6579197805579

ISBN 978-0-557-65791-990000

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American Academy in Rome 7 East 60 StreetNew York, New York 10022-1001 USA

November 15, 2010

Subject: Portfolio Application – Architecture

Dear American Academy:

Thank you in advance for your time and considerations. I am sending this portfolio document for your formal review. I would greatly appreciate any sponsorship that the American Academy could host and off er. The highlighted document records the past ten years of proposed designs and previous academic research assignments. Please accept and review this portfolio material as application for an Architecture Fellowship in upcoming 2011 year. My most sincere aspiration for applying to this specifi c fellowship is to acquire time to contemplate and understand the extraordinary built environment of past and future Rome. From my past personal architectural training, I have found the greatest admiration of Piranesi’s parametric etchings of historical Rome. His drawings augment the imaginations of many architects. My proposal is in-tended to augment his grafting of space onto a new cultural media of virtual space(s).

Within the hardcopy of this manual, there is a front introduction with more descriptive writing for the installation–model proposal. In 2002, I had earned a Master of Architecture from Clemson University and since that time, I have been blessed with great opportunities to work for outstanding contemporary architects. I see this portfolio entry as a strong coherent departure point for more architectural investigation and believe that it can set forward more directives to a future doctorial scholarship.

Best regards,

Robert I. Mothershed 310-972-0973robmothershed@msn.com

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Roman Intermundium: Robert Ira Mothershed

6579197805579

ISBN 978-0-557-65791-990000

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A Piramide for PIRANESIAmerican Academy in Rome Fellowship Application

Who among the wide world of stranger’s will hold our hand, touch our hearts, and make our world beautiful ?

Rome was taught to always be the “Eternal City” to all architecture students. True literacy for the ar-chitect is contained within a tripartite idea exchange of seeing, thinking, and understanding. Rome is a navigable non-linear terra forma of Paradise. While, the psycho-geography of Rome encapsulates the radiant past triumphal eras, it still consciously makes new optimistic constructions. Its eternal contra-distinguished energetic laws of motion are perpetually encoded into a dynamic set of political-economic variables. The computed and engineered iconographic city is a formless matrix of spiritual expressions and is used to off er its diverse people a substantial surface for creating and making a hackable identity. It wisely beholds the most instrumental and fundamental urban landscape paradigm of all utopian models. It has socially assimilated and interwoven the infi nite democratic ideals that with the opulent mechan-ics of new and old artistic productions. The ever wondering palimpsest city of fi gurative relics opposes the undoing of what has already occurred and strives to aspire the spending of intellectual energy and academic eff ort to edify its occupants. Culturally, Rome is in a continual spatial flux (never frozen or static) and this rhetorical animated point of view mandates a modality that the spirit of architecture is a transported vase-like vehicle that makes ephemeral time concrete. Without contesting or compromis-ing virtue, the transient design for Baroque space is ubiquitously projected onto the Roman psyche.

The Baroque’ s visceral use of distorting the virtual x,y,and z dimensions of space have cognitively been given birth and digitally deployed in Rome. Sentimental marking (one Rome’s greatest asset) of urban patt erning can augment parametric illusions of silent collisions, divergent tactics, and strategies of stealth like symbols. The newest and latest Maxxi National Art XXI Museum designed by Zaha Hadid illustrates that lines (ideas) drawn no longer need to be straight and in conjunction that all communicational tan-gents of time can connect isolated events in space. Here, the new Liminal space of deconstructed vectors allow Rome to consciously re-awake from a collective artistic vision of architecture. The symbolic ritual of spectatorship is now de-constrained the de-funct (Baroque) once again is make alive to the future patrons of Rome. The unique Baroque “ideal ‘ is reorganized and manifested with no fi nal consummation, no ter-minal appearance, and the disappeared loss of subject is again bewildered into geometrically programmed fragments. By implication, one could subjectively suggest that the real genus-loci of this gallery complex are abstractly generated from extracting the electronic theatrical shadows of Giovanni Batt ista Piranesi Carceri’s etchings. This theoretical fabrication is not based on Patrik Schumacher ‘s dramatic postulates of Parametricism but in counter based on the revolutionary excessively coding of infi nitely expanding perspectives that are deeply anamorphic. The overlapped and montaged computer generated camera angles that are topographically distort and warp the scontext of Rome. This new obliquely formalized museum actualises the possibility for a revolutionary fractured building to be compatibly understood as legacy project. The striated instances of this mathematical approach employ a combined smooth space that inherently discloses a baroque constellation of collapsed perspectives (P.O.V.).

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Reference 2: PROJECTSUSGBC

International Library - NALSun Chair

SCION ShowroomM.U.D. Kentucky Special – FER

Venice Bridge MuseumChicago River

Chicago TowerCity CrossingMobile Tower

Butt erfly InstituteLap Dancer

Taipei Performing Arts CenterFlower Tower

MJ ForeverLos Angeles Union Station High Speed Rail

Taipei Museum of Glass Hawaii - Malama Learning Research Center

LA Sante Fe LoftsMulholland Drive – Private Residence

New York HighLINENewport Beach Church of Light

TNA – Interior Renderings for FORM:uLATripple Hopper – Train Depot Chi Chi Earthquake Memorial

DIGITAL DIGRESSIONS: INTERVALS - Travel Sketches / STC

INTRODUCTION - future

Arrival 2: ACADEMIC SPECUALTIONS

CRASH COURSES IN NEW ARCHITECTURE

CONTENTS CHAPTER

123

The perspectival “exposing of origin” within a fi eld of hidden sacred non-linear spaces invites a moment to build a new paradigm. The objective is to choreographally raster-rize the supernatu-ral by ghost scripting and refolding the Roman Surface (which is a self-intersecting mapping of a real projective light planes into three-dimensional space). The on-line project will trace the penetrated ineff able forces of natural sunlight via through the historical Pantheon’s Oculus using webcam station input points. The site-specifi c exercise att empts to de-constrain a new virtual dimension of chiaroscuro within the praxis of contemporary parametricism. A Piramide for Piranesi model would be presented as a resin casted paradigm with a phosphorescent ma-terial. The project’s singular stereochromic mapping exercise would also be composed to emit light at night (a forbidden quantum mechanical gesture). A published process journal would

accompany a the hyper- textural event of this newly encoded Piramide.

Proposal: Roman Intermundium: A Piramide for Piranesi

Please note : All refernce images are “to become” credited in Chapter 3.

Roman Intermundium: A Piramide for Piranesi

Electronic Reproduction

The p a s t

fi fty years has taken on

an invasion of media that has cre-

ated a para-digm shift. This has profoundly aff ect-

ed the practice of architecture. Going from a mechanical to an

electronic mode of reproduction, the photograph and the fax remain subject

to the human condition. (Peter Eisenman, 556)

For Peter Eisenman this argument states that architec-ture overcame the mechanical model because it interpreted

the values that society placed on vision. The new media values appearance over existence and this damages architecture’s

function. The simulation of what can be seen versus what is pres-ently causes fundamental ambiguities. Peter Eisenman argues that the

absorption of the perspective in the fi fteen-century assumed a dominating position within the mechanics of representing space. He adds that Brunnelschi’s

one-point perspective invention was the vehicle by which anthropocentric vision was crystallized. This confi rmed vision as the most dominant form in architectural

discourse. Eisenman introduces a “Laconic” notation of space looking back onto itself as a type of disturbance in the visual fi eld of reason. Eisenman’s treatment of Piranesi gets

treated as one who has diff racted the monocular subject by superimposing multiple vanishing points where there is no way of correlating what is to be seen as a unifi ed whole (Figure 9).

