of the city.
architecture.
Specifically, we would like you to consider and elaborate on one particular
Traditionally the medium of Film has had the power to bring together people
and very successful programmatic and urban intervention which previously
of diverse cultures, ages, socio-economic backgrounds, interests, etc. For
existed on the edge of Boston’s Chinatown district: A temporary Outdoor
this reason, Cinema is one of the more inclusive and public programs a city
Theater and film festival known as “Films at the Gate.” Previously this event
can offer. It has the potential to produce Event, a public experience, a mem-
took place annually for just one week during the month of August; however
ory – the possibility to recreate one’s awareness and identity with an entire
for the purposes of this proposal you will imagine extending the concept of an
urban district.
outdoor cinema and festival for the full summer season on the Union Square site. The subject of the Film selections (if any) will be left up to the student.
The objective of hybridizing a temporal (outdoor theater/seating/market) and permanent program (a Film Archive) is aimed at proposing a social value on
The challenge will be to both design a seasonal Outdoor Theater and Market
the overlap of institution and open use. Markus Miessen and Kenny Cupers
place that co-exists with a collaborative, more permanent program to the site
would refer to this condition as the intersection of the consumer and the
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Somerville Film Archive
Studio Brief
34 Syllabus, Somerville Film Archive Project 03, Stage 03: Synthesis and Implementation: Program and Positioning, p. 7/10
PROJECT 03, STAGE 02 - SYNTHESIS AND IMPLEMENTATION: PROGRAM AND POSITIONING
35 Syllabus, Somerville Film Archive Project 03, Stage 03: Synthesis and Implementation: Program and Positioning, p. 9/10
PROJECT 03, STAGE 02 - SYNTHESIS AND IMPLEMENTATION: PROGRAM AND POSITIONING
PROGRAM: REQUIREMENTS
non-consumer. However, in order for the non-consumer to understand the
OUTDOOR THEATER:
site as accessible and interpretable, adaptability must be explicit.
- Outdoor Screen size to be determined by student
This initiative toward site appropriation is further referred to by Miessen and
- Seating
Cupers as the micro-politics of public space. They bring to light in “Spaces
accommodate up to 200
of Uncertainty” the value in the realities of taking over place outside of a more
- Projection Booth
definitive architecture and planning. The text continues to describe the residu-
app. 200 SF
al spaces adjacent to and alongside the more structured and designed places of everyday urban life as spaces that allow for those traditionally “excluded
PUBLIC MARKET AREA:
from contemporary public space” to engage with those that are considered
- Outdoor public market area
more a part of the consumer culture. This specific site in Somerville has the
Size to be determined by critic and student (can be semi-enclosed)
potential for this heavily charged intersection of users. Project #3 challenges the student to design a site and architecture that allows
FILM ARCHIVE:
for both the film advocate and the general public to intersect – for definitive
Primary Public Spaces:
and improvised space to co-exist.
