goo version 1.0

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goo

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goo is a collection of uncollected works. representing the creative mind of architecture students through process work that would never be seen otherwise. Columbia University GSAPP May 2011

Transcript of goo version 1.0

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goo

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Contributors

Koko BarnesRuben CaldwellRobert CoxSteven ChouTherese DiedePaola EchegarayJacob EscoffStephen FroeseDavid GonzalezAyaka Kobayashi HalesJochen HartmannDalia HamatiDave HechtTom HeltzelSam HurEivind Karlsen

Demitra KonstantinidisDan Taeyoung LeeSangWook LeeBo LiuSam MeyersonKim NguyenElizabeth NicholsOwen NicholsLuis ParisAlan PaukmanNicholas M. ReiterLeigh SalemWilliam Brian SmithYurika SugimotoSydney TalcottGeorge ValdesMichelle YoungAnton Yupangco

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goo.

goo is a collection of uncollected work - flights of fancy, experiments in process, speculations outside the realm of final presentations and shiny publications.

This is the work that is fodder for revision, from which alternate possibilites may be derived. A single image, representing a concept or a technique, may find a fruitful pairing with another image, and new projects may emerge.

The collection also embodies a novel data set from which observations, measure-ments, diagrams, hypotheses, and experimements may be performed, drawn and proposed.

Goo is an ongoing and dynamic ecosystem with no other fixed goal than to see what becomes possible when the standard limits on what is worth showing are tossed aside in favor of letting the light of the sun reach the darkest crevasses of the creative architectural mind.

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1st year studio gooDavid Hecht & Stephen Froese

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FROM THE WIRES

May 18, 2011

The wreckage of the StarshipGSAPP was found this morning in a field just outside of Fresno, California. Details of the crash are forthcoming. From black box information it appears that the crew, having scant knowledge of math and physics, miscalculated the trajectory of the reentrance into the Earth’s atmosphere. The calculations were complicated by the fact the ship was returning from the distant future at the exact moment of reentry.Investigators are still sifting through the debris to determine if any information about the mission can be recovered.

Readers will remember that the StarshipGSAPP was launched into space three years ago in search of architecture. The ship was built to travel through time and space in pursuit of meaning in that most elusive of fields.

May 19, 2011

Crews have discovered a trove of documents from the wreckage of the StarshipGSAPP. Now begins the difficult task of determining the extent to which the crew was able to carry out their vital mission.

May 21, 2011

Forensic computer scientists have recovered fragments of digital files from the SS GSAPP. The recovered items include mission specific crew logs documenting the painstaking process of architectural decoding.Unfortunately most of the logs consist of files partially corrupted by electromagnetism generated during the off-axis atmospheric reentry attempted by the crew.

December 24, 2011

The President has issued a nationwide call for volunteers to crew the newlyconstructed Starship Avery.

March 15, 2011

Using the partial logs recovered from the SS GSAPP, commanders from STAR-ARCH have begun the process of training the new crew of the SS Avery. One source, who insisted on remaining anonymous given the sensitive nature of the mission, said that there is very little to go on. He indicated that reconstructing the GSAPP crew’s work on the missions has been difficult at best. The Spectator has obtained a copy of the training documents to be published in their entirety later this week. They include the original mission briefs as well as the partial crew logs from the GSAPP.

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STARARCH INTERNAL REVIEW DOCUMENTSPrepared by Ruben Caldwell and William Brian Smith

STARARCH Internal Review Committee

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RECOVERED SS GSAPP CREW LOGS

M1.122-4 DAY 1I have never been good with existential questions. I’ve ignored them because they seem so unproductive. Um, what does it matter if reality is real or not? It is what it is. Or isn’t it. Uhg, God. I make myself sick. This stuff makes me sick. I don’t know. Isn’t that okay? Is it okay that I don’t know? These arguments have been around since the beginning of time. And where has it gotten us? We’re still struggling to answer the same questions. I guess that’s the problem. We’re trying to solve unsolvable problems. We’ve created questions to answers that will never exist. Can’t we just put them to rest? What does it mean to mean? I mean, what difference does it make? Am I stupid?

I sometimes fear that these questions are just used to make me feel stupid. Well, I’m not stupid. I’m just careful and efficient with choosing my intellectual battles. I’d rather use my energy to cure disease than wonder if disease has meaning. Well, it does. It kills people. End of discussion. And what are you doing to do about it? Well, here’s one for you: architecture doesn’t mean anything. Nothing means anything. No, no, no, no. That’s not fair. I know it isn’t. Meaning is meaningful. God, this is so ridiculous. I think I’m with Hegel on this one: if reality and appearance of real-ity are the same then it remains senseless to entertain the thought of discussing the distinction between real and appearance of real. No discussion needed. It’s perfect.

M1.462-1 DAY I’ve been thinking. I know I know I know. No thinking. But it’s mission critical now. Here’s a question for you. Well, a question for me. I have a problem. No, it’s kind of a question. Um, okay, well, if nothing is really real then there’s noth-ing in the universe that can actually be represented. [Indiscernible speech] Because everything is constantly changing. Everything is susceptible to interference. Stuff we create and things we say are inevitably exposed to noise and interference and thus also to potential transformation. There exists an interesting paradox that successful communication necessarily involves the risk of failure. Communication may be thwarted or ‘betrayed’ by the medium through which it passes. But if we take the position ‘down-stream’, at the point of destination rather than departure of the message, we may see this failure, this betrayal, as also the process of invention. Meaning is constantly evolving. Therefore, we can only take mental Polaroids of it. And I think that’s right. It’s okay. The real. The meaningful. The meaning of real. They are all im-possibly elusive. They disrupt and dislocate every system and structure designed to represent it. Maybe we should just remove these words from our vocabulary. I’m okay with not being able to ever represent reality or to be able to articulate meaning. Should architecture have meaning? Does it have to be meaningful? Well, it doesn’t need to mean anything secretly. Or it can, if that helped the design of it. But it’s mean-ing or the communication of its meaning is irrelevant to its user. Because in reality, the building is just a space. It can be beautiful, of course, but that beauty has no right meaning because in reality: it is what it is. And if reality, by definition, is always a thing of its past, then I’m concerned with bigger things. Like, the future. And going home. Something that actually has meaning to me. [End audio]

Supporting Docuemnts and Details:

Form No. 1This Case Originated at Fresno, California

STARARCH INTERNAL REVIEW

Title: Character of case:THE TECTONICS OF TAUTOLOGY MISSION 1. WEEK 1

File no. 99879-2

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Form No. 1This Case Originated at Fresno, California

Fresno, CA 05/11/2011 01/13/2011 - 05/11/2011

Report made at:

Approved by:

Copies of this report:

DO NOT WRITE IN THIS SPACE.

Previous intercepted communications:

STARARCH INTERNAL REVIEW

Title:

Period of investigation: Report made by:

Character of case:

Date Orginiated:

File no. 99879-1

MISSION BRIEF: The goal of this simulation will be to find Meaning. She has been kid-napped and held for ransom on by Hegelian Terrorists on an undisclosed planet. Intel-ligent forces point to her location as somewhere between Paradox and Reason. Her sur-vival is dependent on our writing. We calculate that at 8 hours a day, for two weeks your written output should equal some 619 pages. This should be enough to damage the planet’s pleonastic force field. We will use the writings of Kant, Hegal, LeFevbre, Neitche, Foucoult and others to generate ideas about the possibilities of Meaning’s whereabouts. Many of these writers argue that either Meaning is real or it is not. We will answer difficult questions: Is meaning real? Is real rational? Is Architecture real? Should Meaning have anything to do with architecture? Read and do not stop reading. Write and do not stop writing. Your writing will range from the profane to the profound. We expect pleonasm. We demand output. Meaning is waiting for us. We must save her in order to save ourselves. PLANETARY DESCRIPTION: Monastic topography of rough drafts, discarded writing imple-ments and canyons of empty coffee cups. NECCESSARY EQUIPMENT: Douglas Adams’ tiny translator fish. Full cups of coffee. An ability to read and write simultaneously. TEXTS: Immanuel Kant, Critique of Judgment, Book II, pp. 16-34, Book I, pp. 75-94, 162-203.G.W.F. Hegel, Science of Logic, 711-721, 734-754.Hegel, Phenomenology of Spirit, pp. 1-57, 479-493.Friedrich Nietzsche, Twilight of the Idols, pp. 463-501.Friedrich Nietzsche, Will to Power, pp. 1-39, 247-293, 330-366, 549-50.Friedrich Nietzsche, Beyond Good and Evil, pp. 9-56.Martin Heidegger, The Question Concerning Technology, 3-35, 115-136.Martin Heidegger, The End of Philosophy and the Task of Thinking.”Martin Heidegger, “The Origin of the Work of Art.”Jean-Pierre Dupuy, The Mechanization of the Mind, pp. 3-22, 126-161.Jacques Derrida, “Structure, Sign, and Play in the Discourse of the Human Sciences.”Jacques Derrida, Truth in Painting, pp. 17-147.Michel Serres, Hermes: Literature, Science, Philosophy, pp. 71-124.Michel Serres, The Parasite, pp. 3-73, 94-97, 147-164.Richard Hoftstadter, Gödel, Escher, Bach, pp. 3-60, 158-76, 246-284, 310-336.J. Scott Turner, The Extended Organism: The Physiology of Animal-Built Structures, pp. 1-8, 26-39, 179-214.Gerry Webster, “Structuralism and Darwinism: Concepts for the Study of Form.”Brian Goodwin, “A Structuralist Research Programme in Developmental Biology.”

THE TECTONICS OF TAUTOLOGY MISSION 1. WEEK 1

W BRIAN SMITH AND RUBEN CALDWELL

Fresno, CAWASHINGTON, DCNEW YORK, NY

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Form No. 1This Case Originated at Fresno, California

Fresno, CA 05/11/2011 01/13/2011 - 05/11/2011

Report made at:

Approved by:

Copies of this report:

DO NOT WRITE IN THIS SPACE.

Previous intercepted communications:

STARARCH INTERNAL REVIEW

Title:

Period of investigation: Report made by:

Character of case:

Date Orginiated:

File no. 9325-1

MISSION BRIEF: On this planet we will focus on the creation of an exhaustive catalogue of images. You will spend two weeks clarifying what you think is beautiful, ugly, ter-rifying, grotesque, awesome, hard, elegant, wonderful, spectacular and heartbreaking, for example. We will attempt to discover new means of demonstrating these concepts through layering, obscuring, blurring, morphing and cutting, for example. Do not fear the beautiful. Do not cower from boldness. Your survival depends on an intrepid sense of intuition. This planet is a vacuum; therefore, sound does not exist, and you cannot speak. You can only rely on your images to convey whatever emotion or quality it is you wish to communicate. PLANETARY DESCRIPTION: A Vacuum composed of an infinite field of holograms and projec-tions. Bring lunch; there is nothing real to eat here. NECESSARY EQUIPMENT: Lunch. 360 degree 3d glasses. All images ever in existence and any drawing tools available to you: Adobe Photoshop, a copy machine, trace paper, unre-stricted access to an infinite image database and your deepest emotional nadir.

RECOVERED SS GSAPP CREW LOGS

M2.945-5 DAY 1I’ve been on this planet for three years now and still I have no idea what is beautiful. On Earth I know what is supposed to be beautiful. A flower, trees, waterfalls, sunsets, views from mountaintops, the ocean, cities at night, newborn children, the curve of a woman’ thigh, factories. I also know what is ugly. Factories, decaying bodies, asym-metrical faces, coal, railroad yards, subway stations in certain cities, cities during the day, the moon during its middle phase, dams, camels, beards, oil. Although maybe a woman’s thigh isn’t beautiful, it could just be the curve. I suppose that it depends on what type of factory and where it is. I say oil because I don’t like the idea of it. The same with coal. Beards always seem as though they’re hiding something. Newborn children are actually quite grotesque, they just hold such promise. The view from a mountaintop isn’t so much beautiful as it is sublime. I said flowers because everyone does. Decaying bodies signify death. Asymmetrical faces are ugly but asymmetry is

THE BOLD AND THE BEAUTIFUL MISSION 2. WEEK 3

Supporting Docuemnts and Details:

W BRIAN SMITH AND RUBEN CALDWELL

Fresno, CAWASHINGTON, DCNEW YORK, NY

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Supporting Docuemnts and Details:

Form No. 1This Case Originated at Fresno, California

STARARCH INTERNAL REVIEW

Title: Character of case:THE BOLD AND THE BEAUTIFUL MISSION 2. WEEK 3

not. The moon mid cycle feels incomplete in both directions. Camels I’m not sure about, they just seem strange. Here everything is strange. Every day we encounter something new and are forced to ask ourselves what it is how it can be described. If it looks like something from Earth its easy. We can readily identify characteristic that lead us toward certain adjectives. But then we always ask ourselves is it the Earthly version that I am projecting onto this new thing? We constantly look for ways to talk about our discoveries in terms that allow the thing to lead its own life, separate from our projected notions of earthly descriptors. But how can we make ourselves see with eyes that are not predisposed toward certain colors, certain lines, particular modes of movement? Those of us who have been here longer are more adept at describing newfound things and circumstances in ways that seem disinterested from attaching meaning to image. They use every imaginable method to describe the things they find unsatisfying, except of course the simple word ugly. The language that we use has drained the iconographic meaning of the fantastic images we find every day. I struggle with this daily almost to the point of professional paralysis. [inau-dible] I think above all architecture is about ideas. If I am to make a “terrifying” drawing how do I start? Certainly not with justifying its existence or relevancy. And certainly not with any rules or constraints. Like others, I feel the rigidity of my training has absorbed my ability to think outside of what is necessary, relevant and clear. Wait. Why would architecture be terrifying? I will not think about it. When I think of terrifying, well, the first thing that comes to mind is the underside of a Stag Beetle. Perhaps be-cause of childhood associations (my brother would plant them on my stomach while I slept) but more so because their undersides are these jet black, cavernous, structural wonders grooved with spectacular precision– a seamless enclosure to their gelatinous guts. Maybe it’s the guts that are terrifying. You squeeze them and it all just sort of slides out in no particular order at all. The fact that there is no organization at all, that their in-sides are just swimming around in chaos – perhaps that’s what frightens me the most. That no one, no higher being, thought to organize their insides. It’s just an abandoned, pulpy disgust. But a drawing of this? Maybe I would take a previous section drawing – maybe of something important like a museum or hospital and I would just reorder it to the point of incomprehension. Would that be terrifying? To you it may look stupid but to me it would signal a loss of control and worse, an inability to think coherently. So, yes, I have what is now a terrifying drawing for me. But what use is it? Who will understand it? Should it be understood? What if no one gets that its terrifying? Have I failed the mission? This mission signals to the importance of the production of emotion within the architect as well as the communication of that emotion. The value of emotion is communication. If drawings of ideas can provoke emotion then they can communicate something a plan or section cannot: relevancy, consequence and affecting substance. It does not supplant the sec-tion or the plan but augments it to a level of higher understanding – one that expands the reach of architectural communication to those not visually equipped to “read” my “clear” and “coherent” drawings - If those are, in effect, my words then this image is the prover-bial picture. [End audio]

File no. 9325-2

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Form No. 1This Case Originated at Fresno, California

Fresno, CA 05/11/2011 01/13/2011 - 05/11/2011

Report made at:

Approved by:

Copies of this report:

DO NOT WRITE IN THIS SPACE.

Previous intercepted communications:

STARARCH INTERNAL REVIEW

Title:

Period of investigation: Report made by:

Character of case:

Date Orginiated:

File no. 9874-1

MISSION BRIEF: You will arrive on this planet in a mutable white cube. This cube will become your prototype. It is constructed of Xhorumbrium and is easily manipulated. The site of your landing will serve as the site for our new base. Your task will be to immediately reconfigure your cube into walls, planes and appatures in preparation for the arrival of a larger crew. We will need precise drawings of your configuration so that we may build a replica and train the crew. The crew will also require information about the sensory nature of their respective spaces so that they may begin to acclima-tize to their new environment. You are free to use any means necessary to provide us with the information we need but remember that it must precise. Technically, spatially and atmoshperically. PLANETARY DESCRIPTION: White walls, for now.NECCESSARY EQUIPMENT: A mayline. A sketchbook. A camera. A pencil.

RECOVERED SS COLUMBIA CREW LOGS

M7.143-7 DAY 1We’ve been ordered to produce a series of drawings. I’m worried because I cannot draw. I was once told that in architecture drawing I am accountable for every line on a page; every line must mean something. Is this true? I also heard once that architecture drawings (the conventional types: plan, section, elevation) were simply diagrams. Diagrams are data; therefore, I understand architectural drawing as representation of data. They convey not only methods and means of construction but imply movement, po-rosities and experience. Maybe to answer this question I should propose another, brain freezing puzzle: what is architecture about? No, really. What. is. it? The brief says that I need to be preciese. Is precision the point? Or is this about learning to draw? Have I produced architecture if I draw a plan and section that can be built? This seems like the baseline. I need to understand how these drawings work, how they’re used and what they say. I know that plans and sections are cuts, that they reaveal information

SECTION BRAIN/ PLAN BRAIN MISSION 3. WEEK 5

Supporting Docuemnts and Details:

W BRIAN SMITH AND RUBEN CALDWELL

Fresno, CAWASHINGTON, DCNEW YORK, NY

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that would otherwise be hidden. I believe architects should be passionate about ideas. Can a plan be passionate? I think to be passionate one must also be prone or willing to participate in outbursts. What place do outbursts have in architectural drawing? If my section exclaims itself from the constraints of what is to be built am I falsifying my creation, my ideas? Are these necessary to communicate my ideas or are they obscuring my design insecurities? M7.143-7 DAY 11The key is to first be right. A plan can be passionate and a section can sing. Its as though I am discovering a secret language. The beutiful thing is that these drawings are our own, and accessible only to other architects. A series of lines on a page, through their organizaiton, weight and relationships to each other can say so much about how a space can work. I know now that I need to show where the drawing is cut. This is prob-ably the most important part because it is says so much about my stance. Why have I cut through this room or not that. I love that people back on earth are looking at my draw-ings, taking them seriously and wondering about the placement of every line. Finding meaning in every decision that I made. I’m making drawings that have clear hierachy, that are explicit. I’ve found that a drawing isn’t convincing unless it looks as though I meant it. I think that plans and sections are amazing because they say exactly what I want them to say. M7.143-7 DAY 16Maybe I was wrong. Even the most basic plan can be read in so many ways. The architect uses the plan to create space in her mind. The plan is unlike the section because it is more challenging. It is harder to draw and harder to read. It is our most secret docu-ment. The section reveals it all, it shows what is there, evern how it might feel. The plan only reveals this level of atmoshpere in the hands of an architect. Only the archi-tect can see, imagine and celebrate the plan. Despite this wonderful gift we use sections more and more. Sections are Nora Roberts, plans Jane Auten. M7.143-7 DAY 24 I finally understand that plans and sections work together. That they are coordinated. This must be the most important part. This has also been the hardest thing to learn. Now my brain just knows it. It know to llok around the corners of my drawings. To see the space, to understand the drawing within the space. The section literally lines up with the plan and the plan with the seciton. I get it. Now I wonder what else can be done? Is there some way to see the plan and section simultaneusly in way that captures the mean-ing of both? If architects are trained to look at these drawings couldn’t there be some completely new drawing that we could becomed trained to see? Would it still have meaning. Might it offer us more? [End audio]

Supporting Docuemnts and Details:

Form No. 1This Case Originated at Fresno, California

STARARCH INTERNAL REVIEW

Title: Character of case:SECTION BRAIN/ PLAN BRAIN MISSION 3. WEEK 5

File no. 9874-2

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Form No. 1This Case Originated at Fresno, California

Fresno, CA 05/11/2011 01/13/2011 - 05/11/2011

W BRIAN SMITH AND RUBEN CALDWELL

Report made at:

Approved by:

Copies of this report:

DO NOT WRITE IN THIS SPACE.