Within modernity, cubism has also undermined the picture plane’s role and has flatt ened objects to be seen with the outside edges exposed. Eisenman suggests that the looking back in architecture displaces

the anthropocentric subject for the object but allows the inscription of space to be dislocated. This would implement architecture as an outside, other text. The electronic fold for Eisenman creates a possibility to expose

the presence of dislocation and thus refer an actual looking back. The fold for him produces a dislocation of the dialectical distinction between fi gure and ground. Eisenman calls upon Gilles Delueze, a critic of contemporary cinema,

to make an insertion of creating aff ectual and eff ectual spaces. Aff ectual space in concerned with being more rational, more meaningful, and more functional while eff ectual functions, shelters, frames, and it thus aesthetic. Delueze calls out a new

smooth space that strives for the “aura” that is found in cinema where the light can be found in darkness. This would provide a “gaze” that could off er a new assembly of seeing beyond mere vision The architectural and cinematic implications located within

this notation of electronic reproduction provide an interior to exterior position of traditionally locating an audience and spectator. Since the reception for information can be inverted in hyperspace, the temporal shrinkage of space now subscribes to a virtual presence. The

actual idea can be applied to a work of art and seen as a form of montage. The dissolution of visual information can be consumed in separate viewings simultaneously in diff erent spaces. This information leads into broadcasting or transmitt ing live location to distant cultures in distant

lands denoting a global presence. Atlanta’s Ted Turner’s CNN provides a contemporary form of casting montage through the haphazard display of visual and audible news reporting . Post-modern deconstrucvist Lebbous Woods architect designed a stage set surveillance mechanism for Terry Gilliam’s

1994 12 Monkeys. This mechanical eyeball is construed around the notation of personal observation and public interrogation .

MEDIA CRASH COURSE (0)THE ARTIST DIS-MANTLED SPACE

CRASH COURSE (1) Tschumi

Bernard Tschumi fi nds pleasure in the dismantling of space and seeks pleasure in the violence of archi-tecture, because it submits a possibility for change. This assertion implies that the encoding of violence into objects suggest a collision within a context and metaphorically implements a practice of destruction. Architectural programs, for Tschumi, have the capacity to determine a user’s att itude. Tschumi states that the use of violence (broken rules) initiates a common practice for transgressing cultural expectations. His motivation to understand the occupancy of architecture preserves a readability of diff erent expressions. He states that in cinema, our emotions are aff ected by the perception of violence (Tschumi,150). He declares that the place for the body’s position is inscribed in our own imagination, our own conscious in which that is an imaginary local. Space forces an identity on your presence that is marked upon by architects. This marking is subject to perverse treatment, which could radically shift our perception. Tschumi adds that the pleasure of violence is an ancient art form in itself and is indicative of every other human endeavor.

Bernard Tschumi frames Le Corbusier as one who has transgressed a built form by solidifying the elements that channels movement into his Carpenter Center. This genuine move to selectively inter-rogate the building front commands the provisionality of the promenade. The ramp marks the human involvement by directing people to become obedient to its physical form. This superimposition collects random channels of movement but deliriously victimizes its user. In this application, the body has been transgressed as a fragment. Tschumi’s notation of designing architecture is that it can be qualifi ed as an organism that constantly engages intercourse with its users. For Tschumi, human bodies create violence with unexpected motions within a space by committ ing actions that push against the limits that were carefully established. In concluding this material, the overall contents of bodies violating space frames

cinematic montage an organizational procedure for strategically confronting fragments in space.

SyNTH 1: digital digressions

In his drawing of the Manhatt an Transcripts , Bernard Tschumi primarily identifi es to administer the sequence of space as a way to structure event. His account of event is defi ned: as an incident, an occurrence, and a particular item in a program. Events can encompass particular uses, singular functions or isolated activities (page XXI, MT). In regard to modernist ideals, his concept of applying a transformative design operation primarily questions preconceived notations toward movement. His ideas off er a system of classifi cation by establishing the frame as the chief ordering device. The frame itself conforms to a plurality of interpretations that associate seen and unseen events while simultaneously making a progression of sequences. This combined structure formulates an approach to forming episodes. With the practice of this procedure, a logical construction (confi guration) can determine internal and external relations. The architectural knowledge sought within this reflection presents a linear mode of describing space, which promotes an event to be specifi ed. This characteriza-tion could imply an implicit or explicit reading of spatial depth, mass, and surface. The accumulation of events could also suggest the nature of individual parts that defi ne the whole (montage). This writt en account indicates that a space has one logic and events could have another.

His att itude toward the 20th century states that man has lost unity between himself and objects, objects and events, and events and spaces. This notation would foster a post-modern idiom implying a true disjunction where architecture’s meaning is not easily qualifi ed. His analysis toward modernity provides a cinematic thinking that fi lm abstraction has created an inventive catalog of editing space. Tschumi’s work within this four part drawing series (the park, the street, the tower, and the block) theoretically frames the human body within a typological building scenario. While the series is based on the city of Manhatt an, the fi nal block series encourages a fragmented montage approach to re-representing his original drawing from that plated series. There are no traces indicated from the ordered panels. He ruthlessly distorts, and compresses the visual information into a total annihilation of information. The objective linear treatment of space was subjectively pulverized from the dissolution of picture grams, perspectives, plans and axonometrics. The end space represents an indirect transfer of scripting, storyboarding, and drawing a hyper sequence version of montage.

The transcripts introduce the order of experience, the order of time, and the order of intervals. By consistently adhering to a rational system of framing, Tschumi’s critical deployment of formalizing specifi c elements (doors, facades, floors, roofs, walls, etc.) constitutes a fragmented cinematic mode of assemblage. The argument to reinforce this statement is determined by how the drawings are visually consumed. The drawings read from left to right promoting a seamless reading, thus enforcing individual contemplation. By stating that space, movement, and events are interdependent, his ideology commands architecture to be postulated in a reciprocal manner. Reciprocity is defi ned as the state or condition where a relationship is mutual. The influence between two parties gives and takes while the action corresponds to an influence (XXII, MT). The essence of thematically exposing this information is to document his fi lm analogy approach. The individual pieces of framented construction force each shot to accumulate as a dynamic system for assembling visual and experiential discontinuity. For Tschuimi, the integration of narrative action situates a disjunctive harmony bewteen man and building. His deployment of formalizing specifi c elements (doors, facades, floors, roofs, walls, etc.) constitutes a fragmented cinematic mode of assemblage. The argument to reinforce this statement is determined by how the drawings are visually consumed. The drawings read from left to right promoting a seamless reading, thus enforcing individual contemplation. By stating that space, movement, and events are interdependent, his ideology commands architecture to be postulated in a reciprocal manner. Reciprocity is defi ned as the state or condition where a relationship is mutual. The influence between two parties gives and takes while the action corresponds to an influence (XXII, MT). The essence of thematically exposing this information is to document his fi lm analogy approach. The individual pieces of framented construction force each shot to accumulate as a dynamic system for assembling visual and experiential discontinuity.

For Tschuimi, the integration of narrative action situates a disjunctive harmony bewteen man and building.

graphic surgery CRASH COURSE (2)

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The action of questioning is a mandate for searching for relative meaning. Only through this instrumental searching for knowl-

edge, does one become aware of associations , histories, intentions, and observations.