-Public Lobby 1000 - 1500 SF -Indoor Theater (seating up to 500 people) 7000 SF -Café/Lounge (can be indoor and/or outdoor space)
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Somerville Film Archive
Studio Brief
36 Syllabus, Somerville Film Archive Project 03, Stage 03: Synthesis and Implementation: Program and Positioning, p. 10/10
CAREER DISCOVERY 2014
1500 - 3000 SF -Film Bookshop and library (books, rare films, collections, etc) 2000 – 4000 SF -Gallery / Exhibition Space(s) (can be part of circulation system) 2000 – 5000 SF -Digital Filmmaking Workshops / Seminar/Lecture/Conf. Rooms (4) rooms 2200 SF (app. 550 sf each) Administrative Spaces: -Film Vault (location for immediate film storage) 2000 SF -Conservation Department/Conservation Lab 800 SF -Administrative Offices (5-6 in total) 600 SF total
FILM ARCHIVE TOTAL SF =
app. 26,500 SF
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Interpolation A Negotiated Residence
Program: Harvard University, Design Discovery Level: Introductory Graduate (1st semester, 1st year) Position: Studio Instructor
Student: Miranda Brodzky
1 Geographer’s Residence 3 Shared Residence (Geographer + Astronomer)
2 Astronomer’s Residence 4 Casted Void (i.e. the space between the Shared Residence and site boundaries)
1
2
3
4
Intra-relationships/Inter-relationships Project #2 prompts you to consider architecture as a system that can mediate between two distinct, and perhaps oppositional, spatial conditions. In this project, your architectural proposal for a shared residence (for resident A and resident B) will provide a means to negotiate between a zone of public character and a zone of private character. Further, the proposal will negotiate between a public zone designated for resident A and a zone designated for resident B. Architecture will be conceptualized not simply as form, but simultaneously as form’s negative: space. Various systems of order (circulation, enclosure, apertures, thresholds) will be integrated with form and space to encourage systemic thinking. Architecture’s conventional sets of elements (doors, windows, walls, ceiling, floor) will be articulated through an a language of devices
which favors abstraction as way to unhinge and interrogate our status quo understandings of the built environment. Rich inter-relationships between Residence A and Residence B will be developed through processes of spatial negotiation, while the intra-relations of each residence—their domains within--will be scrutinized and calibrated as semi-independent dwellings. Zones You will designate specific spatial environments for each of the three “zones” by answering the question, “What is the unique spatial character of: (1) Residence A? (2) Residence B? and (3) the space between them?” The studio’s method will underscore the significance of this third zone, the space between Resident A and Resident B, as the generative component of the set. We will push the limits of this “zone” to incorporate ideas about polarization,
162
Interpolation: A Negotiated Residence
Student: Miranda Brodzky
5 Shared Residence (Geographer + Astronomer), on site
6 Elevation 7 Section
3
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4
ambiguity, gradation, and interpolation. It is possible that our zones have sub-zones, sub-sub-zones, or meta-zones. Whereas Project #1 asked students to express an idea through filling up a space with circulation devices such as stairs, ramps, and bridges, Project #2 posits an alternative: to approach conceptual architectural design not as the distribution of elements in space, but rather the distribution of mass and void. Negotiate You will define for yourself the word “negotiate” by developing an attitude toward each zone. What does it mean to move from public to private, or from the zone of resident A to the zone of resident B? If the three zones are adjacent, yet distinct parts, imagine interpolation as the harshness or softness of their edges. The transition may be abrupt (like a delineated
5
Interpolation: A Negotiated Residence
Student: Wesley Jeon
1 Geographer’s Residence 3 Casted Void (i.e. the space between the Shared Residence and site boundaries)
2 Oceanographer’s Residence 4 Study model, Shared Residence
1
2
3
4
boundary) or gently (like a smooth gradient). You are to consider the full “spectrum” of what negotiation can mean before developing your own spatial narrative.
user, the geometric primitive can be judicially transformed (scaled non-uniformly, sheared, rotated, moved) and articulated through architectural devices (apertures, circulation elements). The two residences will be developed in parallel as polarized elements. If we are to discover the richness that the process of negotiation can yield, it is critical to construct a dialectical, oppositional relationship between the two residences. It is precisely the degree of contradiction between the two elements which establishes the limits of the project’s potential. Thus the focus on this exercise is in developing intra-relationships (each residence’s internal relationships, the logic of its constituent parts) in a way which sets up a high-tension inter-relationship (the relationship between the two residences).