Previous intercepted communications:

Supporting Docuemnts and Details:

STARARCH INTERNAL REVIEW

Title:

Period of investigation: Report made by:

Character of case:

Date Orginiated:

File no. 92837-1

MISSION BBRIEF: This is the saddest planet. You will be visiting your home planet 200 years in the future and some 70 years after a catastrophic event. The exact ramifica-tions of the event have yet to be described. We know only that certain fundamental laws of physics have been irrevocably broken. Your task is to determine what is amiss. You must then create a life support system that responds to this new paradigm so that we may begin repopulating our planet. PLANTARY DESCRIPTION: Earth, but different.NECESSARY EQUIPMENT: You’ll know when you get there.

FUTURE ANTERIOR MISSION 4. WEEK 7

M7.143-9 DAY 2We are being asked to do a couple of things here. The first is to design constraints. The constrait is what makes architecture work, what seperates it from art. Constraints are our partners in the debate, they are the boundary condition against which we push. The more imaginative the response to the edge the more sucessful the building. This planet is new and therefore proposes new constraints. The constraints that we imagine may be as stragne, as meaningful or as banal as we wish. The interesting thing is thinking about what the constraint will mean. How it will be reflected in our buildings. The hardest part is not imagining th building then designing the constaint. I would be lying if I said I wasn’t doing this to some degree.M7.143-9 DAY 7The key to a good constraint is imagining the possibilities of interesting responses. We often talk about program and the programming of a building using the language of constraint. The program offers tensions that the building responds to, amplifies or downplays. The reaason that we are being asked to create our own tensions is that the imagining of these types of boundary conditions is what lets us begin designing. Even more important though is that without constraints design is hard. So why the future? What is the point of imagining the future if there are so many different ways to respond to contemporay issues, boudaries and program? I’m still thinking of a building though. I need to stop that. I kind of feel like the building that is floating in my head full

Fresno, CAWASHINGTON, DCNEW YORK, NY

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Supporting Docuemnts and Details:

Form No. 1This Case Originated at Fresno, California

STARARCH INTERNAL REVIEW

Title: Character of case:FUTURE ANTERIOR MISSION 4. WEEK 7

form is much more boring than the one that could exist if I let the constraint guide it. I’m not even sure anymore about how to think about the missing physical law. Maybe there needs to be some kind of story... Do I just make up a story? What does that even have to do with anything?M7.143-9 DAY 9This really feels like there is no point. Just a series of deadends. I haven’t learned anything about architecture. Nothing seems to hold meaning so I might as well just pick one. They’re all the same really, I could talk about them all. What counts as sucess here? How do I know if I’m doing it right. There doesn’t seem to be any real reason to do one thing other. The point of a new future is strange.M7.143-9 DAY 21Architecture is about imaginging the future. It is fundmentally a process of imagin-ing things that don’t yet exist. OK, here’s something. So how do I make myself really imagine the future and to what end? I’ve designed a constraint that seems really in-teresting it... (inaudible).M7.143-9 DAY 32I’m beinging to understand how this planet is functioning. This project offers the key to a new design freedom. It confusing because I thought that we were suposed to be finding ways to restrict our design. The whole point was to make us do something in a certian way. But I’m realizing that a certain way isn’t just any certain way, its a design process that is fundamentally alien. This has allowed me to develop alien forms of architecture, which are by definition new. I feel like I’m trying to find some new kind of architecture/human interface. You obviously can’t achieve this by thinking about arcitecture that response to basic earth derived conditions. [End audio]

File no. 92837-2

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Form No. 1This Case Originated at Fresno, California

Fresno, CA 05/11/2011 01/13/2011 - 05/11/2011

W BRIAN SMITH AND RUBEN CALDWELL

Report made at:

Approved by:

Copies of this report:

DO NOT WRITE IN THIS SPACE.

Previous intercepted communications:

Supporting Docuemnts and Details:

STARARCH INTERNAL REVIEW

Title:

Period of investigation: Report made by:

Character of case:

Date Orginiated:

File no. 9447-1

MISSION BRIEF: This planet is infinite. It consists of a unending stream of material and spatial conditions identifiable only at the correct scale. Your task is to escape by identifying the scale appropriate to human habitation. PLANTARY DESCRIPTION: A sponge like collection of material identifiable only from up close, afar or in between. Depending.NECESSARY EQUIPMENT: A camera. Scale figures. Uppers.

EVENT HORIZON MISSION 5 WEEK 9

RECOVERED SS GSAPP CREW LOGS

M.587-3 DAY 1

To my family:

If you are reading this letter it is because I am dead. Or about to die. Regardless, I am not returning; you will never see me again. My mission failed. And I fear it is entirely my fault. As of the date of this recording I have been rehearsing one of the most difficult human teleportation transmission techniques in existence. They have not been going well, thus I prepared this letter to you in the event of what I fear will be an inevitable and mortal failure. The dangers of this type of human teleportation are many but stem from the fact that it is not machine-dependent. I am about to be transmitted into a black hole where my only chance of return depends on my ability to imagine myself and my surroundings at multiple varying scales so that I may crawl out of it. This sounds absurd, I know. But know it is a serious matter. Not to bore you in my final farewell, but the details are important and must be explained if it is to be reattempted. Right now, I am most likely and quite literally hanging by a thread of matter. My survival demands that I re-conceptualize my entire existence and physi-cal makeup to be accommodated by that piece of matter. It is most definitely absurd, but assuredly useful in the field of human teleportation and for the future of space making. Imagine the possibilities back on Earth. You could either be sunbathing on a

Fresno, CAWASHINGTON, DCNEW YORK, NY

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sandy beach or lying awkwardly on piles of scorching boulders. Your morning milk be-comes a lactic sea; Swiss cheese morphs into a rubbery postmodern museum; or you catch a ride to work on the tails of a dragonfly. Are you laughing at me? It’s okay. I’m dead, remember? If you can think like this space becomes infinite in its capacity to serve you. You might consider me a martyr for future spatial possibilities. That was stupid to say. Right now I’m rehearsing with my bed sheets. They are crumpled on my floor. Their folds seem like waves. One second. I’m trying to imagine a sail boat…It didn’t work. I told you I was bad. Maybe I’m being too literal? Okay, I see….I see…I see cake frosting. Uhg. I’m so sorry. This is why I am doomed. This was easier when I was a child - when my imagination wasn’t limited by adult laws of thermodynamics. Veins on leaves were plans for magnificent future cities; exuberant parades streamed by the sunspots in my eyes; my humid exhale an unfortunate and devastating category 5 for my fellow swarming gnats. And now? Cake frosting. I’m hungry. What should be last meal? Mom, you used to make me cold pepperoni casserole. I’ll miss that. Dad, you were right: I am not an artist. To my sister: I went to a Chinese bakery to buy a loaf of bread bread bread….! Good bye. I love you all. [End audio]

Supporting Docuemnts and Details:

Form No. 1This Case Originated at Fresno, California

STARARCH INTERNAL REVIEW

Title: Character of case:EVENT HORIZON MISSION 5. WEEK 9

File no. 9447-2

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Form No. 1This Case Originated at Fresno, California

Fresno, CA 05/11/2011 01/13/2011 - 05/11/2011

W BRIAN SMITH AND RUBEN CALDWELL

Report made at:

Approved by:

Copies of this report:

DO NOT WRITE IN THIS SPACE.

Previous intercepted communications:

Supporting Docuemnts and Details:

STARARCH INTERNAL REVIEW

Title:

Period of investigation: Report made by:

Character of case:

Date Orginiated:

File no. 92777-1

MISSION BRIEF: You will attempt to interact with actual members of society at large. Invite your banker friends. We’ll bring the lawyers and doctors. PLANTARY DESCRIPTION: A room filled with evidence of your training program.NECESSARY EQUIPMENT: Architectural Clothing. Cocktail of your choice. A stance on something.

THE COCKTAIL PARTY MISSION 6. WEEK 11

RECOVERED SS GSAPP CREW LOGS

M6.568-9 DAY 1This may be the hardest mission I’ve yet to encounter. I am fearful of my success be-cause I know two things will happen. First, I will be introduced as an architect, which is not true. Second, I will be asked “What kind of architecture do I do or want to do?” To which there are two replies. With fraudulent and unbridled ostentation: “Well, yes of course, my architectural residency was in modern art museums. I design modern art museums.” Or truthfully: “Well, architects really do whatever gets them money. House? Sure. Science lab? Not a problem. Just promise that you’ll pay me and I’ll design whatever is needed.” Let me entertain the former response. If I choose this option I’m guaranteed some sort of social and professional credibility. They’ll assume I’m successful and wealthy; that I’m a ‘citizen of the world’ as architects ought to be. This response will not surprise them but simply confirm what they’ve thought about architects all along: they’re smart and creative and have a profound sense of ambi-tion. This response corroborates the primacy of the architect as set forth by Ayn Rand (“And what do you think of the Fountainhead?” Say, “It was a shrewd piece of film and for the most part spot on.”) This is what they want to hear because it is the image they uphold in their mind’s eye whenever they think about architecture. I want them to think this, and I have an obligation to our profession to sustain this myth. When they want to design their third home in Sagharbor they will think of ‘architect,’ and they will think of Howard Rourke, but they will call me. I must be their Howard Rourke. I

Fresno, CAWASHINGTON, DCNEW YORK, NY

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must deliver them by whatever means available to me an image of greatness. Do not fuck this up. Do not bring up “But what if it wasn’t?” Do not use this as opportunity to question architecture. Use this opportunity to tell them what architecture is. It is this false reality that allows architects to exist (or at least operate at the level they are operating now). It is this false reality that got me to this cocktail party in the first place. I was invited because I carry the flame of capital A architecture. Snuff it out if I will, but be prepared to deal with the consequences.

M6.569-0 DAY 1 Part 2Now for the second response. But I don’t know what architecture is? I feel like Ijust paid six figures for the answers to the wrong test? Then please, I’ll respond with “Ac-tually, you know, I don’t know what architecture is. I’m told it has something to do with buildings but I know it’s much more than that.” If they have not yet gone look-ing for the quiche platter they may humor me with ‘Like what?’ To which I have three sentences to boil down my entire education and proclamations about architecture (Do I have any?) into one tiny grain of salt. “Architecture is about a process of thinking based on building, but it is not a building. We have an uncanny ability to synthesize layers of complex and contradictory information. This type of thought process is ap-plicable not only to designing and building buildings but to all the cursory forces that influence the built environment: from product design, to politics to facebook.” Facebook is a built environment? Of course it is. Just ask your aunt who asked me to help her raise her barn. Ah, yes, but that’s not real space. That’s virtual? To which I reply, “Is it?” Then I’ll coyly pivot in the opposite direction, slide a few salmon puffs into my pocket and head out the door to the L train. [End audio]

Supporting Docuemnts and Details:

Form No. 1This Case Originated at Fresno, California

STARARCH INTERNAL REVIEW

Title: Character of case:THE COCKTAIL PARTY MISSION 6. WEEK 11

File no. 92777-2

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Dalia Hamatilight

Steven Choulight

Sam Hurlight

Jochen Hartmanndrawing

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gooed by Owen Nichols

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The images you are seeing interspersed through this publication are instances of an experimental collision between moments of process. In the course of a project, there are points of divergence between a multitude of possibilities and single out-come that will be produced. These collages sidestep the linear path that has already been followed to explore the possibilities of cross-fertilization between projects at various stages of their production. As happens in the studio, concepts and images influence each other in multifarious ways and may therefore generate unexpected results. We hope these brief excursions into intense melding inspire lateral shifts in your understanding of how creativity in a studio culture is possible.

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Is the study of architecture necessarily confined within a building? Class-rooms for theory in the day, studio for practice in the night? But what is the architecture school if not a distillation of the world outside?

If architecture students could survive a trip outside of the gravitational pull of the formidable structure housing their educational life, perhaps they would find laboratories of spatial thought - living and dead, extended sky-wards, speeding along horizontal planes, buried beneath their feet.

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goo here. scan and send to [email protected]

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Owen NicholsSubterranean structures, cryptic and hidden from view, lie beneath the city of Paris as we know it today. These structures contain systems -- the infrastructure -- that feed the life of the city with trans-portation, sewer and water, power, and lines of communication. Un-derground spaces also act as crypts and burial grounds for religious groups and have been adapted for artistic and cultural purposes. Paris, as an organism, is thus a palimpsest of the visible image of the city on the ground level and efficient pro-ductivity below. Most large cities contain a subterra-nean infrastructure. However, Paris is unique because of the prevalence of vast limestone and gypsum quarries that were in operation from Roman times until 1939. As their excavation built the city above ground, the quarries, whether bur-rowed or open air pits that were eventually covered, left vacuums of space beneath the city’s surface, now filled with modern day infra-structure and remnants of historic uses.The Paris underground performs in the same way as organs or the vas-cular system of the body do. These systems provide the body and the city with essentials needed to oper-ate. The sewer system flushes out wastewater and provides the city with usable water. The Metro pro-vides the city with circulation, and connection to neighborhoods and monuments that have created the image of the city. The quarries were dug in order to provide the stone to the built city today. The excava-tion of the limestone and gypsum underneath the Parisian streets has provided the city not only with buildings but also a platform for the infrastructure that it has today. The quarry excavation gave birth to

certain crypts (actual or by associa-tion) beneath churches and cathe-drals, the catacombs where bodies were moved from the cemeteries to the underground for fear of disease, the sewer system, the Metro system, and an underground culture of people. All of these aspects of Paris help shape the city in its image and performance. Not only do these facets of the city give life to Paris but also give it a cryptic mystery: there exists an entire other city below Paris, the fact that the im-age of the underground is unclear to most people gives the city a new and interesting characteristic. The fabric of Paris is layered with “skin” on the surface and the organs and veins burrowing underground. Bodies both introduce raw materi-als as food and produce excrement. To apply the analogy to the city of Paris, the excavation of the quar-ries produced excrement, which was re-introduced to the city fabric to renew it. The earth is excavated, and then injected back to the earth in a new way, providing feet to its many cathedrals, churches and public buildings and the blocks of the body of the buildings above. Associated with the religious cus-toms of the churches are the un-derground crypts, an architectural typology that the city excretes back to itself, a cycle associated with life and death, waste and renewal. The link between the caves, catacombs and crypts is intertwined with how various societies in Paris over time treated the dead in relation to the living, bound up with the life cycle of the quarries and their materials.Physically and metaphorically, the rich interplay of surface and un-derground juxtaposes thoughts of conscious and unconscious, visible and hidden, present and past, real-ity and metaphor, the cycle of life

Subterranean structures, cryptic and hidden from view, lie beneath the city of Paris as we know it today. These structures contain systems -- the infrastructure -- that feed the life of the city with trans-portation, sewer and water, power, and lines of communication. Un-derground spaces also act as crypts and burial grounds for religious groups and have been adapted for artistic and cultural purposes. Paris, as an organism, is thus a palimpsest of the visible image of the city on the ground level and efficient pro-ductivity below. Most large cities contain a subterra-nean infrastructure. However, Paris is unique because of the prevalence of vast limestone and gypsum quarries that were in operation from Roman times until 1939. As their excavation built the city above ground, the quarries, whether bur-rowed or open air pits that were eventually covered, left vacuums of space beneath the city’s surface, now filled with modern day infra-structure and remnants of historic uses.The Paris underground performs in the same way as organs or the vas-cular system of the body do. These systems provide the body and the city with essentials needed to oper-ate. The sewer system flushes out wastewater and provides the city with usable water. The Metro pro-vides the city with circulation, and connection to neighborhoods and monuments that have created the image of the city. The quarries were dug in order to provide the stone to the built city today. The excava-tion of the limestone and gypsum underneath the Parisian streets has provided the city not only with buildings but also a platform for the infrastructure that it has today. The quarry excavation gave birth to

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Owen Nicholsgrotto-esque. The corpse, like the crypt is “neither inside nor outside but outside-in and inside-out.” The rotting corpse may be the best example of bi-directional liminality and the grotesque. The body is dead but hosts life by actively rotting. Its decomposition is the result of or-ganisms feeding off of the body and its nutrients. Death and life occur simultaneously. The grotto and the crypt are similar in what they are, what they rep-resent and the qualities that they share. The main quality is that there is the lack of natural light. Both are typically dark and damp, ‘grotesque’ in nature. Caves, along with grot-toes, crypts and catacombs, have phantasmagoric associations due to their innate mystery, and the grotesque figures contribute to that aura. All of these architectural ty-pologies have secretive and hidden qualities, whether they are carved or burrowed out of the earth, situ-ated within an existing fissure of stone or disguised with plentiful trees to obstruct direct sunlight. In today’s usage, crypt typically refers to stone chamber beneath the floor of a church used as a burial place and chapel. The idea of underground secret worship has a long history, going back to pre-Christian and early Chris-tian times when caves were used to hide worshippers Throughout Paris, churches and cathedrals have crypts, such as the one below the apse at St. Denis, where important figures were buried and rever-ent ceremonies could take place. Other examples include the secular Pantheon, and the relatively recent crypte archaeologique at Notre Dame, that reveals the layered history of the site. The crypt of the cathedral of Notre Dame, estab-lished in the 1960s in the parvis or

forecourt of the cathedral, displays and commemorates the vestiges of former civilizations (thus the name crypte archaeologique). The broad-er site once contained a Roman temple to Jupiter, a hospital, ancient sewer and water systems, and other physical and symbolic remnants of times past. These crypts were espe-cially created based on the type in general and also on the tradition of the underground systems beneath the city.