What is a critical architectural investigation?

Is it a moment contained within the built world that exhibits a process of contruction ?

Does it allow the occupant a new view or understanding of relationships between materials and their assembly?

Does it condense and foreground itself in a open environment?

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Rob Mothershed ,1995: Self Portrait

The Infrastructural Revolution : Television

Post war America cities have received a spatial explosion since World War II. Engineering technologies have produced new social organizations that have been successfully implemented in att empt to modernize and restructure the country’s landscape. New automobile road systems were modeled after Germany’s autobahn had dispersed. Most if not all the urban density that existed was disassembled. This move to de-concentrate urban areas has dislocated most civic interactions. The new infrastructure presented a boom in suburban housing during these times and created neighborhoods that were erected around freeways, shopping malls, gas stations, and drive-in theaters. Society collectively participated in a new isolated form of life. The immediate tradeoff created a more distributed output of information. In 1947,the number of television sets that were manufactured in America was around four thousand, in 1953 the number was almost fourteen million (Figure 12). In 2001, the number is around two hundred and eleven million (Kwinter, 513).

The television engineered a natural environment for escape and preserved an event form from the monotony of commuter life. This new linkage from the home to the workplace demanded that a broadcasted market be established. Television compensated for a new way for people to interact. This new modality re-channeled an abbreviated form of suburban dread. This commercial framework for feeding entertainment into our households made a disarticulated space out of place. This reorganization of public entertainment artifi cially mandates a new interpretation for realizing our postmodern condition. Public and private life logistically functions from these communicational enterprises. This reductive reality is more equiped to foster entertainment for our imaginations. The

foreground presence of television culture has developed into a phenomenal device that preoccupies our visual interest.

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In December of 2003 – plexus r + d made an interactive gallery installation at the Florida SOA. For one week in time, I assisted with deconstructing machines, found technological ob-jects that were going to be eternally castrated and frozen. The remain of this de-structuring process of manufactured objects made me realize how our human lives are artifi cially woven thru the commerce of things and what the things themselves do and participate in.

The Dis - Mantling of objects imposed a new space distorts any conventional viewing.

LA TIMES - DISCOVERY 2004

HOW DOES AN ARCHITECT DESIGN FOR THIS CONDITON AND IT NOT “BE “ A SCRAP-YARD ?QUESTION

crash course(6) violence Sergei Eisenstein was trained as an architect. His language was founded on Marxist dialectic, where the interaction between objects codifi es a distinct movement. Being a fi rst generation fi lm teacher, he primar-ily worked within silent motion pictures. This era aff orded him to not only treat images as words but also thematically expound his formal architectural training. In observing composition, he instinctively turns to Piranesi as an architect to model his fi lm practice. Piranesi construes multiple vanishing points that provoke conflicting visual information because the reading on this one space has been compositionally pulverized. He learned from this etching how to dismantle the picture frame. He wanted to expose diff er-ent readings from a recorded space by fragmenting pieces and parts and within that process reveal how things may relate at diff erent scales.

In Eisenstein’s Batt leship Potemkin9 (Appendix B), the editing makes the action more powerful, and it noted as being one of the most agitatational all-time fi lm productions. There is no smooth continuity between the cuts, and there is hardly any match-on action. He did not just limit his perception of editing to just a style or technique, he employed an architectural approach for defi ning intervals and directing movement. He created imaginary lines that a viewer might travel upon when watching. These paths were setup up as moving objects within the narrative. For example, within Batt leship Potemkin, he uses the baby carriage as a formal device that gets intercepted toward the culminating action.

Eisenstein’s editing is very emotional. The patt erns that Eisenstein makes are a montage of collisions. One shot being very diff erent to another. For him, when an image succeeds another instead of lying alongside it, the exchange is less perceptible because of the instantaneity of the transition. Instead of looking at the basic juxtaposition of one image that has replaced another, Sergei Eisenstein’s theory of montage utilizes a ruthless elimination. He sought out and exploited what Hollywood would call discon-tinuities. He staged, shot and cut his fi lms for the maximum collision set from shot to shot, sequence to sequence. Since he believed that only through being forced to synthesize such conflicts does the viewer participate in a dialectical process. James Monaco, fi lm writer, states that a dialectical process cre-ates a third meaning out of the original two meanings of the adjacent shots. Editing thus has only two fundamental methods: cut and overlap. The dialectical process is inherent in any montage, conscious or not. Still pictures cannot be put together the rhythm of the succeeding shots. Any kind of montage is defi ned according to the action it photographs. Sergei Eisenstein maintained that the meaning of a sentence is the direct dialectical interplay of shots.

Conflict was important to him because it took on a specifi c form of expression. His trademark produced

tense, violent rhythms and made a principle of combining individual images.

CITY OF CENTAUR(S) ?

Why are humans so compatible with machines but not with each other ?

What intellectual pleasure creates a perverse “ DISMANTLING “ logic only

in order to keep mutating beings, objects and spaces?

IMAGES ON THIS SHEET IS FROM A DIGRESSION MODEL NAMED MAGDALINE - SHE RESIDED IN ATLNTA’S PLEXUS R + D OFFICE

AS THE OFFICE RECPTIONIST -2003

All pictures are from Hans Bellmer - Artist - Sculptor - Ref- Wikipedia.com

Movement in fi lm is an optical illusion. “Movement” in fi lm is not simply what happens. The director has several means to convey motion. What diff erentiates a great director from one whom is mere competent is not just a matt er of how action unfolds but how things are told. Everything located within the frame is a symbol. The information has to move the story forward. The audience has to engage the screen action in some form instinctively or intuitively. The cinematic frame determines the viewer’s att ention while simultaneously revealing a suggestive code of information within a specifi c duration. The form of movement has to resonate meaning. The three types of movement are frame movement, camera movement, and mechanical distortion. Benjamin states that haptic images are equal to retinal images . Architecture combines both.

Eisenstein’s Montage of Attractions

From the website www. scirarc.edu

The Los Angeles-based architecture fi rm Jones, Partners: Architecture presented an exhibition at the SCI-Arc Gallery that dramatized the spatial in-fluence of the column. An overhead framework of bridge cranes repositioned three simple columns within the gallery to produce diff erent spatial ar-rangements among the columns, and between them and the surrounding walls of the space. The col-umn’s traditional structural role was suppressed in this demonstration/experiment, isolating its space-defi ning nature as the sole variable. In deference to the purity of the experience of their spatial aff ect, the movement of the columns is not featured, despite the clearly expressed means for aff ecting it. This re-straint was relaxed at the end of the exhibit period, though, in an exuberant performance choreographed for the columns, accompanied by a string quartet. :

SOME OF THE TEXT AND IMAGES ARE FROM SCIARC.EDU

SCIARC GALLERY - SHUFFLE -SEPT 2004EL SEGUNDO OFFICE TEAM MEMBER - AS-SISTED STEEL FABRICATION : DOUG JACK-SON WAS THE PRIMARY DESIGN LEADER

NOTES for the BOSS Why keep moving the piloti(s) ? 2004

New York: The Museum of Modern Art, 2002, p. 101 Haunted by the remaining destruction of twenty-two years after the atomic bomb was exploded there, Arata Isozaki has projected images of his megastructures onto a photomural of the razed city. In this image his constructions are also in ruins. It is as if he had rebuilt Hiroshima, and it had once again undergone destruction. Ruins provide an important metaphor for Isozaki: "They are dead architecture. Their total image has been lost. The remaining fragments require the operation of the imagination if they are to be restored."