Exercise 01: Figuring Ideals, Dialectical Residences Students will begin by developing two ideal residences. Each ideal residence will be formulated based on three criteria: user, geometric primitive, and orientation. Students will begin integrating these concepts using the diagram as a tool for representing the idea(l). The ontology of the user – their mode of being – will provide the geometric primitive with a program of inhabitation. The orientation (horizontal, vertical, diagonal) of the primitive will provide our “site.” The residence is not a place of work for the user, but a strictly a place of dwelling. It is assumed that in the process of tailoring the dwelling to the needs of the
164
Interpolation: A Negotiated Residence
Student: Wesley Jeon
165
5 Shared Residence (Geographer + Oceanographer), on site 7 Casted Void (i.e. the space between the Shared Residence and site boundaries)
6 Shared Residence (Geographer + Oceanographer), on site 8 Shared Residence (Geographer + Oceanographer), on site
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6
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Users (select 2): Astronomer Geographer Oceanographer Pyromaniac Geometric Primitive (select 2): Cylinder Cube Pyramid Orientation (select 2): Horizontal Vertical Diagonal
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Interpolation: A Negotiated Residence
Student: Jiayi Yi
1 Astronomer’s Residence 3 Geographer’s Residence
2 Astronomer’s Residence 4 Geographer’s Residence
1
2
3
4
Notes: The residence footprint may not exceed 900 square feet.
Exercise 2: Casting Voids, The Space Between Two Ideals Residence A and Residence B, formerly site-less, will be brought together onto a site of 30’ x 49’ x 48’. This will necessarily require that the residences be unified, intersected, and/or differentiated in strategical ways, such that their datums of orientation correspond with each other and form a spatial dialogue. The space between the two residences will then be drawn and built as a solid. That is, Residence A and Residence B—brought together onto a site—now become the formwork for the casting of a new negative space: element C.
Deliverables: Element A_Model 1/4”=1’-0” Element A _Iterative diagrams, 1/4”=1’-0”, 11” x 17” vellum Element A _1 Plan, 1/4”=1’-0”, 11” x 17” vellum Element A _1 Elevation, 1/4”=1’-0”, 11” x 17” vellum Element A _2 Sections, 1/4”=1’-0”, 11” x 17” vellum Element B_Model 1/4”=1’-0” Element B_ 1/4”=1’-0”, 11” x 17” vellum Element B_1 Plan, 1/4”=1’-0”, 11” x 17” vellum Element B_1 Elevation, 1/4”=1’-0”, 11” x 17” vellum Element B_2 Sections, 1/4”=1’-0”, 11” x 17” vellum
Deliverables: Element C_Model (chipboard) 1/4”=1’-0” Element C_2 Plans,1/4”=1’-0”, 11” x 17” Element C_2 Sections , 1/4”=1’-0”, 11” x 17”
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Interpolation: A Negotiated Residence
Student: Jiayi Yi
5 Shared Residence (Astronomer + Geographer) 6 L2 Plan, Shared Residence (Astronomer + Geographer)
7 Elevation, Shared Residence (Astronomer + Geographer)
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6
Exercise 3: Articulating The Void, Negotiation / Integration Element A (Residence A), Element B (Residence B), and Element C (the space between) are transposed to the site located on Ware Street. The full set of site conditions come to bear upon the negotiated residence. Whereas Exercise 1 and Exercise 2 involve ideal forms (based purely on geometrical constraints and users’ needs), Exercise 3 transforms the architectural set along the criteria of site and access requirements. Students will investigate circulation, context, and public and private gradients through conceptual diagrams and axonometric technique. Two verbs will act as the students’ guide for specifying how they engage Thresholds, Passages/Circulation, Apertures, and Enclosure. The void should be re-designed to heighten the users’ perception of threshold: it should transition between the two user zones,
7
Interpolation: A Negotiated Residence
Student: Kelly Wilkinson
1 Geographer’s Residence
2 Shared Residence
x
x
1
as well as between the public and private realms. The spatial quality of this “negotiation” will be decided by each individual student. Students are encouraged to consider a wide arrange of negotiation types by analyzing negotiation verbs and by studying different types of 2D and 3D gradients. Ultimately, strategies of spatial negotiation should be selected and evaluated based on their ability to complement the intrarelationships defined in Exercise 1. Negotiation Verbs (Select 2): Gradate Discretize Juxtapose Consume Subsume
168
2
Weave Add Subtract Multiply Metabolize Stretch Concatenate Stitch Merge Unify Translate Reflect Deform Blend Blur
Interpolation: A Negotiated Residence
Student: Kelly Wilkinson
169
3 Shared Residence
4 Shared Residence 5 Shared Residence 6 Shared Residence
x
4
3
5
Fray Obfuscate Contract Expand The exercise will be evaluated based on its ability to negotiate many aspects of passage. The void itself should be understood as a volumetric threshold that choreographs the passage of light, views, and bodies. It should therefore incorporate a system of circulation, a system of apertures, and a system of enclosure: these are the tools with which the two negotiations verbs will be developed, realized, and experienced.