The Quarries

From Roman times, when Paris was still called Lutetia, it was one of the few cities that could be built with locally quarried stone. The depos-its of limestone, used for building blocks, and gypsum, used for plas-ter, were readily available within a five-kilometer radius of Ile de la Cite, where the city was concen-trated. Raw construction materials were mined from this area until 1939. Over many centuries, from those Roman times forward, the stone quarries created vast, cavern-ous underground complexes. Paris is built on a very large sponge: it is a multi-cellular subterranean setting with a complex system of damp channels “supported by a chalky framework that was precipi-tated there from the sea fifty-five million years ago.” Limestone was quarried to build stone buildings, monuments and sculpture while gypsum was excavated in order to make plaster, and clay to make brick and roof tiles. Limestone was located mainly in the south of the city in the 5th, 6th, 12th, 13th, 14th, 15th and 16th arrondissements. Gypsum could have been found in the north and northeast of the city in the 10th, 18th, 19th and 20th ar-rondissements. Before the quarries

were made, the ground level of the city was excavated to acquire the proper stone to build. Once these resources were exhausted, the city decided to burrow underground for the stone. The city of Paris demanded more stone to be quar-ried than what was being excavated. Quarrymen were forced to push the limits of excavation. “Long parallel passages ten to twelve feet broad were dug into the quarries and the extracted material was carried vertically and quickly to the ground level via wells sunk into the stone.” Once all of the stone was taken from the earth, vast and unstable vacuums were left abandoned. The question of structural stability of the ground level was not a serious concern until December 17, 1774 when the present-day Avenue du General Leclerc, near the Place Denfert Rochereau collapsed into the empty quarry beneath. Three hundred meters of road disap-peared from ground level. At this point the Conseil du Roi became the authoritative voice and ordered for the quarries to be made struc-turally sound. The void left by the quarries created a massively multifarious subter-ranean labyrinth. This labyrinth was put to use for infrastructural purposes, giving birth to the sewer system, the metropolitan transit system, telephone communication system, storage for bodies etc. The Paris underground is the vascular system that pumps the city full of life.

Body Language: Burrowing versus the Vitruvian City

The act of burrowing and digging to create the quarries stands in contradistinction to the rational and ordered architecture created

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from that raw material. The organic process and resulting forms is thus transformed into the rational.As Vitruvius writes in his Ten Books Of Architecture, “We must be equally careful that the walls are perfectly vertical, and that they do not lean forward anywhere.” In order for an early human to prac-tice architecture, before Vitruvius, he must have had two principles of construction; he must have a sense of gravity and awareness of the strength of materials that he was using to build. This early man was not necessarily building at ninety degrees to the earth, but most likely was using the earth as other ani-mals inherently would in order to construct shelter. Vitruvius in his Ten Books of Architecture speaks of the earth as something that ar-chitecture has to sit on rather than burrow in. Dealing with the earth as the ground limits the architec-ture to certain things, for instance Vitruvius’ comment on verticality. Humans for the past several cen-turies have used architecture as a tool to represent, perhaps falsely, the sense that everything is okay. Monumental political structures stand tall and clean with stability, unchanging shape, greatness and clarity of organization. Buildings are considered man-like, and they are described in that way in order for the building that man owns to portray the characteristics that man aspires to. Architecture as invented by human society is described in relation to the human body. Etymology of the word plan, the English word, has a double ori-gin. Although related to the Latin planus, meaning ‘flat’, and referring essentially to the flat diagram, it also goes back through the Italian pianta to the Latin planta or ‘sole of the foot’, the Latin being in turn

related to the Greek ichnos, ‘foot-print’ or ‘track.’ Icnographia was the word for ground plan used by Vitruvius. Our ancestors evidently found it natural to think of build-ings as they thought of themselves. They called the ground plan of a building a footprint because they thought of it as analogous to the mark left on the earth by the hu-man foot. Essentially they thought of buildings as being like people. Terms like front from the Latin frons, ‘forehead’, and facade from face suggest the same correlation. Parts of building were even more likely to be seen in this way, es-pecially columns and their bases, from their Greek baino, ‘I walk’, and their capitals, from the Latin caput, ‘head’. Architecture as we humans know it does not respond to the body in the same extent as the architecture of other animals. Burrowing animals form their architecture literally based on their body; the burrows of a mole or gopher are very close in dimension to the animal that excavated them. Burrow struc-tures are very interesting pieces of architecture. Their non-Vitruvian builders also have to rely on their innate sense of gravity and strength of materials. Instead of building above ground as humans normally do, burrowing animals use the earth as their structure. Positive material that humans build above ground act in the same way as the negative material that the burrow-ing animal does not excavate. The human building process is a posi-tive additional process, where as the burrower uses the opposite, negative subtractive technique. The result of the difference in technique is that the burrowing animal does not have to rely strictly on gravity when going about her construc-

tion. She can build at any angle that is easily traversable since what she does not burrow performs as support to what has been bur-rowed. The subterranean burrow does not have to do with massing as the ground-level architecture does; rather it deals with interconnectiv-ity and issues of choosing dwelling and storage spaces. A bird constructs her nest in a similar was as the burrowing ani-mal does in an above ground set-ting. Instead of using the ground as her foundation, she situates herself in a tree, collecting twigs that can be carried by mouth. She uses her body to form the twigs to create a dwelling. Without reference to designs to other birds’ nests, the bird creates a structure that is quite similar to her animal compatriots but is unique to her body. She has to form the nest by pressing or rub-bing her body around to secure the structure and to allow the proper spacing for her and her young to dwell. She does not dig as the bur-rowing creature does but still uses her body for a single dwelling space in the same way as the mole uses her body to establish spatial dimen-sion of the burrow. The crypt, quarry, tunnel or any other subterranean structure cre-ated by man takes note from the animals that are limited to such structure. The Paris metro system is a good example of a subterra-nean ‘burrow’ that has much more to do with the interconnectivity of the system and connectivity of the important aspects of the city above. The monuments and other pieces of architecture that create the im-age of the city of Paris have to do with creating a mass using material excavated from the quarries below. The massing is then subdivided in its interior to allow for sensory

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and spatial relationships between the grandiose architecture and the people who inhabit it. The actual massing however is the aspect that creates the image. People relate a lot of the beauty of the city to the massing of monuments and build-ings. It is an interesting and cryptic relationship since the mass is hid-ing what actually happens inside, in the subterranean spaces that, whether religious or not, are crypts.

Crypt

What is a crypt? A crypt belongs to the earth and the church. Both earth and church have excreted the crypt and consume it. A crypt is hidden within the earth, burrowed under the church giv-ing it feet to stand on. It is inside the earth, outside of the church but the detail that gives the church its spirituality and life. It hides the hallowed or hollowed chapel and holds some of the most valuable relics and sarcophagi the church obtains. Not only does the crypt hide something from the rest of the church but it also hides the fact that it is hiding. The entrances to crypts are not obvious, whereas the entrance to the church is, the altar is, the transepts and the apses are. The crypt holds the secret. It has a spiritual and intimate space for prayer, contemplation and privacy within a place that has become a public arena for tourists and avid Christians. When someone walks into a church in Paris, her experience is the same as when she is walking through the streets of the city. Paris has become a spectacle, a museum. The tourist walks into the city and into the church to see the church, to photograph it, to prove that she was there. The actual activity that gives

the city and the church its sense of mystery and exuberance is happen-ing under her feet. The crypt, like the human body, cannot be described as either inside or outside, as it is not one or the other. The crypt cannot be de-scribed in black or white where one is the binary opposite of the other. The human body, to the extent that it is related to architecture, cannot be described in this way either. The esophagus cannot be undeniably inside of the body if at some point it transforms into the tongue, then into the mouth into the lips, which are a portal to the body and ex-posed to exterior elements. Similar-ly, the crypt is not inside or outside the church. It is not completely one with the earth but it is not one with the air either. The crypt is not simply dug out of the earth, a space is excavated and material from the earth is treated and replaced, creating a wall between the natural earth and the hallowed space of the church. The crypt mimics the church in structure because it is an active foundation to the surface level of the ornate cathedral or basilica. The crypt is not as gran-diose as the ground level of the church as if it were not as good, as if it were relegated to the under-ground for a reason. The crypt is cryptic by disguising its relevance to the church as a whole, when in fact it may be more important than the ground level. The ground level of the church gives the oc-cupant the feeling of the presence of god. Especially in the Gothic Cathedral, the scale of the human is disregarded to propose the sense of importance. The crypt does the same thing in the opposite man-ner. The scale of the crypt is more related to the scale of the human

figure. The ceilings are lower, giving the sense of intimacy where the op-posite occurs above the heads of the occupants. The relationship to god is still present but in a more related way than in the high gothic cathe-dral above. The crypt can propose the feeling that God is close, where above, God is watching. The Crypt is invaginated in the Church, in the Earth and the tomb that the crypt contains is invaginated in the crypt. Is the body inside the tomb inside the church or the earth in a greater way than the crypt is? Is the crypt itself a tomb that may contain other tombs? If the crypt is a tomb, then what is the church above? What is the earth? “Interiority as noth-ing to do with the inside or the inhabitable space of a building but rather of a condition of being within. However as is the case with the grotesque interiority deals with two factors; the unseen and the hollowed-out.” Instead of defining the crypt as either inside or outside of something, it may be better under-stood through metaphor: the crypt is sited by excretion or ejaculation into itself. It is taken from the earth and discharged back. The same goes for the church, a church takes a chapel and expels it into a place where it serves a more meaningful purpose than a chapel on the level of the altar. Not only is it part of the program of the church in terms of a space for prayer and contemplation, but it also literally supports the church. Through this analogy, we associate the crypt with the quar-ries that are the foundations and the founding process of the forma-tion of Paris as a city. The crypt as a burial ground was a later development in the his-tory of the settlement that became

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Paris, and was part of the debate about the physical (and resulting spiritual) relationship between the living and the dead.

Places for Life and Death in Paris

In Roman times, the dead were buried in a necropolis located outside the walls of the city, visible evidence of the important history of the society for all visitors to see. Later, in early Christian times, the important ones were buried at churches, above ground in sar-cophagi and raised tombs made from the stones of Paris’s famous quarries. Ironically, some of these structures were looted for their stones during the Middle Ages, post the year 1000. This is evidence of a successive history of use and re-use of the earthen material of Paris itself. Burial of important people also too place below ground in crypts associated with churches, which al-lowed for contained reverence in a sacred, secured and also somewhat secret vault. For example, the site of the revered church of St. Denis, from the 7th century forward had been a necropolis. The celebration of the dead was always an impor-tant part of the Christian liturgy and the significant figures were kept close to the most religious sites. The same occurred with important secular figures, as the old church of Sainte-Genevieve, the patron saint of Paris, was built over in the 18th century for the Pantheon, a magnif-icent structure by Jacques-Germain Soufflot, which encapsulated the re-mains of important church figures and royalty and created a crypt, a mausoleum for the well-known. Over time, Christian burial for ordinary individuals occurred in churchyards and specially conse-

crated places throughout the city, for example in the Cemetery of the Innocents in Paris which accumu-lated over 2 million bodies over a millennium. Throughout the Middle Ages and the Renaissance, French society had no problem co-mingling living and dead, possibly because worship of the dead was important to their religion and so-ciety. But in the early 19th century, the focus shifted to a concern for hygiene and by state order, cem-eteries had to be located outside of cities. It was at that time that the famous Catacombs were created. Even though they occupy only about 1/800th of the area of the under-ground passages, they offer an impressive commemoration of the dead. They assumed their present form – vast volumes of bones and skulls arranged in decorative pat-terns -- in 1809 when Napoleon wanted Paris to emulate the impe-rial city of Rome, which had its own catacombs. The organization of the bones in the Catacombs of Paris has been agglomerated to create walls and architecture within the under-ground tunnels. The manner in which the bones are stacked dif-fer from the way bodies are orga-nized in Catacombs elsewhere. In the Catacombs of Palermo, Sicily skeletons are in tact and are shelved against the walls underneath the Church, giving a sense on iden-tity to each skeleton. Since the Catacombs of Paris were organized through the process of moving bodies from cemeteries all at once, skeletons have been disbanded and the identity of the skulls, femurs and other parts of the skeleton are lost. The losses of identity of the skeletons in the Catacombs in Paris give the burial ground very cryptic

characteristics. The original compo-nents of the individual skeletons are unknown in place and existence. The secret lies in the bones. The modern medium of photogra-phy helped maintain the cult of the dead in Paris through people like the Parisian photographer Felix Na-dar who published a photographic essay in 1867 called “Le Dessus et le Dessous de Paris” (“The Above and Below of Paris”). He photographed much of the underground of Paris, including the Catacombs, and the sewers as also discussed in this paper.While the interest in this paper of Felix Nadar’s 1867 essay “The Above and Below in Paris” has fo-cused on his documentation of the underground passages throughout the city, what was remarkable about Nadar’s vision and effort was that he showed to the public aspects of the city that they could not see as part of their everyday experiences on the ground: both the passages underground and the panoramic, Icarian view from above. The ground plane that the citizens occu-py is sandwiched between these two views as a palimpsest, a compres-sion of the city rationally organized above by streets and buildings built of limestone and gypsum quarried from the earth, and organically developed below by the burrowed underground passages that are both the physical substance and the life-blood of the city.Sewers are a complex labyrinth of productivity within a city. Paris had one of the first sewer systems due to the vacuums left by the excavation of limestone from underground quarries. Although sewers are known for their filth, unwanted rodents, crime, poverty and politi-cal insurrection, cryptically they promote cleanliness and hygiene.

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In Les Miserables, perhaps the most famous literary evocation of the underground city, Victor Hugo depicted the Paris sewers of the 1830s as ‘the evil in the city’s blood’, a place where the poor and the out-casts of society lurked together as a threatening formation for the world above ground. One of the most impressive feats of Baron Georges Haussmann was to improve the Parisian sewer system. Not many people understood the extent of Haussmann’s improve-ments of the underground until the French photographer Felix Nadar in the mid 19th century showed the public the underground. Nadar was interested in photography without the support of natural light, which was a perfect coupling of subject matter and politically charged material when he chose to photo-graph the underground of Paris. Nadar began to assemble scenarios where the new sewers with their impressive and clean engineering were on display by use of artificial light. This affected a lot of people by altering their perception of the underground.

Paris Underground Today

Today the underground of Paris contains the infrastructure that was imposed on the quarries. The remaining vacuums left by the excavation offer a creative setting to the Parisian art culture. Many kata artists venture through the under-ground and produce art, using the burrowed walls as their canvas. People use this empty site as a space for dwelling, exploring, and party-ing. Some lucky Parisians receive an invite to attend one of these parties. In order for them to attend, they must find their way to the intended space. Along with kata art and

underground parties, there have been music concerts that take place in the abandoned quarries. The acoustical differences in the un-derground are unique in compari-son to world above ground. These concerts have attracted hundreds of interested Parisians. Gordan Matta-Clark focused on the underground of Paris in his work in 1977. He was interested in architec-tural waste and work leading up to the catacombs and sewers in Paris had to do with cutting literal sec-tions and creating massive holes in dilapidated buildings. His interest in holes and historical waste led the artist to the underground of Paris where he made a series of photo-graphs and films positioning lost or buried histories of the city against the built environment above. The positioning of the work exploited and encouraged the encounter be-tween the past and the present city.I mean, a truffle is a fantastic thing buried somewhere in the ground.... Sometimes I find it. Sometimes I don't. In fact, the next area that interests me is an expedition into the underground: a search for the forgotten spaces left buried under the city as his-torical reserve or as surviving reminders of lost projects and fantasies .... This activity should bring art out of the gallery and into the sewers. Guided tours of the underground are provided to the public in cer-tain places around the city of Paris. The public is invited to tour some of the catacombs and archeologi-cal findings. Instead of allowing the visitors to roam free and experience the labyrinth, a path is given to the visitor by blocking off alternate possibilities. Artificial lighting is provided in the public tours, which is important because of the lack of natural light in the underground.

For explorers of the underground that do not attend the public and legal tours, artificial light is not provided and the explorer must provide her own. This limits the amount of visibility and allows for a much greater amount of cryptic mystery. There is a difference between falling from something and falling into something. Humpty Dumpty fell from the wall and he was injured when he met the ground. Alice on the other hand falls into the rabbit hole and she was not injured, rather her fall was a dreamy, mysterious fall. In myth, Icarus was consumed by the labyrinth and ‘fell’ out of the labyrinth into the sky, where he was free from the prison that he had created and his journey into the sky offered a multitude of mysteri-ous possibilities. Icarus was in awe of his journey into the sky and his new ability to fly to a point where his curiosity towards the sun led him to fall from the sky and fall to his fatal demise. The underground of Paris is something that one falls into. It holds secrets that are un-known. The cryptic underground is a labyrinthine, unexpecting and dreamy fall that contains the un-known secrets of the outcome.

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gooed by Owen Nichols

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goo here, scan and send to [email protected]

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Rich Lowry

Rarely does a museum ex hibit cause a crime spree. That's the dubious distinc tion of the Museum of Contemporary Art in Los Angeles, where a show on "street art" -- a k a vandalism -- has inspired graffiti "artists" to deface nearby buildings.The police arrested one of the people featured in the show, a French gentleman by the name of Space Invader, on suspicion of responsibility for some of the local vandalism. Mr. Invader is famous (in certain circles) for depicting the 1980s-era video game from which he takes his name. How appropriate that he takes such a childish subject for his childish acts.

Art-world big-wigs don't have to live here: Graffiti blights poor neighborhoods, as seen on this corner of LA's Griffin Avenue. The museum has lent all its cultural power -- and the considerable financial might of its backers -- to glorifying petty criminality and an urban blight practically synonymous with disorder and mayhem.

The museum's director, Jeffrey Deitch, has long experience in legitimizing graffiti. When he was in New York, his SoHo gallery specialized in the work of the spray-can and Magic Marker set. When he hosted a show featuring a replica of a graffiti-scarred ghetto street in 2000, the NYPD arrested one of the alleged artists under suspicion for having earlier defaced a Bronx middle school.For all the self-congratulatory transgressiveness of Deitch and other promoters of graffiti, they tend to blithely accept only damage to other people's property, as Heather Mac Donald notes in a withering critique in the City Journal of the "Art in the Streets" show.The museum paints over graffiti on its own back wall, and "doesn't even permit visitors to use a pen for note-taking within its walls," Mac Donald writes, "an affectation unknown in most of the world's greatest museums." MOCA's implicit attitude is "Heedless acts of vandalism for thee, but not for me."

In age-old countercultural style, Deitch has made a lucrative career from exploiting the acts of people ostentatiously violating bourgeois norms.