Bevin Cline and Tina di Carlo

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Figure 73. Interior view of UFA Cinema, Coop Himmleb(l)au

Figure 72. Exterior view of UFA Cinema, Dresden, Germany

http://www.theage.com.au/articles/2003/03/15/1047583738545.html

http://www.architravel.com/fi les/buldingsImages/bulding480/UFA%20Cinama%20Center_3.jpg

UNBUILT - RUSSIA BUILT - LA

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REFERENCE - PUBLIC SPACE - VIOLATED

The French fi lm critic Andre Bazin coined the term fi lm as a “window to the world”. This metaphor for architecture is applied as

a direct transference and implies the reading of the human eye (a transparent door that allows vision into an interior mindscape).

The UFA Cinema building alludes to a windowless façade where the fi rm advocates an in-between viewing state. The foyer is

this aquarium like glass structure is employed as a movie trailer before the actual watching of a fi lm. This public space surpasses

cinemas built over the past few decades because a time element was deployed (duration). The journey to the viewing is balanced

upon the actual arrival into the auditorium.

The observer is privileged to visit his surroundings in more numerous ways because the depth of space has been specifi cally

measured to that of camera movement. A constant shift of viewpoints complements strongly contrasted-programmed areas. The

UFA cinema functions on a direct relationship between the sensory perception of feeling and seeing. The interior represents a

cinematographic logic where focus and perspective changes. The composition of forms project stark contrasts of high versus low,

far versus near, narrowness versus wideness. This blurring of spatial boundaries enlarges our immediate perceptions, thus creating

an optical subconscious according to Walter Benjamin.

The overall building confi guration acts as open public sphere dedicated to the immediate urban locale that extends itself into the

structure. This extension of the UFA Cinema in Dresden, Germany augments the notation of montage as a spatial device for

organizing form, ideas, and geometry. The cinematographic image has been transformed as a spatial element. It is expressed as

an unstructured, fragmented projection. Moving images that pan in conjunction with the crowd movement destroys any temporal

continuity within the complex. By streaming heterogeneous movements across the open body of space, the architecture reveals a

contorted desire for visual consumption.

Himmleb(l)auDresden to Los AngelesCrash Course (7)

IN 2005 - I STARTED CRASHING DIGITAL MODELS INTO OTHER DIGITAL MODELS

THE IDEA CAME FROM WANTING TO DE-FORM AND REFORM PUBLIC SPACES THAT WERE TRYING TO BE RESCUED. I FOUND THAT PEOPLE WILL ABANDON SPACE AND LEAVE IT TO DIE.

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Figure 14. Film Still(S) - VIDEODROME, Cronenburg , 1983

Cronenburg

This motion picture off ers two main arguments in seeing postmodern society architecturally, politically, and spatially. VIDEODROME mandates a rubberized media landscape by featur-ing a specifi c moment when James Woods, main protagonist, literally pushes televisual space into a new confi guration. The new boundaries that are presented in the fi lm establish a new materialized form for the human body. The picture tube gives way to an elastic costume that reads as a soft intermediary material. The three dimensionality of this animated threshold reposi-tions the glass tube as a zone for interactivity. The fi lm transfi xes this static realm and creates a dematerialized form by displacing a normalized character as one who is defi antly generic.

The political readings of this fi lm are that “TV is bett er than reality”, and the major corporations have the control to push our emotional butt ons. Within the confi nes of this fi lm, the media has become the message and reality is less than TV. The dark forces that this possesses are att ributed to the destructive viewing of sublimated violence that the media brutally presents as appealing. This celluloid production engages contemporary man in pursuit of infi nite physical pleasure through a visual medium. To elicit criticism architecturally from this one production, the motion picture provides a new set of spatiotemporal forms. One can visually decipher from the image stills (Fig-ures 14 and 15) that body’s occupation within a framed space has been transported as a disjointed existence. The fact that cinema explores familiar objects and can penetrate transparent thresholds

(television screens), provides a literal collision of recognizing unconscious everyday forms.

1983 - CRONENBUG - DIRECTOR OF CRASH- MAKES VIO-LENT SEXUAL MOVIE TITLED “VIDEODROME”

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Aftermath of SNAFU

Only the trace of space is required for comprehending the diagram. The destructive guns toward architecture is a constant fi ght and never ending war. Once the diagram is formulated- all constraints within the decision is renderedThe images of 911 have defi ned my psychotic making process. Have found that the excess brings pleasure to my facile form making. The virtual camera within digital model now assumes an animated event. Ghost scripts create novel techtonics.

Eisenstein obviously deploys jolting sharp images together where there is no closure of form and allows a spectator’s mind to be psychologically penetrated. His fragmented approach reflects a compositional dynamic that intensifi es his staged action. His shapeless philosophy mirrors an unbalanced relationship between organic forms and rigid sequences (similar to Piranesi). This fluid naturalism casts a fragmented three-dimensionality where the intellectual syntax (his fi lms and his discourse) is spatially blurred.

Eisenstein enjoyed the idea of creating images that were multivalent in nature. This assertion can be valid because he uses Japanese Haiku as an example for sketching impressionistic thoughts. These are considered shots for him, and they also represent perfectly fi nished sequences. The combinations of these words are systematically arranged and confi gured for open readings. The building blocks of words as images force disjunctive literary and architectural relationships. Eisenstein later borrows from one of his major sources of Le Corbusier’s theory, Auguste Choisey’s Historie de l’architecture, on which the architect had relied in his elaboration of the promenade architecturale. He wanted to incorprate Le Corbusier’s (Figure 61) lyrical spatial intensity where precisely controlled itineraries are conditioned. Eisenstein had commanded his most notorious theatrical performance on the Odessa Steps for the fi lm Batt leship Potemkin. In this specifi c editing sequence (see appendix B), he contrasts lights with darks, vertical lines with horizontals, lengthy shots with brief ones, static with dynamic, and traveling with stationary. This edited scene screams with extreme violent action that guides the viewer into a state of confused mental state of ecstasy.

One that can be architecturally reckoned with Piranesi’s etchings.

58. Sergei M. Eisenstein, diagram of Piranesi’s Carere Oscura, ca. 1947

ing. The virtual camera wig

MY IMAGINATION NOW DRAWS NEW THINGS THAT WANT TO BE DEAD - WHY ? THE DEFAULT QUESTION:

SyNTH 1: digital digressions essions

How does one demarcate a history of culture within a world of demolition, destruction, and devastation ?

When students of architecture start design school they become hazed into a studio bauhaus

culture. They are superimposed with intense grand objects of complexity that the one can-

not have a bearing or position and therefore they only learn to mimic thing that they are

att racted to. Student are taught to have their own voice and create their own language. This

objective ability to defi ne a shape grammer and form vocabulary into a coherent science

is what makes architecture a silent and romantic journey. Students must learn to map a

cartography of conditions into a problem statement only in order to defence and explain a

deteremined position for fabricating expressive and subversive artifi cial shelters and struc-

tures. Training people at a reality based playground can imprison them to eternally search

for corrective measures. SyNTH 1 is a book about decoding the system that monitors our

behavior, deeds, and our responses to contemporary man made world.