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Interpolation: A Negotiated Residence
Student: Kevin Chan
1 Oceanographer’s Residence 3 Oceanographer’s Residence
2 Elevation, Oceanographer’s Residence 4 Roof Plan, Oceanographer’s Residence
1
2
3
4
Thresholds Transition between to experiences of two spaces. Devices: something marking entrance (like doors, objects, spatial manipulation)
both internal order / spatial logic and external forces (site relationships).
Passages/Circulation The way through or along which one may pass. Devices: stairs, ramps, hallways, spatial sequences, etc. Apertures Device that controls the amount of light admitted and view permitted). Devices: windows, skylights, light monitors, etc. Enclosure As mediating between inside and outside, can respond to
Deliverables: Model 1/4”=1’-0” Circulation Axonometric diagrams ,1/4”=1’-0” Aperture Axonometric diagrams approximately 1/4”=1’-0” Enclosure Axonometric diagrams approximately 1/4”=1’-0” Thresholds diagrams approximately 1/4”=1’-0” 2 Plans 1/4”=1’-0” 2 Sections 1/4”=1’-0” Exercise 4: Site Model Notes: to be built collectively by studio, with tasks and costs distributed accordingly.
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Interpolation: A Negotiated Residence
Student: Kevin Chan
171
5 Shared Residence (Oceanographer + Astronomer) 7 Study Model, Shared Residence (Oceanographer + Astronomer) 8 Study Model, Shared Residence (Oceanographer + Astronomer)
6 Shared Residence (Oceanographer + Astronomer) 9 Study Model, Shared Residence (Oceanographer + Astronomer) 10 Shared Residence (Oceanographer + Astronomer)
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Deliverables: Site Model_(Chipboard) 1/4”=1’-0” Final Review June 27, 1 Pm Deliverables: Conceptual Diagrams – illustrating conceptual underpinnings Comprehensive Model at 1/4”=1’-0 (2-3 materials) Site Plan / Ground Floor Plan at 1/4”=1’-0” showing adjacent buildings, streets, common parking lot 1 Floor Plans (all other floors) at 1/4”=1’-0” 2-4 Building Elevations at 1/4”=1’-0” showing adjacent buildings 2 Building Sections at 1/4”=1’-0” showing adjacent buildings Collage of Model in Site (Photoshop or manual)
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Project Schedule Monday, June 16: Exercise 1, Launch Tuesday, June 17: Exercise 1, Residence A Wednesday, June 18: Exercise 1, Residence B Thursday, June 19: Exercise 2 Friday, June 20: Mid-Review Saturday, June 21 - Sunday, June 22: Site Model Monday, June 23 - Thursday, June 26” Exercise 3, Production Friday, June 27 Final Review
Interpolation A Negotiated Residence
Program: Harvard University, Design Discovery Level: Graduate Position: Studio Instructor
Studio Brief
1 Project Brief Interpolation: A Negotiated Residence, p. 1/21
PROJECT 02 INTERPOLATION: A NEGOTIATED RESIDENCE
1
HARVARD UNIVERSITY GRADUATE SCHOOL OF DESIGN CAREER DISCOVERY 2014 STUDIO INSTRUCTORS - MAX WONG, PETER ZUROWESTE
172
Interpolation: A Negotiated Residence
Studio Brief
2 Project Brief Interpolation: A Negotiated Residence, p. 2/21
PROJECT 02 - INTERPOLATION: A NEGOTIATED RESIDENCE
3 Project Brief Interpolation: A Negotiated Residence, p. 3/21
CAREER DISCOVERY 2014
OBJECTIVE
Intra-relationships/Inter-relationships
their domains within--will be scrutinized and calibrated as semi-inde-
Project #2 prompts you to consider architecture as a system that
pendent dwellings.