It's seemingly the ambition of every graffiti artist to become so famous that he can do well-paid work for the world's most powerful corpora-tions while spouting juvenile cliches about the oppressiveness of "the system." Between its corporate sponsors and its foundation backers, the MOCA show itself is the rotten fruit of US capitalism and wealth.

At least the idiot ideology of the apologists for graffiti is feasting on itself in contention over the show, providing amusement if not aesthetic value. Per The Associated Press, "The Phantom Street Artist, whose well known Rage Against the Machine album cover isn't represented, said the museum practiced the equivalent of post-Colonial hegemony in going with more mainstream artists." The Phantom Street Artist obviously defines "post-Colonial hegemony" as anything that irks him on any given afternoon.

Hegemonic or not, "Art in the Streets" is simply a glorification of the loathsome practice of painting your name or doodles on someone else's property. As Mac Donald documents, graffiti culture celebrates routine acts of theft and intersects with street gangs. It involves a lifestyle (late-night forays to break the law) and brings consequences (criminal records) that are destructive to young lives.Then there are the effects for everyone else. Surely, some vandals are gifted artists, just as some drug dealers have keen business minds. But so what?

Graffiti is almost always hideously ugly. It damages private and public property. It costs millions of dollars to fight and remove. It was the cut-ting edge of the wave of disorder that nearly sank pre-Giuliani New York City. If an aspiring artist is ambitious and talented, there's an obvious recourse -- find a canvas and paint on it. It worked for Rembrandt.

The people who run and back the museum are fortunate enough not to live in neighborhoods beset by graffiti or to own property likely to be targeted for the "art" they celebrate. It's not their children running around with spray cans or their businesses being vandalized. They can afford to excuse and patronize a public nuisance that is the bane of communities everywhere. They are a disgrace even to the decadent elite.

comments.lowry@ nationalreview.com

Read more: http://www.nypost.com/p/news/opinion/opedcolumnists/glorifying_blight_JFeuudR6Lx1Kf6wlPvYnBO#ixzz1MDtnbTVY

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Architecture and Defacement

Eoghan McTigue

ls there a place for "absence" in the planning and development ofcity space? Can we take the "Empty sign" work as an example wherematerial has been removed from a specific place to create new interpretative possibilities. can we apply this to city space and streets?

The social anthropologist, Michael Taussig, when speaking about "defacement"' contends that political artefacts, por-traits, flags, statues, buildings, etc. are inert when they appear on public display. lt is only when they are defaced that they begin to become charged politically. It is in that moment that these artefacts begin to reveal traces of what Taussig calls the "public secret". For Taussig, the "public secret" is that which is generally known but for one reason or another, cannot easily be articulated. Taussig connects the issue of secrecy to defacement, suggesting that depth is revealed when the surface is damaged: “the depth that seems to surface with the tearing of the surface”. This surfacing is made all the more subtle and ingenious, not to mention everyday, when the tear is partial or incomplete.

In the 50s, the French artist Raymond Haines pulleddown advertising and political posters and remounted them in galleries, both as a response to a media saturated public space and as a criticism of the artwork of his contemporaries. These fractured images’ composites of layers of postings, fragment language and graphic form to create a complex and uncon-scious patterning of “the public voice” as it appears in print form. In my projects collectively titled “Empty Sign” (1998 - 2002), I have taken photographs of institutional notice boards after having completely stripped the information from theboards. These photographs are then installed in a manner that extends their meaning into the architecture of the gallery space. ln the project “All Over Again” (2004), I photographed political murals that had been painted over in white. These white gable structures are not entirely blank, as traces of the obscured mural are still evident on the surface of the photo-graph. I used the free-standing structure “Free Derry Corner”, located in the nationalist Bogside in Derry, as the template for the installation of the work. The gable end from the “All Over Again” series has had material from its surface obscured while the Free Derry corner gable is the only remaining struc-ture, from the 1960s, in an area that has been bulldozed and redeveloped over the course of the past forty years. These are pictorial and architectural palimpsests, surfaces and areas that have been erased and reinscribed over time. The fact that these actions have never been fully completed, that there are traces of the previous composition or street structure in place makes them all the more compelling.

I want to connect these theories and strategies of defacementto my current research based around architecture and popular protest movements in Berlin. I am interested in connecting the development of architectural spaces in the east of the city to its history of protest movements. I would like to concentrate on certain aspects of this research that relate to defacement and attempt o develop some of the questions from that research.

How can this "labor of the negative", that we associate with defacement, be applied to the productive mentality of planning and building? According to Taussig, the negativity in the act of defacement is far from negative in its effects, for it brings an absence, that we would not otherwise know anything about, into a state of presence. Is there a place for "absence" in the planning and development of city space? Can we take the "Empty Sign" work as an example where material has been removed from a specific place to create new interpretative possibilities? Can we apply this to city space and streets? Can we engineer strategic gaps in the cityto extend its interpretative potential? Following these ideas, how does the continual redevelopment of Alexanderplatz relate to theories of re-inscription and overwriting that we associate with the palimpsest? Is there such a thing as an architectural palimpsest? More specifically relating to acts of defacement, what did thedestruction of the facade of the British Embassy by a group of pro-testers demonstrating solidarity with Palestine in 2002 reveal about the politics of the architecture of that Embassy?

Eoghan McTigue (1969), artist, Berlin. He works on the relationship between architecture and display. Selected exhibitions: “Here After”, Douglas Hyde Gallery, Dublin 2006, solo. “Enthusiasm”, Frieze Art Fair, London 2006. “Parade Ground”, COLAB, Bangalore 2006, solo. European Month of Photography, Berlin 2006. MOP Projects, Sydney 2006. “Every Picture Tells a Story”, Sparwasser HO, Berlin 2006. “Fragments of Another Language”, Galerie Kuttner Siebert, Berlin 2005, solo. Independent publication: “Free Association”.

[email protected]

From An Architektur 18: Camp for Oppositional Architecture: Theorizing Architectural Resistance

gooed by Koko Barnes & David Hecht

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goo on new museumElizabeth Nicholsexploration

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gooed by David Hecht & Owen Nichols

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Robert Coxdrawing

unidentified goo

Alan Paukmanatmospheric differences in section

Alan Paukmanform finding

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Jochen Hartmannlazy cut files

Nicholas M. Reitermaterial intersection

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sf2448 12/17

The Brooklyn Banks32

Justin Herman Plaza at Embarcadero Center in San Fransisco became an iconic skate spot

in the 1990s, attracting visitors from around the world that came to skate its ledges and

benches.33 The area persisted in popularity among skaters despite consistent efforts by the police

to prohibit the use of skateboards in the area.34 Ultimately the plaza was demolished and rebuilt

according to a new design, specifically aimed at limiting the potential for the built forms to be

adapted to use by skateboards.35 More commonly, existing architectural forms are altered to resist

improvised functional adaptations; metal knobs are added to ledges, benches and other surfaces

32 Smith, photo: Jay Maldonado.

33 Jensen, Travis. “No Easy Skate: S.F. Is No Longer Shredder Heaven.” (San Fransisco Chronicle 9 March 2007).

34 Ibid.35 Ibid.

From “Counter-Adaptations of the Contemporary Urban Landscape: Skateboarding and American Urbanism” by Stephen Froese

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Gooed by Koko Barnes & Stephen Froese

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David Hechtdiagram, movement

Alan Paukmanfields of movement

Owen Nicholsmodule

Ayaka Halesdiagram, movement

Studio KumpuschChristoph a. Kumpusch, Criticsite model

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gooed by Ayaka Hales, David Hecht & Owen Nichols

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Steven Choulibrary

Jochen Hartmanndrawing

Owen Nicholsdrawing

Ayaka Halesexploration

Ayaka Halesexploration

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gooed by Ayaka Hales

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Ayaka Halesexploration

Ayaka Halesexploration

Jochen Hartmannlibrary

Owen Nicholslibrary

Owen Nicholsintersection

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gooed by Ayaka Hales & Owen Nichols

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Jacob Escoffrepresentation

Dalia Hamatilight

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gooed by Owen Nichols & Nicholas M. Reiter

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Owen Nicholslibrar y

Leigh Salemcolony

Luis Par islibrar y

unidentified goo

Alan Paukmanmagnets

Ayaka Halesexploration

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gooed by Owen Nichols

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Owen Nicholsdiagram

Owen Nicholsintersection

Jochen Hartmanndrawing

Owen Nicholsplan

Owen Nicholssection

Owen Nicholsplan diagram

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gooed by Owen Nichols

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Steven Choulibrary

Jochen Hartmanndrawing

Ayaka Halesexploration

Ayaka Halesexploration

Ayaka Halesexploration

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gooed by Ayaka Hales

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Platform -- the event horizon of a black holeis sound of a catamaran as it meets the crest of a waveis the military urbanism of a basecamp in Afghanistanis the infinite horde of zombies in smooth spaceis the trove of online "boots-in-mud" fetish videosis the is the cultural industry propagated by Edward Bernaysis the critical interpretation of a definitionis the on Futurism and Timeis the reason we get up on is the surface which things start to grow

Platform --is the

student

lecture Sunday on

Eivind Karlsen & Gearge Valdes

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goo here and send to [email protected]

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Nicholas M. Reiterrendering

Nicholas M. Reiterrendering

Ayaka Halesstudy model

Paola Echegaraylibrary

hmm..

Owen Nicholslibrary

David Gonzalezexploration

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gooed by Owen Nichols

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Sprin

g 2011

Stud

ios

Ar

ch Co

re II Ar

ch Ad

v. IV Ar

ch Ad

v. VI UD

HP UP

NY / P

aris

28441

(II) D

ANIE

LS ST

UDIO

Yo

landa

Danie

ls / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll Ta

tsuya

Sakair

i, Teac

hing a

nd Tec

hnical

Assis

tant

Librar

ies ar

e curi

ous re

posito

ries. T

hey ar

e, as th

e phil

osophe

r Mich

el Fo

ucault

noted

in th

e essa

y “Of

Othe

r Spac

es: U

topias

and H

eterop

topias

,” “sto

rehous

es of

knowle

dge” t

hat ex

ist in

space

but ou

tside o

f time

. They

are s

paces

of acc

umula

tion,

localiz

ation,

arrang

ement

, and,

editin

g. Th

e stru

cture

of lib

raries

appea

rs to

be fin

ite, w

hile, t

he stru

ctures

of kn

owled

ge app

ear to

be in

finite

and ev

er exp

anding

. How

is kno

wledge

to be

house

d? Th

e expa

nsion

of kno

wledge

has c

ontinu

ally ex

hauste

d the

limits

of enc

yclope

dists i

n the

effort

to co

ntain

all in

one or

a seri

es of

volum

es. Am

erican

a, Brita

nnica,

Collie

r's, Ev

eryma

n's, W

orld B

ook...h

ave all

been

suppla

nted b

y soci

al medi

a and

inform

ation n

etwork

s...by

Wikip

edia.

Analy

sis

I bri

ef Wh

o has

access

to kn

owled

ge? W

hat is

approp

riate

knowle

dge? C

onside

ring t

he pop

ulariz

ation o

f infor

matio

n in t

he 18t

h cent

ury en

abled

by the

print

ing pr

ess in

contr

ast to

the p

opular

izatio

n of in

forma

tion i

n the

21st c

entury

enabl

ed by

the in

ternet

allow

for a

vanta

ge poi

nt to

consid

er the

form

s to ch

aracte

rize c

ontem

porary

“stor

ehouse

s of

knowle

dge, an

d, who

has ac

cess to

them

. Mini

ng pub

lic inf

ormatio

n cont

rovers

ies ac

ross ti

me, su

ch as,

Wiki

leaks,

the 9

11 cov

er-ups

, Wate

rgate,

the CI

A tape

s, etc.,

the s

tudio

will fo

cus on

the li

mits o

f publ

ic info

rmatio

n and

knowle

dge, i.

e. publ

ic educ

ation, t

o expl

ore an

d gene

rate n

ew sp

atial to

pograp

hies o

f publ

ic know

ledge.

An

alysis

II

brief

In the

effor

t to pr

ovide

public

access

to kn

owled

ge and

to re

consid

er the

appar

ently

finite

archit

ecture

of ac

cumula

tion,

the stu

dio wi

ll shif

t betw

een stu

dies o

f the li

mits o

f coll

ection

s and

limitle

ss inf

ormatio

n, and

, the li

mits o

f form

and l

imitle

ss tra

nsform

ations.

Begin

ning w

ith th

e limi

ted fo

rmal v

ocabul

ary of

archi

tectur

al sect

ions o

f the 1

8th

centur

y Fren

ch enc

yclope

dist D

enis D

iderot

’s Ency

cloped

ie as re

presen

tative

of the

finite

archit

ecture

of ac

cumula

tion, t

he stu

dio wi

ll expl

ore th

e form

of sp

aces o

f “enl

ighten

ment”

today

. Do

wnloa

d the

Syllab

us 284

41 (II

) CIV

IC FI

GURE

S, SO

CIAL

PARA

METR

ICS

Mark

Rakat

ansky

/ Mond

ay, W

ednesd

ay &

Friday

, 2pm

- 6pm

/ 500

Avery

Hall

Two o

f the m

ost sig

nifica

nt mo

des in

archi

tectur

e today

— in

flecte

d figu

ration

and p

arame

tric de

sign —

stand

at seem

ingly

opposi

te side

s of th

e desi

gn spe

ctrum

. On t

he one

hand,

with

param

etric o

peratio

ns we

see p

roject

s of e

xtrem

ely ar

ticulate

d and

comple

x surf

ace ac

cumula

tions

of com

ponent

s. On t

he oth

er han

d, with

infle

cted f

igurat

ion, w

e see

extre

mely

legibl

e proj

ects p

ossess

ing a d

iagram

matic

forma

l clari

ty.

The ta

sk of

the stu

dio is

to cha

llenge

this o

ppositi

on. In

spite

of the

ir diffe

rences

, both

modal

ities h

ave be

en fun

dament

al in r

econfi

guring

new f

orms o

f prog

ram, si

te, stru

cture,

and t

ectoni

c fabr

icatio

n. And

at the

presen

t mom

ent, li

ke opp

osite c

haract

ers in

a good

buddy

film

— Th

e Dude

and W

alter in

The B

ig Leb

owski

or Th

elma a

nd Lo

uise f

rom

the se

lfsame

name

d movi

e or W

ikus a

nd the

alien

"Chri

stophe

r Johns

on" in

Distr

ict 9)

— the

y both

are a

t an im

passe

and ne

ed eac

h othe

r's hel

p. Af

ter all

, what

is inf

lected

figura

tion b

ut the

param

etric m

odulati

on of

progra

mmed

volum

e? An

d what

is par

ametr

ic desi

gn but

the in

flecte

d refi

guring

of a s

elect s

et of e

lement

s? Lik

e in th

e budd

y film

, each

of the

se cha

racter

s is th

ere to

bring

out m

ore ch

aracte

r in ea

ch oth

er thr

ough t

heir in

teract

ion, ra

ther th

an the

ir isol

ation. A

s it is

now on

their

ow

n the

forme

r tends

to cr

eate a

field-

based

archit

ecture

of va

ried c

ompon

ents, t

he latt

er an

object

-based

archi

tectur

e of in

flecte

d volu

mes. I

n shor

t: sma

ll part

s with

no ar

ticulate

d figu

ral fo

rm vs

. big f

igural

form

s with

no ar

ticulate

d part

s. Ou

r sectio

n will

be an

experi

menta

l lab t

o crea

te new

hybri

ds of

surfac

es ref

igured

with

social

progra

m and

form

al volu

mes re

articu

lated t

hrough

modu

lations

of th

eir co

mpone

nt par

amete

rs. Th

e libra

ry tod

ay, wi

th its

civic i

dentity

being

refig

ured a

nd rea

rticula

ted th

rough

new us

es and

new u

sers, n

ew m

edia a

nd new

medi

ations,

is an

ideal t

ypolog

y to

experi

ment

with a

nd thr

ough t

o deve

lop ne

w meth

ods an

d moda

lities.

Your

invent

ion wi

ll prov

ide br

eakthr

oughs

in thi

s form

al and

cultur

al imp

asse. O

ur stu

dio as

sistan

t Luc

Wilso

n will

provid

e help

for th

ose in

terest

ed in

worki

ng thr

ough p

arame

tric so

ftware

. The

goal is

to de

velop

new br

eakthr

oughs

in the

param

etric p

rocess

: putt

ing th

e soci

al pro

gram

back i

nto pr

ogram

ming,

puttin

g the

drama

tic scr

ipt ba

ck int

o scri

pting.

But p

arame

trics is

much

older

than

the us

e of c

urrent

digit

al mode

ls, old

er tha

n Luig

i More

tti's us

e of th

e term

in th

e 1950

s, olde

r even

than

its firs

t self-c

onscio

us use

by ce

rtain

archit

ects in

the R

enaiss

ance s

uch as

Giuli

o Rom

ano an

d Andr

ea Pal

ladio.

It is i

ndeed

as old

as

archit

ecture

itself

, whic

h has

always

been

develo

ped th

rough

theme

s and

their p

arame

tric tra

nsform

ation. O

peratin

g on a

nd thr

ough y

our ow

n draw

ing an

d mode

ling p

arame

ters, w

ith or

witho

ut the

use o

f prog

rams s

uch as

Grass

hopper

, will

provid

e the m

eans to

transf

orm ou

r unde

rstandi

ng of

what m

ight b

e arch

itectur

al abou

t the c

ivic to

day, an

d thr

ough w

hat pa

ramete

rs we c

ould r

efigur

e its fu

ture.

28441

(II) U

RBAN

SILE

NCE

Karla

Roths

tein / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll / Stu

dio W

ebsite

The r

arity

of urb

an sile

nce is

an ins

piratio

n. Be

yond a

coustic

assau

lts, ou

r lives

are s

hroude

d in p

ervasi

ve vis

ual, em

otiona

l, poli

tical, a

nd vir

tual n

oise. M

ultipl

icity, d

istract

ion an

d caco

phony

epitom

ize th

e desi

rable c

omple

xity o

f the m

etropo

lis, ye

t space

s of c

ontem

platio

n, focu

s, and

reflec

tion a

re int

egral t

o our

existe

nce as

well.

Thoug

h much

less fr

equent

ly enc

ounter

ed, th

ese m

oment

s of

quiet c

larity

i reson

ate wi

th sen

suous

intens

ity.

Recog

nizing

the c

ulture

of hy

perbol

e, supe

rficiali

ty, an

d inte

rtwine

d exis

tence

in wh

ich we

opera

te, pro

jects i

n this

sectio

n will

strive

to art

iculate

succi

nct, m

eaning

ful as

piratio

ns, sh

ed gra

tuitou

s glitt

er, an

d be a

ccount

able f

or val

uing a

nd eva

luatin

g deci

sions

and co

nseque

nce. H

oning

our m

eans o

f expl

oratio

n and

transl

ation w

ill am

plify

the im

pact

of act

ion. W

e will

honor

the su

bstant

ive po

wer o

f word

s and

space

-conte

nt and

void–

aspir

ing fo

r conc

urrent

states

of sil

ence a

nd pro

fundit

y thro

ughout

the s

emest

er.