FOG:A 2005 - TEAM MEMBER - OLD ATLANTIC YARDS

IN LA, LOTS OF ARCHITECTURE DESIGNERS DRIFT THROUGH THE OFFICE OF FOG. ONCE THEY ENTER AND EXIT THE GARDEN OF COLLISIONS. THEY ARE NEVER THE SAME. SINCE 2005, I LOOK FORWARD TO CRASHING, CRUCNHING, WARPING, DISTORT-ING FORMS. THE BENDING AND BREAKING OF MA-TERIAL IS EXCITING AND THE MOMENT RIGHT BE-FORE SOMETHING SNAPS IS THE MOMENT THAT DEFINES THE LUXURAY OF CHAOS.

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These sketches was completed on-site in Rome, Italy. The major objective for our sketch class was to focus on building plan axonometric that focused on the ortho-graphic representation of diff erent urban building contexts. Given assignments were to focus on small, medium, and large elements at diff erent drawing scales. The development of looking at existing spaces provoked a much larger understanding on layering a palimpsest for visually crafting and creating a dense hierarchy of graphic information. Utilizing the model for extracting imperative views and axis’s revealed most architectural features and simple themes became apparent by directing the drawing eff ort toward the three- dimensional.

All architects are technically trained to dimentianally craft and material space ? 2001 - Roma

2001 - Florence

2001 - Sienna

2001 - Sienna

2001 - Parma

2001 - Venice

chapter 2

chapter 2

1995 - 2010

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PARKING

This second year studio project acknowledges the notion of constant change and perpetual flux. The ephemeral concept was derived from the professor client as a conceptual thread to merge the residence not only to the immediate landscape but also to the entire Pee Dee marshlands area of the lower coastland of South Carolina. The house att empts to att ach itself loosely to the earth in an aggressive manner where the major views were going to be fully optimized and where the window wall would be mechanized into a physical device where the roof would conceal the exterior partition. By creat-ing a barrier that would disappear, the opportunity to literally extend the living retreat space into the outdoor balcony porch area facilitated the defi nition of being truly able to interact with natural elements and sustain shelter. The floating horizontal armatures establish and connect the migration of bird wildlife and also present a long linear framed view of the territory. The hibernation of animals draws upon the horizon a new visual extension. The overall design has a gross area of 2000 square feet.

EPHEMERAL HOUSE -1995 - PROFESSOR COLEMAN JORDANRETRACTABLE ROOF

GARAGE LIVING ROOM FRONT ENTRY

MARSH LANDSCAPE RETRACTABLE ROOF

This third year studio project was to house a physical gesture for the selected mid-town area of New York City. By studying the solid/void relationships that exist within the contemporary urban fabric, the end-less repetition of street blocks surfaced as the most formal representative design element. This incremental tectonic unit for zoning functions as a grid device that orders how rigid the city form has become mani-fested. This pavilion proposal provides a resting ground for re-discover/uncover/recover of the self by way of off ering a sanctuary for looking into one’s own history and collectively displaying a collaged image screen of projected mental thoughts for the visitor. Utilizing hyped up neurological instrumentation and cinematic IMAX projection, the interior wall becomes a reflective digital mirror for re-representing a multicultural cross-section of humanity. This gesture expresses how technology amplifi es and reveals a new reality for our social condition and thus creates a new interaction with our collective identity.

How does one frame and learn to di-rect a mechanical existence within fi lm’s linear structure ?

Soho - NYNY 1995 PARKING STRUCTURE PROFESSOR RAY MAGILL

What can really be said. An opinion? My reading on the project was to turn the garage into a collector’s gallery/museum and still provide basic storage for parking. The First iteration split this program where driver’s have the opoortunity to showcase. The overall mass of the

building is an inverted setback that zoning requires. The site assumes that large scale buildings exist on one side of the block and smaller scale structures on th e other. the roof pitch starts at the sixth fl oor and drops to the top of the second.

Can the modern spectacle of today there be retirement from theater ?This supercrit (1 week design charett e) is based on creating a retreat for one of the world’s greatest high wire walker. He has crossed over the Grand Canyon, the world trade center, and also the Eiff el tower. After he retires, he plans on writing a book of memoirs. This proposal uses three conceptual strategies that formulate a basic intervention for this one room project. 1- Insert a new ground plan that bridges two diff erent types of landscape area. 2-liberate the retreat space by mechanically controlling the roof and walls that literally reveal the core interior space to the earth and sky. This feature of adjusting the enclosure allows Philippe Petit (artist) an opportunity to detach him-self physically, mentally, and spiritually. 3- Re-establish the Clemson University natural history museum to its immediate surroundings. A new courtyard emphasizes a larger public off ering for accommodat-ing specifi c venues.

This supercrit project was a brief 1-week project that introduced the stu-dio to Atlanta. Professor Lloyd Bray provided background information pertaining to the recent history of a new bridge overpass connecting the Midtown area on both sides of interstate. This congested freeway junction sets up the fi rst visual reading of midtown and downtown Atlanta and also establishes a physical threshold. This framed view is guided along the north/south interstate retaining walls. The vertical commuter corridor bifurcates the heart of this urban area. This section cut through the city appears as a never-ending stream of continuous fragmented movements. Within this immediate threshold into the city, a building metamorphosis is occurring architecturally, economically, and culturally (Atlantc Station, home of the old steel mill). The initial proposal had DOT (Department of Transportation) and Santiago Calatrava in collaboration in eff ort to design this new pedestrian / vehicle overpass. After the schematic design was created, the DOT refused to fund and politically partake in this joint project. My proposal calls for a place to commit suicide. Like that of the city, it comments on the existence and being in an area where something is not wanted and is not valued. After doing research on this subject matt er and subscribing to its ritualistic nature, the project establishes a place for private desecration. Of course there are commercial aspects built in to the process by having internal light shows that cast external shadows.

SUPER CRIT

studio 5(supercrit 2 - DRAW Bridge)

Genova SpA (Shipping port Authority) is characterized by an edge contour that manifests itself as an industrial front yard. This area of study (an enormous Ligurian coast-line) is conditioned between two powerful natural boundaries (land and water). As an interstitial zone of historical maritime commerce, the man-made extensions (bacinas, berthing platforms, docks, jett ies, piers, quays, walls, etc.) demonstrate an unspoken force about commodity, community, and culture. These physical constructions are localized manipulations of terrain that provide a platform for trade. Since the Unifi cation of Italy, the port and city’s overall confi guration has had immense transition. The formulation of the Iron Triangle (Genova, Milano, and Turino) and newly formed 1903 Consortium (C.A.P.) set in motion the port’s unlimited potential for a new loading/unloading capacity of goods. After deciding directional expansion toward the West, major immigration populated the growing labor force and assisted the arrival and departure of bundled cargo. Parallel to increase in ship activity, hydraulic mechanical cranes were employed to further accelerate the transshipment procedure with a higher load capacity.

The ancient harbor’s basin has a limited capacity for the new type of shipping vessel. This territory of older constructions demonstrates the obsolescing of specifi c buildings, goods, and machinery. They are now seen as remnants of an aggressive industry that constantly upgrades moving procedures for fi nancial profi t. The historical Cott on Magazine, which once held 43,000 square meters of storage space with an 85,000-bale capacity, now houses a retail center. Within the recent past, the Old Pier (Molo Vecchio) used at maximum production capacity had twelve electric 1.5 metric tonn. cranes running simultaneously (see drawing 1 for type). While the original building structure is currently modifi ed, there is fi ve cosemetically repaired unused cranes, which are still positioned on railroad ties and are left virtually isolated and disconnected operationally. These specifi c cott on cranes can share the same outdoor dining space with local yacht members. Nearby, on a 6 foot rusticated stone base, one 1888 spray-painted primer gray features a bronze plaque dedicating the 1992 / fi ve hundred year Christopher Colombus discovery celebration (see drawing 2 for type).