can mediate between two distinct, and perhaps oppositional, spatial conditions. In this project, your architectural proposal for a shared
Zones
residence (for resident A and resident B) will provide a means to
You will designate specific spatial environments for each of the three
negotiate between a zone of public character and a zone of private
“zones” by answering the question, “What is the unique spatial
character. Further, the proposal will negotiate between a public
character of: (1) Residence A? (2) Residence B? and (3) the space
zone designated for resident A and a zone designated for resident
between them?” The studio’s method will underscore the signifi-
B. Architecture will be conceptualized not simply as form, but si-
cance of this third zone, the space between Resident A and Resident
multaneously as form’s negative: space. Various systems of order
B, as the generative component of the set. We will push the limits of
(circulation, enclosure, apertures, thresholds) will be integrated
this “zone” to incorporate ideas about polarization, ambiguity, grada-
with form and space to encourage systemic thinking. Architecture’s
tion, and interpolation. It is possible that our zones have sub-zones,
conventional sets of elements (doors, windows, walls, ceiling, floor)
sub-sub-zones, or meta-zones Whereas Project #1 asked students
will be articulated through an a language of devices which favors
to express an idea through filling up a space with circulation devices
abstraction as way to unhinge and interrogate our status quo under-
such as stairs, ramps, and bridges, Project #2 posits an alternative:
standings of the built environment. Rich inter-relationships between
to approach conceptual architectural design not as the distribution of
Residence A and Residence B will be developed through processes
elements in space, but rather the distribution of mass and void.
of spatial negotiation, while the intra-relations of each residence—
Cover page illustration: Rachel Whiteread, 50 Spaces, 2010 2
173
2
3
3
Interpolation: A Negotiated Residence
Studio Brief
8 Project Brief Interpolation: A Negotiated Residence, p. 8/21
9 Project Brief Interpolation: A Negotiated Residence, p. 9/21
PROJECT 02 - INTERPOLATION: A NEGOTIATED RESIDENCE
CAREER DISCOVERY 2014
Notes: The residence footprint may not exceed 900 square feet. Deliverables: Element A_Model 1/4”=1’-0” Element A _Iterative diagrams, 1/4”=1’-0”, 11” x 17” vellum Element A _1 Plan, 1/4”=1’-0”, 11” x 17” vellum Element A _1 Elevation, 1/4”=1’-0”, 11” x 17” vellum Element A _2 Sections, 1/4”=1’-0”, 11” x 17” vellum Element B_Model 1/4”=1’-0” Element B_ 1/4”=1’-0”, 11” x 17” vellum Element B_1 Plan, 1/4”=1’-0”, 11” x 17” vellum Element B_1 Elevation, 1/4”=1’-0”, 11” x 17” vellum Element B_2 Sections, 1/4”=1’-0”, 11” x 17” vellum
Geometric Primitives: cylinder, cube, pyramid
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Interpolation: A Negotiated Residence
Studio Brief
10 Project Brief Interpolation: A Negotiated Residence, p. 10/21
11 Project Brief Interpolation: A Negotiated Residence, p. 11/21
PROJECT 02 - INTERPOLATION: A NEGOTIATED RESIDENCE
CAREER DISCOVERY 2014