Silent

, as in

the p

oetry

of sno

wfall.

Sil

ent, as

an un

spoken

prom

ise, un

dersto

od.

Silent

, as a q

uiesce

nt vol

cano -

still,

for th

e mom

ent...

Space

s that s

upport

the s

tudy, p

recisio

n and

intens

ity of

profo

und wo

rk.

Down

load t

he Sy

llabus

28441

CORE

ARCH

ITEC

TURE

STUD

IO II

Mark

Wasiu

ta / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll De

script

ion co

ming

soon

28441

(II) S

HADO

W ST

UDIO

Ro

bert M

arino

/ Mond

ay, W

ednesd

ay &

Friday

, 2pm

- 6pm

/ 500

Avery

Hall

This s

emest

er’s w

ork in

volves

the d

esign

of a c

omple

x buil

ding w

ithin

a dens

e urba

n envi

ronme

nt. Th

e prog

ramma

tic and

techni

cal re

quirem

ents a

lone w

ill be

a sign

ificant

challe

nge fo

r begi

nning

design

ers.

Overs

hadow

ing th

ese re

quirem

ents h

oweve

r, is a

much

larger

imper

ative f

or the

desig

n: To

find a

n expr

ession

for o

ur col

lectiv

e selv

es in

the fo

rm of

a publ

ic buil

ding. T

he pub

lic lib

rary r

emain

s as o

ne of

the fe

w plac

es of

potent

ial pub

lic con

gregat

ion. T

he rol

e of th

e libra

ry has

expan

ded to

accep

t many

purpo

ses be

yond t

he me

re dis

semina

tion o

f rea

ding m

ateria

l. As s

uch it

has a k

ind of

civic r

espons

ibility

to sy

mboli

ze the

rema

ining

truth

of our

collec

tivity

. Stu

dents w

ill be

encour

aged t

o disc

ern po

tential

qualit

ies in

an ar

chitec

ture th

at is n

ot me

rely a

refle

ction o

f our

indivi

dualist

ic and

somew

hat di

ssocia

ted tim

es. In

stead,

qualit

ies th

at supp

ort re

ason a

nd com

mon h

uman

theme

s will

be enc

ourage

d. Wh

ile thi

s is ac

knowle

dged a

s the o

verarc

hing g

oal of

the s

emest

er, th

e stud

io’s m

ethodo

logy m

ay see

m par

adoxic

al. Th

e soli

dity a

nd per

manen

ce of

clear

structu

ral pr

ecepts

and a

poetic

assem

bly of

mate

rials m

ay pro

duce th

e arm

ature

on wh

ich th

e stud

ent’s i

ntuitio

n may

be pro

ductiv

e. We

recog

nize th

at, in

the Pl

atonic

sense

, we a

re ma

king s

hadow

s. It w

ill be

a goal

of th

e stud

io to

keep t

he ide

al in m

ind.

Rober

t Ma

rino

Januar

y 18, 2

011

28441

(II) N

EW VO

LUME

S NEW

PROG

RAMS

: PAR

AMET

ERS O

F PUB

LIC I

N THE

PUBL

IC LI

BRAR

Y Ch

ristina

Gober

na / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll “T

here is

no do

cument

of civ

ilizatio

n whic

h is n

ot at t

he sam

e time

a docu

ment

of bar

barism

. And

just as

such

a docu

ment

is not

free o

f barb

arism

, barba

rism tai

nts als

o the

manne

r in wh

ich it

was tr

ansmi

tted fro

m one

owner

to th

e othe

r” by

Walter

Benja

min, T

heses

on the

Philo

sophy

of His

tory.

From

the de

structio

n of th

e anci

ent lib

rary o

f Alex

andria

by Ju

lius C

aesar

to the

publi

cation

of co

mmuni

st scri

bers b

y sena

tor M

cCart

hy, fro

m the

burn

of the

pre-c

olumb

ian ar

chives

by Eu

ropean

conqu

erors t

o the

persec

ution

of the

autho

rs of d

egener

ate lit

eratur

e by t

he Na

zis, fr

om th

e elim

inatio

n of b

ourgeo

is liter

ature

by Sta

lin, to

the c

urrent

hunt

of Wi

kileak

s, the

practic

e of c

ensors

hip of

books

has b

een a c

ommo

n prac

tice an

d the

burn o

f libra

ries a

n exte

nded s

port th

at civi

lizatio

ns hav

e cons

tantly

exerc

ised a

long h

istory

in ord

er to

contro

l or a

nnihil

ate th

e cult

ure of

the p

eople t

hey ha

ve con

quered

. Th

is stud

io is b

ased i

n the

premi

se tha

t if ev

ery pu

blic li

brary

constru

cts a s

hadow

librar

y of it

s abse

nces, e

xclusi

ons an

d cens

orship

s, the

concep

t of c

itizens

hip th

at it en

gages

is not

natura

l, but

an acc

umula

tion o

f speci

fic id

eologi

cal ch

oices.

Hence

, the d

esign

of a p

ublic l

ibrary

dema

nd us

a criti

cal an

alysis

of its

catalo

gue’s e

xclusi

ons, a

carefu

l und

erstan

ding o

f the c

hoices

of its

order

and s

harp i

nterpr

etatio

n of th

e spec

ific civ

ism th

at its p

ublic p

rogram

poten

tiates.

If l

ibrari

es not

only

assert

but al

so cha

llenge

author

ity by

their

conte

nt and

monu

menta

lity, ul

timate

ly the

quest

ion th

at rise

s is if

archit

ects s

hould

orches

trate a

defin

ition o

f civi

sm, a

symbol

ic pres

ence a

nd a r

eposito

ry of

knowle

dge or

if the

y shou

ld be

freed

from

all res

ponsib

ilities

. In

the in

itial an

alysis

, stude

nts wi

ll be e

ncoura

ged to

appro

ach th

ese iss

ues wi

th bol

dness.

The c

onsequ

ent de

sign s

hould

bring

polem

ics to

the d

ebate a

bout p

ublic l

ibrari

es as

forum

of civ

ic enga

gement

. Do

wnloa

d the

Syllab

us 284

41 CO

RE AR

CHIT

ECTU

RE ST

UDIO

II Ch

ristoph

Kump

usch /

Mond

ay, W

ednesd

ay &

Friday

, 2pm

- 6pm

/ 500

Avery

Hall

Descr

iption

comi

ng soo

n 284

41 (II

) DRE

SS CO

DE: R

ETHI

NKIN

G ARC

HITE

CTUR

E'S CI

VIC P

RESE

NCE

Karel

Klein

/ Mond

ay, W

ednesd

ay &

Friday

, 2pm

- 6pm

/ 500

Avery

Hall

To ap

proach

the q

uestio

n of w

hat co

nstitu

tes a c

ivic a

rchitec

ture in

conte

mpora

ry soc

iety, th

e stud

io eng

ages a

seldo

m-con

sidere

d topi

c in co

ntemp

orary

discou

rse—a

rchitec

tural d

ecorum

. State

d sim

ply, th

e prob

lem is

that o

f appr

opriate

expre

ssion

for a g

iven s

ituatio

n and

remain

s one

of the

oldes

t of a

rchitec

tural t

opics.

Inste

ad of

interp

reting

civic

archit

ecture

as be

ing af

filiate

d with

its in

stituti

onal fu

nction

ality, t

he stu

dio ex

amine

s the c

ivic c

onditio

n as o

ne of

atmosp

here a

nd sen

sibilit

y wher

e the c

omple

x netw

ork of

value

s in ou

r cont

empor

ary so

ciety i

s made

intui

tive a

nd im

media

te. Th

ough d

ecorum

is som

etimes

associ

ated w

ith or

nament

ation,

the iss

ues of

decor

um co

mpreh

end m

any pr

oblem

s in th

e desi

gn of

a buil

ding.

To pr

ivileg

e deco

rum is

not to

privi

lege v

isual

repres

entatio

n but

to for

egroun

d how

a pub

lic pre

sence

is esta

blishe

d and

interp

reted.

When

we a

sk wh

at is a

ppropr

iate, w

e are

exami

ning v

alues.

Spatia

l con

dition

s, orga

nizatio

nal re

lations

hips, s

ensory

atmosp

heres,

prese

nce on

a site,

all an

swer

to jud

gment

s of p

roprie

ty at s

ome p

oint. T

he int

erest o

f the s

tudio

is to c

areful

ly con

sider

and re

consid

er our

cultu

re’s h

abits o

f perc

eption

and t

he exp

ectatio

ns of

built s

pace c

ommo

nly br

ought

to the

civic a

rena.

As a w

ay to

consid

er not

ions o

f deco

rum m

ore ca

refull

y, the

studio

will e

xamine

the w

orld o

f fashi

on. It

has of

ten be

en sai

d that

how w

e dres

s is a r

eflect

ion of

who w

e think

we ar

e. But

more

accura

tely, ho

w we d

ress is

always

tied t

o an i

dea of

who w

e think

we ar

e for

a part

icular

situat

ion. F

urther

, it is

in the

world

of fa

shion

that th

e com

plexit

ies

of our

cultu

re is i

mmedi

ately

graspe

d. No

longe

r do w

e have

any r

eliable

dress

code

that c

an be

unders

tood a

s appr

opriate

for e

very o

ccasio

n. Th

e indi

vidual

in to

day’s

world

is a c

omple

x ama

lgam

of aff

ectatio

ns tha

t unfo

ld in

an eve

r more

publi

c aren

a. We a

re exp

osed l

ike ne

ver be

fore. A

nd thi

ngs be

ing th

e way

they a

re, it

seems

silly

for

archit

ecture

to as

sume th

at ther

e is a u

nivers

al dres

s code

. Th

e stud

io is i

n sear

ch of

ways

to dre

ss a b

uildin

g for

a publ

ic even

t, and

unders

tands

this a

s a pr

oblem

full o

f com

plexit

ies an

d cont

radicti

ons.

Down

load t

he Sy

llabus

21648

(IV) S

PACE

STUD

IO V:

MISS

ION T

O DEE

P SPA

CE

Yoshi

ko Sat

o / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll Spa

ce Tra

vel

One o

f the m

ost pr

ovocat

ive im

ages o

f space

explo

ration

from

the 19

th to

the en

d of th

e 20th

Centu

ry has

been

that o

f a sp

ace sta

tion f

loatin

g abov

e the E

arth t

o serv

e as a

way s

tation

to the

unive

rse. A

s an i

dea, th

e spac

e stati

on has

emerg

ed in

popula

r cult

ure lo

ng bef

ore it

becam

e a co

ncept

or pos

sibilit

y in s

pace e

xplora

tion. T

he vis

ionary

image

s for

the s

pace s

tation

as the

y appe

ared i

n art,

literat

ure, an

d film

great

ly ins

pired

the im

aginat

ion of

scien

tists to

probe

the l

imitle

ss ter

ritorie

s of th

e oute

r atm

ospher

e and

the ev

entual

imple

menta

tion o

f our

presen

t day

and fu

ture g

alactic

outpo

sts. F

rom ea

rly sc

ience

fictio

n proj

ection

s it ha

s been

under

stood

that o

nce ro

cket p

ropuls

ion co

uld

overco

me Ea

rth's g

ravity

and r

each o

rbit, t

ravele

rs woul

d be "

halfw

ay to

anywh

ere" th

ey mi

ght wa

nt to

go. Fr

om su

ch a m

ythica

l conce

pt one

can i

magin

e a sta

tion f

loatin

g in E

arth o

rbit se

rving

as a tr

ansit p

oint en

abling

travel

from

Earth

to th

e Moon

, our g

alaxy,

and b

eyond.

Alt

hough

space

tourism

has b

een a t

heme f

or cou

ntless

of sc

ience

fictio

n repr

esenta

tions

and sp

eculati

ons of

the le

ading

scient

ists in

the 1

950's,

the id

ea and

realiz

ation o

f vaca

tionin

g in s

pace h

as bee

n grea

tly ov

ershad

owed

by gov

ernme

nt spa

ce act

ivities

- milit

ary op

eratio

ns, sc

ientifi

c rese

arch, e

tc. Th

e focu

s of sp

ace ac

tivity

durin

g the

Cold

War

paraly

zed fo

r many

decad

es the

publi

c's im

aginat

ion of

the p

ossibi

lities

of spa

ce tra

vel. H

oweve

r, in t

he mi

d-1990

s, NAS

A re-

presen

ted "S

pace T

ourism

" as th

e next

majo

r targe

t for th

e spac

e indu

stry in

the p

ost-Sh

uttle

era of

space

archi

tectur

e. For

many

countr

ies ar

ound t

he glo

be the

touri

st indu

stry op

erates

as a

highly

comp

etitive

mark

et ave

raging

about

15 tim

es gre

ater re

venue

than t

he spa

ce ind

ustry

itself.

As to

urism

is suc

h a sig

nifica

nt gen

erator

of en

ormous

reven

ue and

often

emplo

ys the

use o

f adva

nced t

echnol

ogies

(mass

aeron

autica

l trans

portati

on, co

mpute

rs, tele

commu

nicatio

ns, etc

.), the

creat

ion of

futur

e holi

day sp

ace-sp

ots ar

e proj

ecting

vast f

inanci

al gain

s resul

ting

from

the lin

ks bet

ween

the ne

w spac

e indus

tries a

nd tec

hnolog

ies as

they

expand

for p

ublic c

onsum

ption.

Howe

ver, w

ith to

day's s

keptici

sm ab

out sp

ace tra

vel, it

is stil

l seen

as ina

ccessi

ble—b

eing t

oo spe

cial, t

oo dan

gerous

, and c

ertain

ly too

expen

sive f

or mo

st peop

le to e

xperie

nce or

even

entert

ain. O

nly hi

story

can di

spute t

hese m

any sh

ortsig

hted

precon

ceptio

ns abo

ut ent

ering

into u

nknow

n real

ms m

ade po

ssible

by jo

int ef

forts o

f techn

ology

and in

dustry

. In 19

12 avi

ation w

as sub

jected

to a s

imilar

appre

hensiv

e attit

ude as

virtu

ally no

one c

ould h

ave im

agined

that a

mere

two d

ecades

from

its ons

et more

than

1 milli

on peo

ple wo

uld fly

over

the ex

panses

of th

e eart

h's oc

eans.

Down

load t

he Sy

llabus

21648

ADVA

NCED

ARCH

ITEC

TURE

STUD

IO IV

Ka

zys Va

rnelis

/ Mond

ay, W

ednesd

ay &

Friday

, 2pm

- 6pm

/ 500

Avery

Hall

Descr

iption

comi

ng soo

n 216

48 (IV

) PAV

ILLI

ON ST

UDIO

Ga

lia So

lomono

ff / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll Te

mpora

ry/Co

ntemp

orary

Pavilio

n at

the

Colum

bia

Unive

rsity

Camp

us De

sign B

uild S

tudio

Cours

e Desc

riptio

n:

Frequency and top words :Word Occur Freq. Rankstudio 98 1.40% 1new 62 0.90% 2design 54 0.80% 3space 43 0.60% 4architecture 41 0.60% 4our 36 0.50% 5hall 34 0.50% 5monday 34 0.50% 5what 34 0.50% 5city 34 0.50% 5avery 33 0.50% 5friday 33 0.50% 5wednesday 33 0.50% 5urban 33 0.50% 5how 30 0.40% 6through 29 0.40% 6work 28 0.40% 6students 28 0.40% 6download 26 0.40% 6planning 26 0.40% 6architectural 26 0.40% 6public 25 0.30% 7syllabus 24 0.30% 7these 24 0.30% 7monograph 22 0.30% 7travel 22 0.30% 7project 22 0.30% 7structure 20 0.30% 7cultural 19 0.30% 7between 19 0.30% 7use 19 0.30% 7development 19 0.30% 7building 19 0.30% 7street 18 0.30% 7within 17 0.20% 8knowledge 17 0.20% 8physical 16 0.20% 8should 16 0.20% 8information 16 0.20% 8each 15 0.20% 8you 15 0.20% 8focus 15 0.20% 8like 14 0.20% 8time 14 0.20% 8form 14 0.20% 8vendors 14 0.20% 8community 13 0.20% 8may 13 0.20% 8soho 13 0.20% 8rio 13 0.20% 8two 13 0.20% 8zoning 13 0.20% 8program 13 0.20% 8world 13 0.20% 8potential 12 0.20% 8cities 12 0.20% 8projects 12 0.20% 8based 12 0.20% 8york 12 0.20% 8neighborhood 12 0.20% 8site 12 0.20% 8culture 12 0.20% 8west 11 0.20% 8existing 11 0.20% 8industrial 11 0.20% 8civic 11 0.20% 8being 11 0.20% 8research 11 0.20% 8issues 11 0.20% 8working 11 0.20% 8city’s 11 0.20% 8where 10 0.10% 9east 10 0.10% 9future 10 0.10% 9contemporary 10 0.10% 9well 10 0.10% 9economic 10 0.10% 9portfolio 10 0.10% 9spatial 10 0.10% 9explore 10 0.10% 9both 10 0.10% 9ted 10 0.10% 9

city’s 11 0.20% 8where 10 0.10% 9east 10 0.10% 9future 10 0.10% 9contemporary 10 0.10% 9well 10 0.10% 9economic 10 0.10% 9portfolio 10 0.10% 9spatial 10 0.10% 9explore 10 0.10% 9both 10 0.10% 9ted 10 0.10% 9complex 10 0.10% 9analysis 10 0.10% 9experience 10 0.10% 9area 10 0.10% 9develop 10 0.10% 9local 10 0.10% 9central 9 0.10% 9art 9 0.10% 9yet 9 0.10% 9areas 9 0.10% 9many 9 0.10% 9however 9 0.10% 9environment 9 0.10% 9better 9 0.10% 9part 9 0.10% 9background 9 0.10% 9process 9 0.10% 9your 9 0.10% 9districts 9 0.10% 9current 9 0.10% 9major 9 0.10% 9spring 9 0.10% 9navy 8 0.10% 9support 8 0.10% 9ways 8 0.10% 9side 8 0.10% 9upon 8 0.10% 9way 8 0.10% 9fayerweather 8 0.10% 9together 8 0.10% 9even 8 0.10% 9production 8 0.10% 9today 8 0.10% 9long 8 0.10% 9must 8 0.10% 9buildings 8 0.10% 9century 8 0.10% 9social 8 0.10% 9airport 8 0.10% 9them 8 0.10% 9population 8 0.10% 9spaces 7 0.10% 9ideas 7 0.10% 9yard 7 0.10% 9group 7 0.10% 9build 7 0.10% 9itself 7 0.10% 9approach 7 0.10% 9means 7 0.10% 9strategies 7 0.10% 9already 7 0.10% 9plan 7 0.10% 9people 7 0.10% 9expected 7 0.10% 9every 7 0.10% 9condition 7 0.10% 9rather 7 0.10% 9next 7 0.10% 9tedx 7 0.10% 9individual 7 0.10% 9library 7 0.10% 9