The robotic reliance on operating cranes has enabled the port to adhere and maintain a greater measure of effi ciency than with that of human eff ort. The port cranes present themselves as instrumental devices that allowed an unprecedented industrial growth for both the city and port. The crane’s relationship for expediting cargo is indispensable and can be viewed as indicator for marking economic and land expansion. The cranes are sophisticated mechanical extensions of specialized conveyance networks. Ideally, working cranes must never be fi xed in one singular position, they must have mobile flexibility (see photo 1). This assertion also implies a larger understanding for describing the city’s programmatic infrastructure development.

The Conserved SpA Booms Robert MothershedGold is born in Spain, lived in France, and buried in Genova. - 1468 Unknown Writer

The outlined proposal calls for specifi c participation with past, present and projected development of cranes and of Genova. The SpA is distanced on 17-kilometer coastline that geo-graphically dominates the city’s water edge condition. This longitudinal dimension aff ords even greater expansion for more industrialized growth. Everyone whom acknowledges this immediate locale of urban cohabitation can place a panoramic glimpse of the modern cacophonic (orderless, perhaps profane) commercial expansion. The SpA ‘s potential threshold for cargo handling could perhaps will never be fully realized when true building boundaries are never defi ned. The massive overall proportional dimensions of the new Voltri docks have created a dehumanized shipping district. The port is constantly under observation in att empt to further expand its capacity to heighten the density of traffi c.

This multi-functioning international managerial trade center currently uses the area underneath the loop road around La Lanterna as a temporary storing place for outmoded pieces of rusted machinery. This specifi c area can be seen as a transitional emporium of yesterday’s tools and also the greatest historical Genovese landmark. The sophisticated charac-teristic and manufactured mechanical intelligence within a brief evolution of cranes marks a systematic trajectory about inscribing service and dedication. The cranes have served as set of home-based tools for enabling political seatrade abroad. The outlined proposal calls for specifi c participation with past, present and projected development of cranes and of Genova. The studio proposal is a physical fi nal resting terminal (graveyard) set into the existing perimeter profi le of the loop road underneath La Laterna. The studio proposal works by inform-ing a partially demolished utilitarian overhead passageway with a proposed suspended pedestrian park design by Rem Koolhaus (see photo 6). His future design physically links this historical monument with the new Ferry Terminal. The new ground level off ering revises the usage of this privitasied property in att empt to engage a somewhat unusual public cemetery sett ing. In 1890 this was hinge point site for deciding what direction to expand. The 1997 masterplanned area of San Begnino has two diff erentiated ground levels of 18.3 meters.

The lower proposed pathway will be visually submerged against the built-up datum of the newer industrial service plateau. The design works a large vista on the eastern side of the lighthouse facing toward the inner harbour. The existing vertical ramp and stair circulation is more emphasised. The entrance and exit bookend this upward path. The new terminal is meant for re-connecting two open ends (past and future) with the burial of crane booms. This insertion would re-structure the existing grade surface to allow a larger collection for future crane booms. The largest spatial requirement is inthe cross section of the truss armature. Some floating cranes are to have a 350 tonn. maximum capacity. The boom’s segmental nature would could foster a reading arduous strain and berthing ability. The specifi c maritime cranes gathered together could be examined to educate people about the port’s strategic outlook. One that has always embraced technical knowledge with corporate innovation. The installation articulates a mov-able set of apparatus’ that allow a re-sequencing, like that of the port profi le (see drawing 4). The wrought iron cast metal and extruded A36 steel armatures would be minimally securely fastened below ground at a negative 1-meter subgrade dimension. Using bracketed devices on an overhead retractable framework would fasten booms to the lowered visible height. In a metonymic manner, the crane booms are now fi xed in a permanent conserved position (an Italian Catholic tradition). The older Cranes of yesterday and tommarrow’s outdated cranes would be openly displayed to re-represent and suggest an ideological machine age thinking (a positive att itude toward hard labor and commitment).

Can people celebrate the death of obsolete machines ?

Photo 5 - Typical view of cranes working during the unloading transhipment berthing time

Immigrant Worker - Industrial Revolution

Photo 1- Mobile Crane- 20 Tonne Capacity (free)

Photo 3 - 40 Tonne Overhead Crane - Calata Sanita

Drawing 5 - Developed site plan - indicating linear area reconfi gured into radial patterned section cuts of loop road

Photo 6- 1997 Rem Koalhaus San Begnino Proposed Model - Suspended Park anchor-ing La Laterna

Photo 2- Renzo Piano Spyder /1992 Expo

XIII century masoic detai

Proposed hoisting detail - plan view

Drawing 5 - Developed site plan - indicating linear area reconfi gured into radial patterned section cuts of loop road

l

Proposed detail plan - section view

Proposed hoisting detail - elevation view

44 Suspended Catwalk Crane45 Existing Lead Factory Converted46 Screnn Wall with Floating Images47 New Corridor48 Drum49 Screen Wall50 Crane/ Catwalk51 Metal Floor Grates52 Existing Train rack Bed53 Mobile Projector Unit

Since culture is represented within a system of symbols, cinema’s ability to script livable texts presents itself as a substantial aperture (window) for witnessing our post-modern world. The fi nal product of this thesis permeates with several layers of cinematic montage. By subscribing the Eisenstein’s method of constantly inserting new information into the picture plane at diff erent intervals, the intent was to make a visceral reading of this move spatially as well as architecturally. The framed version of viewing montage is a performance located within the site and outside the building. This occurs within a visually dynamic scene. The examined action was seamed and encased into a mechanical motion going from left to right. At this outside edge boundary of the site, the content that gets viewed is a clear depiction of both midtown and downtown Atlanta. The insertion of both contexts is revealed through a transparent holographic screen that provides a new window for viewing both the new layer of buildings in Atlanta while still presenting a datum for projecting motion picture artistry. The high-rise construction within the skyline of Atlanta represents a communion of commercial, technological, economic and social power. This level of interaction between real and imaginary are transfi xed into one social space. The new visual promenade for compounding this invasion between what is seen and what is unseen was determined by the capacity to accommodate the proposed program.

The changes in consciousness that regular cinema aff ords bridges the openings to the architectural realm by deconstructing optical viewing points within a specifi c boundary (frame). Architecturally, the dim light of cinema creates an imagination theater. The nature of makeshift (Ad Hoc) approaches to exploring building space has always been a historical cinematic tradition.The participants who visit this proposal see not just new screenings of diff erent media but also share in the fluctuating levels of activated building space. The temporary reading of the moving image that physically moves recognizes a new fi eld of motion. The blurring of focal planes registers a more detailed area for this interstitial volume. Montage engages the mood of an outdoor environment that is set parallel to the mood or tone of a particular movie production.This reference utilizes the screen as a non-identifi able platform for motion picture viewings.This dismantling participates in a suggestion to psychologically reinterpret place. This level of interaction between the building and the city ritualizes space in a manner that now allows the a visual penetration of multiple axis to occur in all directions. The external relationship that is generated from the site makes the city an active audience member. The demonstration of rhythmic montage also establishes a path of fragmenting circulation views around and through the new proposal. The scope and scale of this cutt ing technique constitutes the impression of the visual brutality that this editing construct allows. The transverse circulation scenarios run perpendicular to the main procession compositionally get re-assembled through its random size and random placement of punched openings. In this project, the repositioning of context, cinema, and audience fosters an ambiguous dialectical reading through the practice of montage. The forms proposed with this thesis are constructed above the existing railroad beds that physically enter the grounds of the site. The stadium seating is set between the west end of the Butler building addition and the east side of the existing overhead crane. The new production studio space is superimposed on top of the 1960’s foundation addition.