EXERCISE 2 CASTING VOIDS: THE SPACE BETWEEN TWO IDEALS Residence A and Residence B, formerly site-less, will be brought together onto a site of 30’ x 49’ x 48’. This will necessarily require that the residences be unified, intersected, and/or differentiated in strategical ways, such that their datums of orientation correspond with each other and form a spatial dialogue. The space between the two residences will then be drawn and built as a solid. That is, Residence A and Residence B—brought together onto a site—now become the formwork for the casting of a new negative space: element C. Deliverables: Element C_Model (chipboard) 1/4”=1’-0” Element C_2 Plans,1/4”=1’-0”, 11” x 17” Element C_2 Sections , 1/4”=1’-0”, 11” x 17”
Bruce Nauman, Platform Made Up of the Space Between Two Rectilinear Boxes, 1966
10
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10
Rachel Whiteread, Untitled (Stairs), 2001
11
1
Interpolation: A Negotiated Residence
Studio Brief
12 Project Brief Interpolation: A Negotiated Residence, p. 12/21
13 Project Brief Interpolation: A Negotiated Residence, p. 13/21
PROJECT 02 - INTERPOLATION: A NEGOTIATED RESIDENCE
CAREER DISCOVERY 2014
EXERCISE 3 ARTICULATING THE VOID: NEGOTIATION, INTEGRATION Element A (Residence A), Element B (Residence B), and Element
and 3D gradients. Ultimately, strategies of spatial negotiation should
C (the space between) are transposed to the site located on Ware
be selected and evaluated based on their ability to complement the
Street. The full set of site conditions come to bear upon the negotiat-
intra-relationships defined in Exercise 1.
ed residence. Whereas Exercise 1 and Exercise 2 involve ideal forms (based purely on geometrical constraints and users’ needs), Exer-
Negotiation Verbs (Select 2):
cise 3 transforms the architectural set along the criteria of site and access requirements. Students will investigate circulation, context,
Gradate
Stitch
and public and private gradients through conceptual diagrams and
Discretize
Merge
axonometric technique. Two verbs will act as the students’ guide for
Juxtapose
Unify
specifying how they engage Thresholds, Passages/Circulation, Aper-
Consume
Translate
tures, and Enclosure.
Subsume
Reflect
Weave
Deform
The void should be re-designed to heighten the users' perception of
Add
Blend
threshold: it should transition between the two user zones, as well
Subtract
Blur
as between the public and private realms. The spatial quality of this
Multiply
Fray
"negotiation" will be decided by each individual student. Students
Metabolize
Obfuscate
are encouraged to consider a wide arrange of negotiation types by
Stretch
Contract
analyzing negotiation verbs and by studying different types of 2D
Concatenate
Expand
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13
13
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Interpolation: A Negotiated Residence
Studio Brief
14 Project Brief Interpolation: A Negotiated Residence, p. 14/21
15 Project Brief Interpolation: A Negotiated Residence, p. 15/21
PROJECT 02 - INTERPOLATION: A NEGOTIATED RESIDENCE
CAREER DISCOVERY 2014
The exercise will be evaluated based on its ability to negotiate many
Deliverables:
aspects of passage. The void itself should be understood as a volumetric threshold that choreographs the passage of light, views,
Model 1/4"=1'-0"
and bodies. It should therefore incorporate a system of circulation, a
Circulation Axonometric diagrams ,1/4"=1'-0"
system of apertures, and a system of enclosure: these are the tools
Aperture Axonometric diagrams approximately 1/4"=1'-0"
with which the two negotiations verbs will be developed, realized,
Enclosure Axonometric diagrams approximately 1/4"=1'-0"
and experienced.