library 7 0.10% 9fabric 7 0.10% 9before 7 0.10% 9much 7 0.10% 9often 7 0.10% 9first 7 0.10% 9architects 7 0.10% 9built 7 0.10% 9small 7 0.10% 9advanced 7 0.10% 9just 7 0.10% 9client 7 0.10% 9etc 7 0.10% 9description 7 0.10% 9significant 7 0.10% 9collective 7 0.10% 9coming 7 0.10% 9place 7 0.10% 9residential 7 0.10% 9parametric 7 0.10% 9nature 7 0.10% 9studio 7 0.10% 9role 6 0.10% 9transformation 6 0.10% 9high 6 0.10% 9master 6 0.10% 9upper 6 0.10% 9industry 6 0.10% 9museum 6 0.10% 9designed 6 0.10% 9washington 6 0.10% 9dress 6 0.10% 9touch 6 0.10% 9wny 6 0.10% 9interface 6 0.10% 9gsapp 6 0.10% 9ready 6 0.10% 9technologies 6 0.10% 9own 6 0.10% 9possible 6 0.10% 9term 6 0.10% 9land 6 0.10% 9conditions 6 0.10% 9purpose 6 0.10% 9university 6 0.10% 9preservation 6 0.10% 9programs 6 0.10% 9under 6 0.10% 9soon 6 0.10% 9book 6 0.10% 9sustainability 6 0.10% 9empty 6 0.10% 9break 6 0.10% 9libraries 6 0.10% 9crisis 6 0.10% 9stuff 6 0.10% 9large 6 0.10% 9while 6 0.10% 9park 6 0.10% 9goal 6 0.10% 9semester 6 0.10% 9practice 6 0.10% 9board 6 0.10% 9station 6 0.10% 9study 6 0.10% 9ever 6 0.10% 9including 6 0.10% 9history 6 0.10% 9political 6 0.10% 9student 6 0.10% 9become 6 0.10% 9limited 6 0.10% 9municipalities 6 0.10% 9

municipalities 6 0.10% 9proposals 6 0.10% 9parameters 6 0.10% 9particular 6 0.10% 9structural 6 0.10% 9provide 6 0.10% 9located 6 0.10% 9communication 6 0.10% 9effort 6 0.10% 9sense 6 0.10% 9organization 6 0.10% 9trip 6 0.10% 9north 6 0.10% 9urbanism 6 0.10% 9same 6 0.10% 9search 5 0.10% 9idea 5 0.10% 9back 5 0.10% 9end 5 0.10% 9accumulation 5 0.10% 9years 5 0.10% 9studios 5 0.10% 9specific 5 0.10% 9understand 5 0.10% 9website 5 0.10% 9ultimately 5 0.10% 9center 5 0.10% 9question 5 0.10% 9encouraged 5 0.10% 9beyond 5 0.10% 9life 5 0.10% 9virtual 5 0.10% 9free 5 0.10% 9human 5 0.10% 9order 5 0.10% 9might 5 0.10% 9propose 5 0.10% 9problem 5 0.10% 9decorum 5 0.10% 9international 5 0.10% 9made 5 0.10% 9sometimes 5 0.10% 9expression 5 0.10% 9always 5 0.10% 9active 5 0.10% 9presence 5 0.10% 9needs 5 0.10% 9code 5 0.10% 9regulations 5 0.10% 9far 5 0.10% 9zone 5 0.10% 9class 5 0.10% 9events 5 0.10% 9inflected 5 0.10% 9istanbul 5 0.10% 9others 5 0.10% 9columbia 5 0.10% 9create 5 0.10% 9context 5 0.10% 9now 5 0.10% 9need 5 0.10% 9landscape 5 0.10% 9historic 5 0.10% 9point 5 0.10% 9challenge 5 0.10% 9growth 5 0.10% 9consider 5 0.10% 9articulated 5 0.10% 9then 5 0.10% 9groups 5 0.10% 9appropriate 5 0.10% 9across 5 0.10% 9

housing 5 0.10% 9relationship 5 0.10% 9janeiro 5 0.10% 9post 5 0.10% 9south 5 0.10% 9beginning 5 0.10% 9uses 5 0.10% 9formal 5 0.10% 9play 4 0.10% 9document 4 0.10% 9return 4 0.10% 9content 4 0.10% 9exploration 4 0.10% 9region 4 0.10% 9global 4 0.10% 9vendor 4 0.10% 9still 4 0.10% 9pre 4 0.10% 9seek 4 0.10% 9very 4 0.10% 9week 4 0.10% 9types 4 0.10% 9requirements 4 0.10% 9three 4 0.10% 9developments 4 0.10% 9conference 4 0.10% 9weeks 4 0.10% 9places 4 0.10% 9dubai 4 0.10% 9against 4 0.10% 9avenue 4 0.10% 9speakers’ 4 0.10% 9instead 4 0.10% 9produced 4 0.10% 9meaning 4 0.10% 9contextual 4 0.10% 9strategy 4 0.10% 9conleste 4 0.10% 9transportation 4 0.10% 9since 4 0.10% 9around 4 0.10% 9think 4 0.10% 9examine 4 0.10% 9streets 4 0.10% 9terminal 4 0.10% 9levels 4 0.10% 9case 4 0.10% 9too 4 0.10% 9mid 4 0.10% 9possibilities 4 0.10% 9day 4 0.10% 9challenges 4 0.10% 9greatly 4 0.10% 9earth 4 0.10% 9tokyo 4 0.10% 9although 4 0.10% 9decades 4 0.10% 9activity 4 0.10% 9seems 4 0.10% 9activities 4 0.10% 9problems 4 0.10% 9technology 4 0.10% 9regional 4 0.10% 9office 4 0.10% 9uff 4 0.10% 9proximity 4 0.10% 9questions 4 0.10% 9retail 4 0.10% 9again 4 0.10% 9address 4 0.10% 9decisions 4 0.10% 9multiple 4 0.10% 9

make 4 0.10% 9artists 4 0.10% 9society 4 0.10% 9neighborhoods 4 0.10% 9values 4 0.10% 9personnel 4 0.10% 9investigate 4 0.10% 9march 4 0.10% 9final 4 0.10% 9conceptual 4 0.10% 9received 4 0.10% 9xxi 4 0.10% 9manufacturing 4 0.10% 9energy 4 0.10% 9moment 4 0.10% 9access 4 0.10% 9operations 4 0.10% 9models 4 0.10% 9volumes 4 0.10% 9limits 4 0.10% 9themes 4 0.10% 9finite 4 0.10% 9modes 4 0.10% 9studies 4 0.10% 9set 4 0.10% 9mark 4 0.10% 9forms 4 0.10% 9understanding 4 0.10% 9users 4 0.10% 9older 4 0.10% 9paris 4 0.10% 9district 4 0.10% 9seemingly 4 0.10% 9volume 4 0.10% 9complexity 4 0.10% 9interested 4 0.10% 9green 4 0.10% 9series 4 0.10% 9technical 4 0.10% 9teaching 4 0.10% 9latter 4 0.10% 9

Total word count : 7164Number of different words : 3165Complexity factor (Lexical Density) : 44.20%Readability (Gunning-Fog Index) : (6-easy 20-hard) 12.5Total number of characters : 80100Number of characters without spaces : 51789Average Syllables per Word : 1.91Sentence count : 617Average sentence length (words) : 20.38Max sentence length (words) : 98( from the destruction of the ancient library of alexandria by julius caesar to the publication of communist scribers by senator mccarthy from the burn of the pre columbian archives by european conquerors to the persecution of the authors of degenerate literature by the nazis from the elimination of bourgeois literature by stalin to the current hunt of wikileaks the practice of censorship of books has been a common practice and the burn of libraries an extended sport that civilizations have constantly exercised along history in order to control or annihilate the culture of the people they have conquered)

Min sentence length (words) : 1(e)

Readability (Alternative) beta : (100-easy 20-hard, optimal 60-70) 24.4

Page 63: goo version 1.0

Sprin

g 2011

Stud

ios

Ar

ch Co

re II Ar

ch Ad

v. IV Ar

ch Ad

v. VI UD

HP UP

NY / P

aris

28441

(II) D

ANIE

LS ST

UDIO

Yo

landa

Danie

ls / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll Ta

tsuya

Sakair

i, Teac

hing a

nd Tec

hnical

Assis

tant

Librar

ies ar

e curi

ous re

posito

ries. T

hey ar

e, as th

e phil

osophe

r Mich

el Fo

ucault

noted

in th

e essa

y “Of

Othe

r Spac

es: U

topias

and H

eterop

topias

,” “sto

rehous

es of

knowle

dge” t

hat ex

ist in

space

but ou

tside o

f time

. They

are s

paces

of acc

umula

tion,

localiz

ation,

arrang

ement

, and,

editin

g. Th

e stru

cture

of lib

raries

appea

rs to

be fin

ite, w

hile, t

he stru

ctures

of kn

owled

ge app

ear to

be in

finite

and ev

er exp

anding

. How

is kno

wledge

to be

house

d? Th

e expa

nsion

of kno

wledge

has c

ontinu

ally ex

hauste

d the

limits

of enc

yclope

dists i

n the

effort

to co

ntain

all in

one or

a seri

es of

volum

es. Am

erican

a, Brita

nnica,

Collie

r's, Ev

eryma

n's, W

orld B

ook...h

ave all

been

suppla

nted b

y soci

al medi

a and

inform

ation n

etwork

s...by

Wikip

edia.

Analy

sis

I bri

ef Wh

o has

access

to kn

owled

ge? W

hat is

approp

riate

knowle

dge? C

onside

ring t

he pop

ulariz

ation o

f infor

matio

n in t

he 18t

h cent

ury en

abled

by the

print

ing pr

ess in

contr

ast to

the p

opular

izatio

n of in

forma

tion i

n the

21st c

entury

enabl

ed by

the in

ternet

allow

for a

vanta

ge poi

nt to

consid

er the

form

s to ch

aracte

rize c

ontem

porary

“stor

ehouse

s of

knowle

dge, an

d, who

has ac

cess to

them

. Mini

ng pub

lic inf

ormatio

n cont

rovers

ies ac

ross ti

me, su

ch as,

Wiki

leaks,

the 9

11 cov

er-ups

, Wate

rgate,

the CI

A tape

s, etc.,

the s

tudio

will fo

cus on

the li

mits o

f publ

ic info

rmatio

n and

knowle

dge, i.

e. publ

ic educ

ation, t

o expl

ore an

d gene

rate n

ew sp

atial to

pograp

hies o

f publ

ic know

ledge.

An

alysis

II

brief

In the

effor

t to pr

ovide

public

access

to kn

owled

ge and

to re

consid

er the

appar

ently

finite

archit

ecture

of ac

cumula

tion,

the stu

dio wi

ll shif

t betw

een stu

dies o

f the li

mits o

f coll

ection

s and

limitle

ss inf

ormatio

n, and

, the li

mits o

f form

and l

imitle

ss tra

nsform

ations.

Begin

ning w

ith th

e limi

ted fo

rmal v

ocabul

ary of

archi

tectur

al sect

ions o

f the 1

8th

centur

y Fren

ch enc

yclope

dist D

enis D

iderot

’s Ency

cloped

ie as re

presen

tative

of the

finite

archit

ecture

of ac

cumula

tion, t

he stu

dio wi

ll expl

ore th

e form

of sp

aces o

f “enl

ighten

ment”

today

. Do

wnloa

d the

Syllab

us 284

41 (II

) CIV

IC FI

GURE

S, SO

CIAL

PARA

METR

ICS

Mark

Rakat

ansky

/ Mond

ay, W

ednesd

ay &

Friday

, 2pm

- 6pm

/ 500

Avery

Hall

Two o

f the m

ost sig

nifica

nt mo

des in

archi

tectur

e today

— in

flecte

d figu

ration

and p

arame

tric de

sign —

stand

at seem

ingly

opposi

te side

s of th

e desi

gn spe

ctrum

. On t

he one

hand,

with

param

etric o

peratio

ns we

see p

roject

s of e

xtrem

ely ar

ticulate

d and

comple

x surf

ace ac

cumula

tions

of com

ponent

s. On t

he oth

er han

d, with

infle

cted f

igurat

ion, w

e see

extre

mely

legibl

e proj

ects p

ossess

ing a d

iagram

matic

forma

l clari

ty.

The ta

sk of

the stu

dio is

to cha

llenge

this o

ppositi

on. In

spite

of the

ir diffe

rences

, both

modal

ities h

ave be

en fun

dament

al in r

econfi

guring

new f

orms o

f prog

ram, si

te, stru

cture,

and t

ectoni

c fabr

icatio

n. And

at the

presen

t mom

ent, li

ke opp

osite c

haract

ers in

a good

buddy

film

— Th

e Dude

and W

alter in

The B

ig Leb

owski

or Th

elma a

nd Lo

uise f

rom

the se

lfsame

name

d movi

e or W

ikus a

nd the

alien

"Chri

stophe

r Johns

on" in

Distr

ict 9)

— the

y both

are a

t an im

passe

and ne

ed eac

h othe

r's hel

p. Af

ter all

, what

is inf

lected

figura

tion b

ut the

param

etric m

odulati

on of

progra

mmed

volum

e? An

d what

is par

ametr

ic desi

gn but

the in

flecte

d refi

guring

of a s

elect s

et of e

lement

s? Lik

e in th

e budd

y film

, each

of the

se cha

racter

s is th

ere to

bring

out m

ore ch

aracte

r in ea

ch oth

er thr

ough t

heir in

teract

ion, ra

ther th

an the

ir isol

ation. A

s it is

now on

their

ow

n the

forme

r tends

to cr

eate a

field-

based

archit

ecture

of va

ried c

ompon

ents, t

he latt

er an

object

-based

archi

tectur

e of in

flecte

d volu

mes. I

n shor

t: sma

ll part

s with

no ar

ticulate

d figu

ral fo

rm vs

. big f

igural

form

s with

no ar

ticulate

d part

s. Ou

r sectio

n will

be an

experi

menta

l lab t

o crea

te new

hybri

ds of

surfac

es ref

igured

with

social

progra

m and

form

al volu

mes re

articu

lated t

hrough

modu

lations

of th

eir co

mpone

nt par

amete

rs. Th

e libra

ry tod

ay, wi

th its

civic i

dentity

being

refig

ured a

nd rea

rticula

ted th

rough

new us

es and

new u

sers, n

ew m

edia a

nd new

medi

ations,

is an

ideal t

ypolog

y to

experi

ment

with a

nd thr

ough t

o deve

lop ne

w meth

ods an

d moda

lities.

Your

invent

ion wi

ll prov

ide br

eakthr

oughs

in thi

s form

al and

cultur

al imp

asse. O

ur stu

dio as

sistan

t Luc

Wilso

n will

provid

e help

for th

ose in

terest

ed in

worki

ng thr

ough p

arame

tric so

ftware

. The

goal is

to de

velop

new br

eakthr

oughs

in the

param

etric p

rocess

: putt

ing th

e soci

al pro

gram

back i

nto pr

ogram

ming,

puttin

g the

drama

tic scr

ipt ba

ck int

o scri

pting.

But p

arame

trics is

much

older

than

the us

e of c

urrent

digit

al mode

ls, old

er tha

n Luig

i More

tti's us

e of th

e term

in th

e 1950

s, olde

r even

than

its firs

t self-c

onscio

us use

by ce

rtain

archit

ects in

the R

enaiss

ance s

uch as

Giuli

o Rom

ano an

d Andr

ea Pal

ladio.

It is i

ndeed

as old

as

archit

ecture

itself

, whic

h has

always

been

develo

ped th

rough

theme

s and

their p

arame

tric tra

nsform

ation. O

peratin

g on a

nd thr

ough y

our ow

n draw

ing an

d mode

ling p

arame

ters, w

ith or

witho

ut the

use o

f prog

rams s

uch as

Grass

hopper

, will

provid

e the m

eans to

transf

orm ou

r unde

rstandi

ng of

what m

ight b

e arch

itectur

al abou

t the c

ivic to

day, an

d thr

ough w

hat pa

ramete

rs we c

ould r

efigur

e its fu

ture.

28441

(II) U

RBAN

SILE

NCE

Karla

Roths

tein / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll / Stu

dio W

ebsite

The r

arity

of urb

an sile

nce is

an ins

piratio

n. Be

yond a

coustic

assau

lts, ou

r lives

are s

hroude

d in p

ervasi

ve vis

ual, em

otiona

l, poli

tical, a

nd vir

tual n

oise. M

ultipl

icity, d

istract

ion an

d caco

phony

epitom

ize th

e desi

rable c

omple

xity o

f the m

etropo

lis, ye

t space

s of c

ontem

platio

n, focu

s, and

reflec

tion a

re int

egral t

o our

existe

nce as

well.

Thoug

h much

less fr

equent

ly enc

ounter

ed, th

ese m

oment

s of

quiet c

larity

i reson

ate wi

th sen

suous

intens

ity.

Recog

nizing

the c

ulture

of hy

perbol

e, supe

rficiali

ty, an

d inte

rtwine

d exis

tence

in wh

ich we

opera

te, pro

jects i

n this

sectio

n will

strive

to art

iculate

succi

nct, m

eaning

ful as

piratio

ns, sh

ed gra

tuitou

s glitt

er, an

d be a

ccount

able f

or val

uing a

nd eva

luatin

g deci

sions

and co

nseque

nce. H

oning

our m

eans o

f expl

oratio

n and

transl

ation w

ill am

plify

the im

pact

of act

ion. W

e will

honor

the su

bstant

ive po

wer o

f word

s and

space

-conte

nt and

void–

aspir

ing fo

r conc

urrent

states

of sil

ence a

nd pro

fundit

y thro

ughout

the s

emest

er.

Silent

, as in

the p

oetry

of sno

wfall.

Sil

ent, as

an un

spoken

prom

ise, un

dersto

od.

Silent

, as a q

uiesce

nt vol

cano -

still,

for th

e mom

ent...

Space

s that s

upport

the s

tudy, p

recisio

n and

intens

ity of

profo

und wo

rk.