The coterminal/parallel approach to staging events in this space can be denoted from sectional sequence cuts to show the overall organizations of linear volumes set to reface the south elevation. Since the initial program’s manifestation has remained intact, that being a place to view and produce new experimental fi lm productions, the project’s three main components have been spliced together utilizing the most remarkable cultural devices to construct meaning, architecture.

IMAGE PARK - THESIS- OPERATION MONTAGE - 2002

BROWN FIELD SITE EPA - HIGH RANKING AS WORST SITES - LEAD SMELTING FACTORY

VIEW FROM SITE TOWARD MIDTOWN ATLANTA

STUDY MODEL INDICATING THE CROSS PROGRAMMING OF SPACE AND FUNCTION

ATLANTIC STEEL RUINS - PRE 2002

When will public space exist again where there are no laws, no rules, no order ?

The present time in history is emblematic of an overpowering electronic shadow. The connection to, and distribu-tion of information has pervaded all facets of human interaction. Only through the total implementation of this connectivity can a new paradigm be realized.

Today’s “Library” is, by defi nition, a (dis)continuous stratifi ed nucleus of recorded publications in a constructed categorical spectrum. It is, by association, an indexed archive of information describing and augmenting man’s knowledge, resources, and technological status. The proposed project identifi es itself as a recording devise: a virtual transcription: the simultaneous portal to and record of humanity through an interactive global network.

Building equals Server

CLIENT:

COMPLETEION DATE:

SITE:

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ARCHI_World International

Jan 2005

Peru, South America

Mobile tower - 300 Guests

29,000 sf

Cannot Touch Site

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How can recreational space signify an interwoven non building with nature ?The Chicago River Project

Urban Waterways 1: The built environment of Chicago sustains a sophisticated and heroic architectural existence. This constructed city can be described as a dramatic theater of

production(s) and negotiation(s). The city’s factual reality creates moments where aggressive buildings narrate and perform in stage-like spectacles. For example, the

transitioning buildings castled around Grant Park formally remain directed to a proscenium and shadow an audience of intrigue. Another inherent example is the

reciprocal skyline of the city. It lifts its favorite actress in a frozen moment of conclusion and fi nality. This collective eff ort overtly creates a dedicated and singular

instance for recognition. While the epic sized structures of the city create an exchangeable identity, the river that surges through the city has been forgott en.

The river observes a coterminal set of positions within the city’s cast of characters. Meaning, it connotatively spaces the intervals of diff erent plots and directs a silent

rhythm. In contrast to the play,the river has been robbed of its historical marvel. It has developed into a memory mechanism of diversion instead of a channel of

industrial distribution. The flowing river, which has always been a commercial commodity, has become a central place of spatial programmatic inquiry and social

interest. It has become reprogrammed to situating and couching the city as a machined backdrop. The river was also overcome by the generic ordering of streets.

The unsympathetic block grid has dominated by the superimposed organization of downtown and lacks a singular att itude /role when dispersed. While the river is a

shared public space, it once separated sections of downtown and caused territorial divisions.

Now, the living but buried river weaves and stitches the homogenous urban fabric causing a regeneration of diff erent permeable boundaries. In the areas, which

are analogous to screenwriting, the river has been scripted to adhere a specifi c unknown cast role. The mystique of the river demarcates and defi nes a variable link

between the dramatic production of mankind, the fluid productions of nature and the liquid ephemerality of life. The idea of linking multiple zones of spectatorship

and docking interactivity can be considered and articulated with the analogous approach to contemporary culture.

River Station 1/ Swimming Pool River East

Water Taxi program:a1_Water taxi docka2_Waiting space a3_Ticket booth

Swimming Pool program:a4_Inside/Outside poola5_Locker & shower rooms

Shared program:a6_Lounge a7_Public toilets a8_Taxi drop off a9_Bus stop

s1The idealized notation of analog assumes a theoretical framework to derive and formulate prototypical architecture. Analogs are instrumen-tal devices that deploy synchroniza-tion. Analogs coordinate diff erent systems of movement patt erns and structure in eff ort to seam a connec-tion or bridge. Analogs allow a plat-form for exchange. It allows various hardware systems to be operated, commanded, and communicated. The analog exacts a synapse of informa-tion to co-exist and also signify meth-ods input and output. Utilizing this digressive strategy for implementing architecture, the insertion of various analogs mandates a unique individual experience for the city of Chicago.

s2

River Station 2/ Theater Wacker & Madison

Water Taxi program:c1_Water taxi dock

Theater program:c2_Theater c3_Back-of-house c4_Storage c5_Offi ce

Shared program:c7_Ticket booth c8_Waiting space c9_Public toilets c10_Taxi drop off c11_Bus stop

River Station 3/ BoathouseBubbly Creek (Ashland & Archer)

Water Taxi program:b1_Water taxi dockb2_Waiting space b3_Ticket booth

Boathouse program:b4_Boat docksb5_Meeting space b6_Exercise room b7_Offi ce b8_Locker & shower rooms b9_Boat storage shed

Shared program:b10_Public toilets b11_Bus stop

b12_Kiss ‘n ride

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The modern “Art” museum is infected. It pretends to be a didactic device for the general mass public. Museums are formed and programmed “sponges” of speculative importance. Museums are places of collecting cultural fragments. They frame the knowledge of others in att empt to create a reception of meaning. Museums perform a civilized organization of information. They (museums) subjectively are preoccupied with educating a speculative memory and establishing a dedicated repository of events. They institutionally promote observations about the defi ned moments of importance and potential represent signifi cant meanings. While the idealized constructed nota-tion of museum promotes a moment of receptive contemplation; museums construe a privileged and civilized outlook toward humanity and its preoccupations. Museums fragment time by sett ing a privileged moment of mediation. They fasten to mankind’s historical memory, manifestations, and observations. Knowing that, a museum cannot simply be defi ned as an institutional repository of culturally embedded objects. The more appropriate origin of the museum was initially conceived as a “prison-house” for the exuberant and exotic collections of worldly masterpieces. These commodifi ed objects are chained entities to their designated historical cells. They are put on constant educational exhibition for the bourgeois’ and their social exchange. Museums simul-taneously absorb culture and release agents of dis-information. In displaying precious negotiable items, social crimes are being committ ed. The objects captured by the intel-lectual elite. These objects, which are at least to be considered incarcerated artifacts are

at best: caged, secured, monitored, locked, and labeled.

FLEXIBLE ART MUSEUM FOR UNDERGROUND ARTISTS -CITY CROSSING - CANADA

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METRO CONNECTION BELOW

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Nazca 2005 Observation TowerPosition:

Within contemporary reality; the notion of space has become an archaeological void. Space, today, is a global palimpsest historically fragmented and never fully understood by the present day user. This condition is exacerbated by Man’s reliance on technology and the prolonged patt ern that has culturally augmented and socially formulated how Man experiences his relationship to nature. The machines generated by technological advances are ultimately prosthetic extensions of Mans’ existence and are only sensitive to specifi c programming. They do not have the encoded capacity to react to space, rendering the environment prescriptive. It is this prescription of modern operation that precludes Man into missing the full meaning of space.