Thresholds diagrams approximately 1/4"=1'-0" 2 Plans 1/4"=1'-0"
Thresholds: transition between to experiences of two spaces. Devic-
2 Sections 1/4"=1'-0"
es: something marking entrance (like doors, objects, spatial manipulation) Passages/Circulation: the way through or along which one may pass. Devices: stairs, ramps, hallways, spatial sequences, etc. Apertures: device that controls the amount of light admitted and view permitted). Devices: windows, skylights, light monitors, etc. Enclosure: as mediating between inside and outside, can respond to both internal order / spatial logic and external forces (site relationships).
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Interpolation: A Negotiated Residence
Studio Brief Career Discovery 2013 | Architecture Project 02 : INTERPOLATION Glen Santayana, Hal Wuertz, John Todd, Mark Rukamathu
Graduate School of Design Harvard University
EXERCISE 02b: Site Model
16 Project Brief Interpolation: A Negotiated Residence, p. 16/21
PROJECT 02 - INTERPOLATION: A NEGOTIATED RESIDENCE
EXERCISE 4 SITE MODEL
17 DESCRIPTION Brief You will be building a group site Project model of the Ware Street lot for the insertion and display of your personal double house model. The model will be a “cropped” version of the neighborhood, such that it includes only the relevant buildings and landscape surrounding our Interpolation: A Negotiated Residence, p. 17/21 site. ASSEMBLY • The model will be built at the scale 1/4” = 1’-0” and be 48” x 32” in plan. • It should be situated on a 6” base. • The site model is to be assembled as a single, homogeneous object with a “plug-in” hole for placing your personal models. • Some of your designs will reconsider the designDISCOVERY of the parking lot driveway and sidewalk, so it is important that the dimension of the CAREER 2014 hole includes these elements. SITE MODEL DELIVERABLES • Foam Core + Bristol Model at 1/4” = 1’-0” • Note this is a shared model - distribute the workload accordingly, divide the cost of materials.
Notes: To be built collectively by studio, with tasks and costs distributed accordingly. Deliverables: Site Model_(Chipboard) 1/4"=1'-0"
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Interpolation: A Negotiated Residence
Studio Brief
18 Project Brief Interpolation: A Negotiated Residence, p. 18/21
19 Project Brief Interpolation: A Negotiated Residence, p. 19/21
PROJECT 02 - INTERPOLATION: A NEGOTIATED RESIDENCE
CAREER DISCOVERY 2014
1/32
1/32
HAR
HAR
VAR D
VAR D
ST.
ST.
WAR E
ST.
WAR E
ST.
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Interpolation: A Negotiated Residence
Studio Brief
20 Project Brief Interpolation: A Negotiated Residence, p. 20/21
21 Project Brief Interpolation: A Negotiated Residence, p. 21/21
PROJECT 02 - INTERPOLATION: A NEGOTIATED RESIDENCE
CAREER DISCOVERY 2014
FINAL REVIEW JUNE 27, 1 PM
PROJECT SCHEDULE
Deliverables:
Monday, June 16 Exercise 1, Launch
Conceptual Diagrams – illustrating conceptual underpinnings: pro-
Tuesday, June 17
gram, circulation axonometric, etc.
Exercise 1, Residence A
Comprehensive Model at 1/4”=1’-0 (2-3 materials)
Wednesday, June 18
Site Plan / Ground Floor Plan at 1/4”=1’-0” showing adjacent build-
Exercise 1, Residence B
ings, streets, common parking lot
Thursday, June 19
1 Floor Plans (all other floors) at 1/4”=1’-0”
Exercise 2
2-4 Building Elevations at 1/4”=1’-0” showing adjacent buildings
Friday, June 20
2 Building Sections at 1/4”=1’-0” showing adjacent buildings
Mid-Review
Collage of Model in Site (Photoshop or manual)
Saturday, June 21 - Sunday, June 22 Site Model Monday, June 23 - Thursday, June 26 Exercise 3, Final Production Friday, June 27 Final Review
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Interpolation: A Negotiated Residence
Studio Brief
Image: Campo Marzio, Piranesi
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Peter Zuroweste
End
Teaching Portfoio