Down

load t

he Sy

llabus

28441

CORE

ARCH

ITEC

TURE

STUD

IO II

Mark

Wasiu

ta / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll De

script

ion co

ming

soon

28441

(II) S

HADO

W ST

UDIO

Ro

bert M

arino

/ Mond

ay, W

ednesd

ay &

Friday

, 2pm

- 6pm

/ 500

Avery

Hall

This s

emest

er’s w

ork in

volves

the d

esign

of a c

omple

x buil

ding w

ithin

a dens

e urba

n envi

ronme

nt. Th

e prog

ramma

tic and

techni

cal re

quirem

ents a

lone w

ill be

a sign

ificant

challe

nge fo

r begi

nning

design

ers.

Overs

hadow

ing th

ese re

quirem

ents h

oweve

r, is a

much

larger

imper

ative f

or the

desig

n: To

find a

n expr

ession

for o

ur col

lectiv

e selv

es in

the fo

rm of

a publ

ic buil

ding. T

he pub

lic lib

rary r

emain

s as o

ne of

the fe

w plac

es of

potent

ial pub

lic con

gregat

ion. T

he rol

e of th

e libra

ry has

expan

ded to

accep

t many

purpo

ses be

yond t

he me

re dis

semina

tion o

f rea

ding m

ateria

l. As s

uch it

has a k

ind of

civic r

espons

ibility

to sy

mboli

ze the

rema

ining

truth

of our

collec

tivity

. Stu

dents w

ill be

encour

aged t

o disc

ern po

tential

qualit

ies in

an ar

chitec

ture th

at is n

ot me

rely a

refle

ction o

f our

indivi

dualist

ic and

somew

hat di

ssocia

ted tim

es. In

stead,

qualit

ies th

at supp

ort re

ason a

nd com

mon h

uman

theme

s will

be enc

ourage

d. Wh

ile thi

s is ac

knowle

dged a

s the o

verarc

hing g

oal of

the s

emest

er, th

e stud

io’s m

ethodo

logy m

ay see

m par

adoxic

al. Th

e soli

dity a

nd per

manen

ce of

clear

structu

ral pr

ecepts

and a

poetic

assem

bly of

mate

rials m

ay pro

duce th

e arm

ature

on wh

ich th

e stud

ent’s i

ntuitio

n may

be pro

ductiv

e. We

recog

nize th

at, in

the Pl

atonic

sense

, we a

re ma

king s

hadow

s. It w

ill be

a goal

of th

e stud

io to

keep t

he ide

al in m

ind.

Rober

t Ma

rino

Januar

y 18, 2

011

28441

(II) N

EW VO

LUME

S NEW

PROG

RAMS

: PAR

AMET

ERS O

F PUB

LIC I

N THE

PUBL

IC LI

BRAR

Y Ch

ristina

Gober

na / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll “T

here is

no do

cument

of civ

ilizatio

n whic

h is n

ot at t

he sam

e time

a docu

ment

of bar

barism

. And

just as

such

a docu

ment

is not

free o

f barb

arism

, barba

rism tai

nts als

o the

manne

r in wh

ich it

was tr

ansmi

tted fro

m one

owner

to th

e othe

r” by

Walter

Benja

min, T

heses

on the

Philo

sophy

of His

tory.

From

the de

structio

n of th

e anci

ent lib

rary o

f Alex

andria

by Ju

lius C

aesar

to the

publi

cation

of co

mmuni

st scri

bers b

y sena

tor M

cCart

hy, fro

m the

burn

of the

pre-c

olumb

ian ar

chives

by Eu

ropean

conqu

erors t

o the

persec

ution

of the

autho

rs of d

egener

ate lit

eratur

e by t

he Na

zis, fr

om th

e elim

inatio

n of b

ourgeo

is liter

ature

by Sta

lin, to

the c

urrent

hunt

of Wi

kileak

s, the

practic

e of c

ensors

hip of

books

has b

een a c

ommo

n prac

tice an

d the

burn o

f libra

ries a

n exte

nded s

port th

at civi

lizatio

ns hav

e cons

tantly

exerc

ised a

long h

istory

in ord

er to

contro

l or a

nnihil

ate th

e cult

ure of

the p

eople t

hey ha

ve con

quered

. Th

is stud

io is b

ased i

n the

premi

se tha

t if ev

ery pu

blic li

brary

constru

cts a s

hadow

librar

y of it

s abse

nces, e

xclusi

ons an

d cens

orship

s, the

concep

t of c

itizens

hip th

at it en

gages

is not

natura

l, but

an acc

umula

tion o

f speci

fic id

eologi

cal ch

oices.

Hence

, the d

esign

of a p

ublic l

ibrary

dema

nd us

a criti

cal an

alysis

of its

catalo

gue’s e

xclusi

ons, a

carefu

l und

erstan

ding o

f the c

hoices

of its

order

and s

harp i

nterpr

etatio

n of th

e spec

ific civ

ism th

at its p

ublic p

rogram

poten

tiates.

If l

ibrari

es not

only

assert

but al

so cha

llenge

author

ity by

their

conte

nt and

monu

menta

lity, ul

timate

ly the

quest

ion th

at rise

s is if

archit

ects s

hould

orches

trate a

defin

ition o

f civi

sm, a

symbol

ic pres

ence a

nd a r

eposito

ry of

knowle

dge or

if the

y shou

ld be

freed

from

all res

ponsib

ilities

. In

the in

itial an

alysis

, stude

nts wi

ll be e

ncoura

ged to

appro

ach th

ese iss

ues wi

th bol

dness.

The c

onsequ

ent de

sign s

hould

bring

polem

ics to

the d

ebate a

bout p

ublic l

ibrari

es as

forum

of civ

ic enga

gement

. Do

wnloa

d the

Syllab

us 284

41 CO

RE AR

CHIT

ECTU

RE ST

UDIO

II Ch

ristoph

Kump

usch /

Mond

ay, W

ednesd

ay &

Friday

, 2pm

- 6pm

/ 500

Avery

Hall

Descr

iption

comi

ng soo

n 284

41 (II

) DRE

SS CO

DE: R

ETHI

NKIN

G ARC

HITE

CTUR

E'S CI

VIC P

RESE

NCE

Karel

Klein

/ Mond

ay, W

ednesd

ay &

Friday

, 2pm

- 6pm

/ 500

Avery

Hall

To ap

proach

the q

uestio

n of w

hat co

nstitu

tes a c

ivic a

rchitec

ture in

conte

mpora

ry soc

iety, th

e stud

io eng

ages a

seldo

m-con

sidere

d topi

c in co

ntemp

orary

discou

rse—a

rchitec

tural d

ecorum

. State

d sim

ply, th

e prob

lem is

that o

f appr

opriate

expre

ssion

for a g

iven s

ituatio

n and

remain

s one

of the

oldes

t of a

rchitec

tural t

opics.

Inste

ad of

interp

reting

civic

archit

ecture

as be

ing af

filiate

d with

its in

stituti

onal fu

nction

ality, t

he stu

dio ex

amine

s the c

ivic c

onditio

n as o

ne of

atmosp

here a

nd sen

sibilit

y wher

e the c

omple

x netw

ork of

value

s in ou

r cont

empor

ary so

ciety i

s made

intui

tive a

nd im

media

te. Th

ough d

ecorum

is som

etimes

associ

ated w

ith or

nament

ation,

the iss

ues of

decor

um co

mpreh

end m

any pr

oblem

s in th

e desi

gn of

a buil

ding.

To pr

ivileg

e deco

rum is

not to

privi

lege v

isual

repres

entatio

n but

to for

egroun

d how

a pub

lic pre

sence

is esta

blishe

d and

interp

reted.

When

we a

sk wh

at is a

ppropr

iate, w

e are

exami

ning v

alues.

Spatia

l con

dition

s, orga

nizatio

nal re

lations

hips, s

ensory

atmosp

heres,

prese

nce on

a site,

all an

swer

to jud

gment

s of p

roprie

ty at s

ome p

oint. T

he int

erest o

f the s

tudio

is to c

areful

ly con

sider

and re

consid

er our

cultu

re’s h

abits o

f perc

eption

and t

he exp

ectatio

ns of

built s

pace c

ommo

nly br

ought

to the

civic a

rena.

As a w

ay to

consid

er not

ions o

f deco

rum m

ore ca

refull

y, the

studio

will e

xamine

the w

orld o

f fashi

on. It

has of

ten be

en sai

d that

how w

e dres

s is a r

eflect

ion of

who w

e think

we ar

e. But

more

accura

tely, ho

w we d

ress is

always

tied t

o an i

dea of

who w

e think

we ar

e for

a part

icular

situat

ion. F

urther

, it is

in the

world

of fa

shion

that th

e com

plexit

ies

of our

cultu

re is i

mmedi

ately

graspe

d. No

longe

r do w

e have

any r

eliable

dress

code

that c

an be

unders

tood a

s appr

opriate

for e

very o

ccasio

n. Th

e indi

vidual

in to

day’s

world

is a c

omple

x ama

lgam

of aff

ectatio

ns tha

t unfo

ld in

an eve

r more

publi

c aren

a. We a

re exp

osed l

ike ne

ver be

fore. A

nd thi

ngs be

ing th

e way

they a

re, it

seems

silly

for

archit

ecture

to as

sume th

at ther

e is a u

nivers

al dres

s code

. Th

e stud

io is i

n sear

ch of

ways

to dre

ss a b

uildin

g for

a publ

ic even

t, and

unders

tands

this a

s a pr

oblem

full o

f com

plexit

ies an

d cont

radicti

ons.

Down

load t

he Sy

llabus

21648

(IV) S

PACE

STUD

IO V:

MISS

ION T

O DEE

P SPA

CE

Yoshi

ko Sat

o / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll Spa

ce Tra

vel

One o

f the m

ost pr

ovocat

ive im

ages o

f space

explo

ration

from

the 19

th to

the en

d of th

e 20th

Centu

ry has

been

that o

f a sp

ace sta

tion f

loatin

g abov

e the E

arth t

o serv

e as a

way s

tation

to the

unive

rse. A

s an i

dea, th

e spac

e stati

on has

emerg

ed in

popula

r cult

ure lo

ng bef

ore it

becam

e a co

ncept

or pos

sibilit

y in s

pace e

xplora

tion. T

he vis

ionary

image

s for

the s

pace s

tation

as the

y appe

ared i

n art,

literat

ure, an

d film

great

ly ins

pired

the im

aginat

ion of

scien

tists to

probe

the l

imitle

ss ter

ritorie

s of th

e oute

r atm

ospher

e and

the ev

entual

imple

menta

tion o

f our

presen

t day

and fu

ture g

alactic

outpo

sts. F

rom ea

rly sc

ience

fictio

n proj

ection

s it ha

s been

under

stood

that o

nce ro

cket p

ropuls

ion co

uld

overco

me Ea

rth's g

ravity

and r

each o

rbit, t

ravele

rs woul

d be "

halfw

ay to

anywh

ere" th

ey mi

ght wa

nt to

go. Fr

om su

ch a m

ythica

l conce

pt one

can i

magin

e a sta

tion f

loatin

g in E

arth o

rbit se

rving

as a tr

ansit p

oint en

abling

travel

from

Earth

to th

e Moon

, our g

alaxy,

and b

eyond.

Alt

hough

space

tourism

has b

een a t

heme f

or cou

ntless

of sc

ience

fictio

n repr

esenta

tions

and sp

eculati

ons of

the le

ading

scient

ists in

the 1

950's,

the id

ea and

realiz

ation o

f vaca

tionin

g in s

pace h

as bee

n grea

tly ov

ershad

owed

by gov

ernme

nt spa

ce act

ivities

- milit

ary op

eratio

ns, sc

ientifi

c rese

arch, e

tc. Th

e focu

s of sp

ace ac

tivity

durin

g the

Cold

War

paraly

zed fo

r many

decad

es the

publi

c's im

aginat

ion of

the p

ossibi

lities

of spa

ce tra

vel. H

oweve

r, in t

he mi

d-1990

s, NAS

A re-

presen

ted "S

pace T

ourism

" as th

e next

majo

r targe

t for th

e spac

e indu

stry in

the p

ost-Sh

uttle

era of

space

archi

tectur

e. For

many

countr

ies ar

ound t

he glo

be the

touri

st indu

stry op

erates

as a

highly

comp

etitive

mark

et ave

raging

about

15 tim

es gre

ater re

venue

than t

he spa

ce ind

ustry

itself.

As to

urism

is suc

h a sig

nifica

nt gen

erator

of en

ormous

reven

ue and

often

emplo

ys the

use o

f adva

nced t

echnol

ogies

(mass

aeron

autica

l trans

portati

on, co

mpute

rs, tele

commu

nicatio

ns, etc

.), the

creat

ion of

futur

e holi

day sp

ace-sp

ots ar

e proj

ecting

vast f

inanci

al gain

s resul

ting

from

the lin

ks bet

ween

the ne

w spac

e indus

tries a

nd tec

hnolog

ies as

they

expand

for p

ublic c

onsum

ption.

Howe

ver, w

ith to

day's s

keptici

sm ab

out sp

ace tra

vel, it

is stil

l seen

as ina

ccessi

ble—b

eing t

oo spe

cial, t

oo dan

gerous

, and c

ertain

ly too

expen

sive f

or mo

st peop

le to e

xperie

nce or

even

entert

ain. O

nly hi

story

can di

spute t

hese m

any sh

ortsig

hted

precon

ceptio

ns abo

ut ent

ering

into u

nknow

n real

ms m

ade po

ssible

by jo

int ef

forts o

f techn

ology

and in

dustry

. In 19

12 avi

ation w

as sub

jected

to a s

imilar

appre

hensiv

e attit

ude as

virtu

ally no

one c

ould h

ave im

agined

that a

mere

two d

ecades

from

its ons

et more

than

1 milli

on peo

ple wo

uld fly

over

the ex

panses

of th

e eart

h's oc

eans.

Down

load t

he Sy

llabus

21648

ADVA

NCED

ARCH

ITEC

TURE

STUD

IO IV

Ka

zys Va

rnelis

/ Mond

ay, W

ednesd

ay &

Friday

, 2pm

- 6pm

/ 500

Avery

Hall

Descr

iption

comi

ng soo

n 216

48 (IV

) PAV

ILLI

ON ST

UDIO

Ga

lia So

lomono

ff / M

onday,

Wedn

esday

& Fri

day, 2p

m - 6

pm / 5

00 Av

ery Ha

ll Te

mpora

ry/Co

ntemp

orary

Pavilio

n at

the

Colum

bia

Unive

rsity

Camp

us De

sign B

uild S

tudio

Cours

e Desc

riptio

n:

Frequency and top words :Word Occur Freq. Rankstudio 98 1.40% 1new 62 0.90% 2design 54 0.80% 3space 43 0.60% 4architecture 41 0.60% 4our 36 0.50% 5hall 34 0.50% 5monday 34 0.50% 5what 34 0.50% 5city 34 0.50% 5avery 33 0.50% 5friday 33 0.50% 5wednesday 33 0.50% 5urban 33 0.50% 5how 30 0.40% 6through 29 0.40% 6work 28 0.40% 6students 28 0.40% 6download 26 0.40% 6planning 26 0.40% 6architectural 26 0.40% 6public 25 0.30% 7syllabus 24 0.30% 7these 24 0.30% 7monograph 22 0.30% 7travel 22 0.30% 7project 22 0.30% 7structure 20 0.30% 7cultural 19 0.30% 7between 19 0.30% 7use 19 0.30% 7development 19 0.30% 7building 19 0.30% 7street 18 0.30% 7within 17 0.20% 8knowledge 17 0.20% 8physical 16 0.20% 8should 16 0.20% 8information 16 0.20% 8each 15 0.20% 8you 15 0.20% 8focus 15 0.20% 8like 14 0.20% 8time 14 0.20% 8form 14 0.20% 8vendors 14 0.20% 8community 13 0.20% 8may 13 0.20% 8soho 13 0.20% 8rio 13 0.20% 8two 13 0.20% 8zoning 13 0.20% 8program 13 0.20% 8world 13 0.20% 8potential 12 0.20% 8cities 12 0.20% 8projects 12 0.20% 8based 12 0.20% 8york 12 0.20% 8neighborhood 12 0.20% 8site 12 0.20% 8culture 12 0.20% 8west 11 0.20% 8existing 11 0.20% 8industrial 11 0.20% 8civic 11 0.20% 8being 11 0.20% 8research 11 0.20% 8issues 11 0.20% 8working 11 0.20% 8city’s 11 0.20% 8where 10 0.10% 9east 10 0.10% 9future 10 0.10% 9contemporary 10 0.10% 9well 10 0.10% 9economic 10 0.10% 9portfolio 10 0.10% 9spatial 10 0.10% 9explore 10 0.10% 9both 10 0.10% 9ted 10 0.10% 9

city’s 11 0.20% 8where 10 0.10% 9east 10 0.10% 9future 10 0.10% 9contemporary 10 0.10% 9well 10 0.10% 9economic 10 0.10% 9portfolio 10 0.10% 9spatial 10 0.10% 9explore 10 0.10% 9both 10 0.10% 9ted 10 0.10% 9complex 10 0.10% 9analysis 10 0.10% 9experience 10 0.10% 9area 10 0.10% 9develop 10 0.10% 9local 10 0.10% 9central 9 0.10% 9art 9 0.10% 9yet 9 0.10% 9areas 9 0.10% 9many 9 0.10% 9however 9 0.10% 9environment 9 0.10% 9better 9 0.10% 9part 9 0.10% 9background 9 0.10% 9process 9 0.10% 9your 9 0.10% 9districts 9 0.10% 9current 9 0.10% 9major 9 0.10% 9spring 9 0.10% 9navy 8 0.10% 9support 8 0.10% 9ways 8 0.10% 9side 8 0.10% 9upon 8 0.10% 9way 8 0.10% 9fayerweather 8 0.10% 9together 8 0.10% 9even 8 0.10% 9production 8 0.10% 9today 8 0.10% 9long 8 0.10% 9must 8 0.10% 9buildings 8 0.10% 9century 8 0.10% 9social 8 0.10% 9airport 8 0.10% 9them 8 0.10% 9population 8 0.10% 9spaces 7 0.10% 9ideas 7 0.10% 9yard 7 0.10% 9group 7 0.10% 9build 7 0.10% 9itself 7 0.10% 9approach 7 0.10% 9means 7 0.10% 9strategies 7 0.10% 9already 7 0.10% 9plan 7 0.10% 9people 7 0.10% 9expected 7 0.10% 9every 7 0.10% 9condition 7 0.10% 9rather 7 0.10% 9next 7 0.10% 9tedx 7 0.10% 9individual 7 0.10% 9library 7 0.10% 9

library 7 0.10% 9fabric 7 0.10% 9before 7 0.10% 9much 7 0.10% 9often 7 0.10% 9first 7 0.10% 9architects 7 0.10% 9built 7 0.10% 9small 7 0.10% 9advanced 7 0.10% 9just 7 0.10% 9client 7 0.10% 9etc 7 0.10% 9description 7 0.10% 9significant 7 0.10% 9collective 7 0.10% 9coming 7 0.10% 9place 7 0.10% 9residential 7 0.10% 9parametric 7 0.10% 9nature 7 0.10% 9studio 7 0.10% 9role 6 0.10% 9transformation 6 0.10% 9high 6 0.10% 9master 6 0.10% 9upper 6 0.10% 9industry 6 0.10% 9museum 6 0.10% 9designed 6 0.10% 9washington 6 0.10% 9dress 6 0.10% 9touch 6 0.10% 9wny 6 0.10% 9interface 6 0.10% 9gsapp 6 0.10% 9ready 6 0.10% 9technologies 6 0.10% 9own 6 0.10% 9possible 6 0.10% 9term 6 0.10% 9land 6 0.10% 9conditions 6 0.10% 9purpose 6 0.10% 9university 6 0.10% 9preservation 6 0.10% 9programs 6 0.10% 9under 6 0.10% 9soon 6 0.10% 9book 6 0.10% 9sustainability 6 0.10% 9empty 6 0.10% 9break 6 0.10% 9libraries 6 0.10% 9crisis 6 0.10% 9stuff 6 0.10% 9large 6 0.10% 9while 6 0.10% 9park 6 0.10% 9goal 6 0.10% 9semester 6 0.10% 9practice 6 0.10% 9board 6 0.10% 9station 6 0.10% 9study 6 0.10% 9ever 6 0.10% 9including 6 0.10% 9history 6 0.10% 9political 6 0.10% 9student 6 0.10% 9become 6 0.10% 9limited 6 0.10% 9municipalities 6 0.10% 9

municipalities 6 0.10% 9proposals 6 0.10% 9parameters 6 0.10% 9particular 6 0.10% 9structural 6 0.10% 9provide 6 0.10% 9located 6 0.10% 9communication 6 0.10% 9effort 6 0.10% 9sense 6 0.10% 9organization 6 0.10% 9trip 6 0.10% 9north 6 0.10% 9urbanism 6 0.10% 9same 6 0.10% 9search 5 0.10% 9idea 5 0.10% 9back 5 0.10% 9end 5 0.10% 9accumulation 5 0.10% 9years 5 0.10% 9studios 5 0.10% 9specific 5 0.10% 9understand 5 0.10% 9website 5 0.10% 9ultimately 5 0.10% 9center 5 0.10% 9question 5 0.10% 9encouraged 5 0.10% 9beyond 5 0.10% 9life 5 0.10% 9virtual 5 0.10% 9free 5 0.10% 9human 5 0.10% 9order 5 0.10% 9might 5 0.10% 9propose 5 0.10% 9problem 5 0.10% 9decorum 5 0.10% 9international 5 0.10% 9made 5 0.10% 9sometimes 5 0.10% 9expression 5 0.10% 9always 5 0.10% 9active 5 0.10% 9presence 5 0.10% 9needs 5 0.10% 9code 5 0.10% 9regulations 5 0.10% 9far 5 0.10% 9zone 5 0.10% 9class 5 0.10% 9events 5 0.10% 9inflected 5 0.10% 9istanbul 5 0.10% 9others 5 0.10% 9columbia 5 0.10% 9create 5 0.10% 9context 5 0.10% 9now 5 0.10% 9need 5 0.10% 9landscape 5 0.10% 9historic 5 0.10% 9point 5 0.10% 9challenge 5 0.10% 9growth 5 0.10% 9consider 5 0.10% 9articulated 5 0.10% 9then 5 0.10% 9groups 5 0.10% 9appropriate 5 0.10% 9across 5 0.10% 9

housing 5 0.10% 9relationship 5 0.10% 9janeiro 5 0.10% 9post 5 0.10% 9south 5 0.10% 9beginning 5 0.10% 9uses 5 0.10% 9formal 5 0.10% 9play 4 0.10% 9document 4 0.10% 9return 4 0.10% 9content 4 0.10% 9exploration 4 0.10% 9region 4 0.10% 9global 4 0.10% 9vendor 4 0.10% 9still 4 0.10% 9pre 4 0.10% 9seek 4 0.10% 9very 4 0.10% 9week 4 0.10% 9types 4 0.10% 9requirements 4 0.10% 9three 4 0.10% 9developments 4 0.10% 9conference 4 0.10% 9weeks 4 0.10% 9places 4 0.10% 9dubai 4 0.10% 9against 4 0.10% 9avenue 4 0.10% 9speakers’ 4 0.10% 9instead 4 0.10% 9produced 4 0.10% 9meaning 4 0.10% 9contextual 4 0.10% 9strategy 4 0.10% 9conleste 4 0.10% 9transportation 4 0.10% 9since 4 0.10% 9around 4 0.10% 9think 4 0.10% 9examine 4 0.10% 9streets 4 0.10% 9terminal 4 0.10% 9levels 4 0.10% 9case 4 0.10% 9too 4 0.10% 9mid 4 0.10% 9possibilities 4 0.10% 9day 4 0.10% 9challenges 4 0.10% 9greatly 4 0.10% 9earth 4 0.10% 9tokyo 4 0.10% 9although 4 0.10% 9decades 4 0.10% 9activity 4 0.10% 9seems 4 0.10% 9activities 4 0.10% 9problems 4 0.10% 9technology 4 0.10% 9regional 4 0.10% 9office 4 0.10% 9uff 4 0.10% 9proximity 4 0.10% 9questions 4 0.10% 9retail 4 0.10% 9again 4 0.10% 9address 4 0.10% 9decisions 4 0.10% 9multiple 4 0.10% 9

make 4 0.10% 9artists 4 0.10% 9society 4 0.10% 9neighborhoods 4 0.10% 9values 4 0.10% 9personnel 4 0.10% 9investigate 4 0.10% 9march 4 0.10% 9final 4 0.10% 9conceptual 4 0.10% 9received 4 0.10% 9xxi 4 0.10% 9manufacturing 4 0.10% 9energy 4 0.10% 9moment 4 0.10% 9access 4 0.10% 9operations 4 0.10% 9models 4 0.10% 9volumes 4 0.10% 9limits 4 0.10% 9themes 4 0.10% 9finite 4 0.10% 9modes 4 0.10% 9studies 4 0.10% 9set 4 0.10% 9mark 4 0.10% 9forms 4 0.10% 9understanding 4 0.10% 9users 4 0.10% 9older 4 0.10% 9paris 4 0.10% 9district 4 0.10% 9seemingly 4 0.10% 9volume 4 0.10% 9complexity 4 0.10% 9interested 4 0.10% 9green 4 0.10% 9series 4 0.10% 9technical 4 0.10% 9teaching 4 0.10% 9latter 4 0.10% 9

Total word count : 7164Number of different words : 3165Complexity factor (Lexical Density) : 44.20%Readability (Gunning-Fog Index) : (6-easy 20-hard) 12.5Total number of characters : 80100Number of characters without spaces : 51789Average Syllables per Word : 1.91Sentence count : 617Average sentence length (words) : 20.38Max sentence length (words) : 98( from the destruction of the ancient library of alexandria by julius caesar to the publication of communist scribers by senator mccarthy from the burn of the pre columbian archives by european conquerors to the persecution of the authors of degenerate literature by the nazis from the elimination of bourgeois literature by stalin to the current hunt of wikileaks the practice of censorship of books has been a common practice and the burn of libraries an extended sport that civilizations have constantly exercised along history in order to control or annihilate the culture of the people they have conquered)

Min sentence length (words) : 1(e)

Readability (Alternative) beta : (100-easy 20-hard, optimal 60-70) 24.4

word frequencygsapp studio descriptionsgooed by David Hecht

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BronxificationThe Bronx has a history of Jurassic-scale infrastructure; in this 90-second animation a site where an elevated track, a Robert Moses expressway, a Metro-North train rail, the Bronx River, and manufacturing all sandwich each other in parallel is evalu-ated through the lens of infrastructural personification. All these built characters (the river was moved during construction of the Cross Bronx Expressway) currently ignore each other resulting in negative effects for their living community. Divided neighborhoods, air pollution, lack of access to open space, and a dirty river are con-sequences of their personality disorders. After analyzing these issues, the animation proposes a type of cross-pollinating infrastructure in which a new recombination of materials ensues in a more responsive built environment.

Urban Design gooblock by David Gonzales

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The cover of a handbook made for Science Grad Students in Kharkov Ukraine on how to move out of Soviet Block Housing and squat the

owner-less space between

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Stairclaw (known as FireClaw)Relics of Industry and Production (garage doors, fire escapes, docks, elevators) still left in the City become the triggers for disassembly into an ecosystem of manufacturing where ideas, technology, and infrastructure is shared. A fire escape becomes a Fire-Claw that allows buildings to give each other handshakes, the Roto-Transfer, made of garage doors, is constantly redefining shared spaces as it sorts materials, Mobile Laboratories filled with engineers move entire buildings to structural testing sites, and a Vertical conveyor Belt showcases finished prefab products to shopping contractors.

end Urban Design gooblock

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FORUM SPEAK

[With an incoming M.Arch]

Commiserate_Forum: Hello, Friends. Today we are speaking with Archolyte, who has a something to say on the topic of going to Columbia GSAPP. He/she has been lurking at the edges of our discussion on school applica-tions but has finally agreed to add his/her voice to the conversation

First off, what made you decide to join us today, after such a long silence?

Archolyte_Wanabee: A night of delightful adventures has disposed me towards joining the fray. I was a bit more ac-tive last year, the year of my failed applications, but this time around, I stayed quiet until it felt as though the time was right. Or I had enough to drink to be bold enough to speak up.

[Jaded_GSAPPer: You must’ve had enough to drink to come out with “a night of delightful adventures has disposed me…”]

CF: You were accepted for admission to a number of architecture masters programs. Which did you decide upon?

AW: I’m going to GSAPP.

CF: Why?

AW: I want to fuck with architecture. I want to mess it up, to challenge it, to give it some trouble by virtue of the fact that its academy admitted me to its ranks and thought it would get out of that unscathed. I have ideas that spill into the psychotic, but follow a logic that I believe will change the world. I want to hit the edifice of architectural practice, thought, and education with the force of a million rhinos angry that there are software developers crass enough to use my species as a brand name. I want to make architecture scared to admit to anyone that that is what it is.

[JG: Mess it up? Besides the admission to being a psycho, nothing else you said makes any sense.]

CF: That’s a bit bold. Do you think architecture is the place for such...energy?

AW: I think architecture could be better for it. And I think GSAPP is the only place that could handle this. No, let me rephrase. I’m not sure they can handle it, but I think that particular institution could channel such energies in direction that coincides with the force of my efforts. And possibly survive the process.

[JG: Presume much???]

CF: Many people within the architecture world (and outside of it) seem to have a notion of what GSAPP is about. What makes you think your view is more accurate?

AW: Well, anyone who thinks they have an idea of what GSAPP is about, be it NURBs, digital fabrication, flashy graphics and animations, etc., etc., are perhaps right. To a very limited degree. To give the hint: I did NY/Paris, and I did Intro to Architecture. And I did not do spectacularly in either, in terms of grades. However, I think I got something. I got that Columbia is a restless institution. That it is unsatisfied with complacency, acceptance, boredom. If you have an architecture background and you got into GSAPP, accept this challenge: you are not to be boring. You are not to design structures that you already know how to design, you are not to adhere to principles that you have been told are correct, you are not believe ANYTHING you have been taught. If you go to GSAPP and do so, you will fail. Perhaps not with grades, perhaps not even in accolades, if you are in fact an excellent producer of digital wizardry who is able to boggle minds with the complexity of your renderings. In fact, such efforts will be worthy, in that you are, unbeknownst perhaps even to yourself, pushing the limits and burst-ing the boundaries. That is what I hope to see at GSAPP. GSAPP appears to be a place where insanity is recognized as genius and bold experimentalism is encouraged to the point of breakdown. Perhaps these efforts do not always results in success; the efforts themselves, how-ever, are a wonder to behold. That is why I want to be at GSAPP.

[JG: Maybe GSAPP has inadvertently sold itself as a mental institution, though there are some people interested in, you know, making buildings.]

CF: Do you think that other approaches to architectural education are invalid then?

AW: Not at all. There are people who would prefer to stay the safe course, to engage with the broader audience and present the safe, friendly face of our field. These people are necessary; architecture must have a market, and to have a market, people must feel safe investing. I might even be inclined to engage in this behavior, to under-stand its place. But I will not stop there.

CF: What do you mean? What do you think a student can do to move beyond “safe” architecture?

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AW: I will push it. I will do uncomfortable things, make claims and extend into disciplinary realms that thought they were safe from the mad machinations of those who seek to give material form to the immaterial, intentional, imaginary realms of their expertise. No one is safe from this enquiry; it will consume all fields of knowledge in an effort to better give physical form to concepts, whether or not that form will be realizable in a given lifetime.

[JG: You might also discover that the complete lack of focus makes for projects without direction that are unrealiz-able for reasons other than their experimental nature.]

CF: Some might say to you, that’s all well and good, but look at Abstract. How can one avoid succumbing to the urge to give in to flashy renderings and complex digital diagrams?

AW: To those who think it is NURBtown: go there, now, and ask the people who have yet to use a computer this semester how they are doing. They are shattering conceptions of what it takes to make architecture today; they are at the institution that first attempted a paperless studio; their hands are dirty, and they love it. Some may not have enough hands to produce their ideas, and so the computer becomes vital; but it is thrilling to know that there are people who do, who can. They inspire me. They are pushing architecture into strange new realms.

[JG: What if the people who aren’t using the computer can’t draw, or those who need the computer discover that it is only slowing them down? Each studio and each project may have a different solution that best fits the problem, and likewise for each student.]

CF: And so this is why you are going to GSAPP?

I am going to GSAPP because I want to fly far beyond the edges of what we think architecture is, to dangerous, uncharted realms where it’s as likely that I will lose my mind as I will produce something great. I want to take that gamble and I think GSAPP will let me. Whether it wants to or not.

[JG: There are people who are eager to move away from the “purple plastic shiny renderings” and towards rep-resentational methods little seen in abstract or in the realm of professional practice. They, however, are less concerned with making grandiose statements and more interested in producing mind-busting quantities of work. You had better hedge your bets, cool your jets, and take a look at them. They are the ones pushing forward the silent revolution.]

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anonymous goo contribution anonymous goo contribution

anonymous goo contribution

Nicholas M. Reitermaterial exploration

Nicholas M. Reiterairlab

Tom Heltzel, Luis Paris, Sydney Talcottconcrete experiment

Ayaka Halesexploration

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gooed by Owen Nichols

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The Unpaid Architecture Internship:The Culture of an Architectural Education

“Thank god for people who are unpaid interns. When I started in architecture, I was an unpaid intern. I think the practice is fabulous. People who move up in the world all start as unpaid interns.” – Peter Eisenman.

Internships are a fundamental component of an architectural education. The Intern-ship is an opportunity for curious undergraduates to explore the profession before delving into expensive institutional learning, for eager architecture students to learn from well-seasoned senior architects, and, for those who are on a path to receive a license, to complete the Intern Development Program (IDP). However, many of these internships are unpaid, opening the door to more job opportunities in a competitive market as well as complaints over legality and morality.

Are unpaid internships legal? Some are and some (deemed exploitative) definitely are not. The line is drawn with several, very tenuous, guidelines, including a require-ment that the employer “derives no immediate advantage from the activities of the intern; and on occasion its operations may actually be impeded.” (2) I would argue (and hope), however, that in most cases, the intern does bring something to the table and should be expected to contribute to the company or firm for which he or she has been working. Ultimately, legality, in my opinion, is hardly the issue, particularly when architecture students willingly and eagerly accept positions at firms that will not pay them a dime for their work. If labor laws were more strictly enforced, many of the opportunities available to young and aspiring architects would be lost, which could be detrimental to the well-established system of an architectural education.

Beyond legality, I believe the issue of unpaid internships is an ethical one. Whether we like it or not, architects are often accused of being elitist, and, the unpaid in-ternship certainly raises issues of accessibility. In many cases, students who are able to accept unpaid positions at firms typically have the financial support from their parents (or elsewhere) to do so. I recently finished an architecture internship that required 10 hours of work a day, 5 days a week (unpaid) in New York City, leaving very little, if any, time to make an outside income. Do I regret this opportunity? Absolutely not. I worked on projects that gave me extremely valuable experience, in my opinion. Projects that I would not have had the opportunity to explore on my own. However, if it weren’t for the financial support of my parents (not to men-tion that they are both architects, and therefore, understand the “rules of the game,” so to speak) I would definitely not have had that opportunity. Unpaid internships, therefore, deny students who have a professional eagerness but lack the financial support to gain access to opportunities that allow them to compete in the race for experience and the development of a robust network. Educational institutions that encourage internships as a fundamental component of an aspiring architect’s devel-opment should endeavor to offer additional financial support. Furthermore, firms that hire interns should assess the value of these students’ contributions and offer at least a very small stipend.

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Beyond the issue of financial access, it seems that the system of unpaid internships requires a re-evaluation of the culture surrounding the continuation of architectural education into the professional realm. The IDP Program, overseen by NCARB and a prerequisite for taking licensing exams, attempts to institutionalize the education of young architects in various practice-related areas, but it ultimately is just a checklist. Architects should recognize that with interns comes a responsibility to teach – they automatically enter into an unspoken mentorship. Education, within or beyond the institution, takes time and consideration from both the pupil and the teacher. While an attitude adjustment (for some, not all) is difficult to enforce, the practice of mu-tual evaluations, which is prevalent in the institution particularly between a studio critic and his or her student, should be sustained in the context of the professional field, providing interns with an opportunity to evaluate their mentors and vice versa. By giving interns both the financial opportunity to take an unpaid internship posi-tion and a voice to evaluate their mentoring architect, the culture of architectural internships can focus on its educational benefits rather than its exploitative plights.

1. In response to a question posed at a 2007 lecture at Harvard GSD. Beyond a few comments, Eisen-man refused to elaborate because the question, in his opinion, “was meant snarkily.” Eikongraphia, “Peter Eisenman on unpaid internships,” March 2008. 2. U.S. Department of Labor, Wage and Hour Division. “Fact Sheet #71: Internship Programs Under The Fair Labor Standards Act,” April 2010. 1.

written by an unhappy intern.

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Ayaka HalesCollageSurface, path, movement, intersection

Jochen HartmannDigital Processmovement, structure

Ayaka Halesintersection

Ayaka Halesexploration

Ayaka Halesexploration

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gooed by Ayaka Hales & Owen Nichols