Proposal: Hyp(er)_Vyp(r) ®

The Nazca Hyp(er)_Vyp(r) ® Observation Tower proposes to construct a new architectural agenda for experiencing the enormous landscape drawings. It is this project’s intention to use this agenda as a way for man to use his technology to embrace the anthropological phenomenon here and to reconnect to the essence of nature once again. The desert surface geoglyphs have become educational diversions now, but can also serve as a coordinate system to communicate with the uniden-tifi ed and mysterious forms of life outside our own. The tri-partite hybrid intervention transplants users into an inspection that displaces modern space and time. It allows visitors to immediately embrace the historical inscriptions at multiple scale readings potentially in order of magnitude or more. The tower traces the embed-ded etchings as if they were analogous to individual moments of DRAFTing. The hovering tower operates as a memory, recording, and measuring instrument with the capacity to turn the observer into occupier and participant. The retractable mobile tower project signifi es freedom from an absolute set of visual boundaries and extends without restriction. The open performance of the design initiates a machine logic and philosophy as an operational strategy, but focuses on the phenomeno-logical and ephemeral qualities of the drawings as the primary way to evoke Mans’ comprehension of these anthropological masterpieces. The Hyp(er)_Vyp(r) ® physically and viscerally uncoils itself as a way to navigate a collective audience and implant a superimposed memory of how and where these drawings came from. By erasing the singular viewpoint, the new tower off ers unlimited spatial confi guration within the shifting horizon while delivering an enlight-ened human perspective. The intention is to take the spectator to the object of study without harming or damaging the process or means. In addition to the Tower the project also contains the ARMature. The trajectory of the ARMature scans then traces the drawings based on user input and special interest. The ARMature, in concert with the Tower, creates shifting zones where the relationship between space and time is integrated with the spirit of the Nazca and their relationship with the Earth through movement along or around the drawings. Dynamic intervals of spirit, place, and event allow a re-engagement with the unknown and foster an educa-tion into the understanding of natural space.

Why does the human species always look to the past for an-swers to the future ?

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rule 1 - THE BUILDING CANNOT TOUCH THE SITE

MOBILE TOWER

MOBILE TOWER

RESIDENT CABINS

VERTICAL CIRCULATION

ADJUSTIBLE OBSERVATION DECK

LIBRARY DECK

MOBILE TOWER

MOBILE TOWER

How does a generic botanical building space become developed and encod-ed within specifi c functional architectural program ?

The idealized notation of Analog assumes a framework to derive and formulate architec-ture. Analogs are instrumental devices that deploy synchronization, coordinate diff erent systems of movement patt erns and structure connections or bridges. Analogs allow a platform for exchange. It allows various hardware and software systems to be operated, commanded, and communicated. The analog exacts a synapse of information to co-exist and also signify methods input and output. Utilizing this digressive strategy for imple-menting architecture, the insertion of various analogs mandates a unique individual experience for the Titt ot Glass Museum.

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OVERHEAD BUILDING CRANE FOR EXHIBIT SHIFTING

GIFT SHOP - DINING

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TRUCK LOADING

GIFT SHOP - DINING

SIGN - ENTRY

STORAGE

CLASSROOMS

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GALLERY 2

OVERHEAD BUILDING CRANE FOR EXHIBIT SHIFTING

IFT SHOP - DINING

STORAGE

LECTURE HALL

OVERHEAD BUILDING CRANE FOR EXHIBIT SHIFTING

SIGN - ENTRY

GALLERY 3SIGN - SHOW

CLASSROOMSGIFT SHOP - DINING

SIGN - ENTRY

USER GROUPS

Do machines within the Garden indicate a reciprocal

picturereque dialoge or do they only attract a decision

maker ideology?

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Can an organism derive a regonial context to

make a passive design approach more intel-

ligent?

The new Malama Learning center is set to anchor itself into its new site providing the campus with direction and a future. The new building will address thee important axis created with the current pathways on campus but also with surrounding residential areas. At the intersection of those new paths the Malama Learning Center will begin to take form. That form will evoke the image of construction and rebirth. Many spaces will be housed under its protective shell while others will such as the amphitheatre and gardens will not. Those spaces not requiring mechanical AC will be protected by the structural skin surrounding it. As the building stiches itself together around the apex of the pedestrian paths its form will collide together in a glassatrium housing the lobby. By merging positive and negative the new center willact as a compass guiding it s students to their future goals.

Every Machine is the spiritualization of an organism. - Theo van Doesburg

The technological and the bio-logical, once regarded as op-posites, are today increasingly merging into hybrid constellations. This calls up the old question of the defi nitions of life and nature, and what their relation is to technology and culture. We can observe a shift from a world of constants to a world of vari-ables in which the biological is placed ever closer to the technologi-cal. This shift takes place si-multaneously with the grow-ing technologisation of society.

Christian Moeller

1 PUBLIC SPACES AND CIRCULATION 1a Lobby/Reception/Exhibit/Gift 2a General Circulation 2 PERFORMING ARTS/ASSEMBLY 2a Performance/Lecture Hall 2b Exhibition/Set Storage 2c Equipment Storage 2d Performance/Dance Studio 2e Theatre Restrooms (2) 2f Outdoor Gathering Space/ Amphitheater 2g Loading Dock 3 ADMINISTRATIVE FUNCTIONS 3a TNC Director’s Offi ce 3b TNC Open Offi ce Plan 3c TNC Offi ce Manager/Reception 3d Volunteer/Open Work Areas 3e MLC Offi ce 3f Staff Lounge 3g Offi ce Supply Storage 3h Offi ce Equipment 4 TEACHING AND MEETING SPACES 4a Classroom Spaces (3) 4b Small Conference Room 4c Large Conference Room 4d Visiting Artist/Scholars/Scientist Studios (2) 4e Resource Room 4f Outdoor Teaching Areas 5 NATURE CONSERVATION OPERATIONS 5a Clean Lab 5b Nursery/Shadehouse/Repott ing Shed 5c Plant Maturation Open Area 5d Covered Repott ing Area 5e Outdoor Staging Area 5f Native Hawaiian Ethnobotanical Garden 5g Field Work Area 5h Storage Tool Room 5i Mud Room 5j Bulk Storage 5k Flammables Storage 6 SUPPORT SERVICES 6a Kitchenett e 6b Staff Restrooms (2 ) 6c Public Restrooms (2 ) 7 BUILDING SERVICES 7a Custodial Closet 7b Supply Closet 7c Mechanical Room 7d Electrical Room

MJ FOREVER - BURIAL TOWER

Where does one stop reaching for the sky and where does one lose all connection with the ground ?Archi-logical Design

FLOWE(R) TOWER

CLIENT:

COMPLETEION DATE:

SITE:

PROGRAM:

SIZE:

NOTES:

ARCHI_World International

Jan 2005

Peru, South America

Mobile tower - 300 Guests

29,000 sf

Cannot Touch Site

THE SPATIAL SCHEMATA OF LOS ANGE-LES IS A PLEXUS OF COLLISON. THE COR-RIDORS OF THIS MODERN DEVELOPMENT COMPELLS A COLLAPSE OF INDUSTRIAL PLANNING. THE HORIZONTAL FLUID OP-ERATIONS THIS REGION IS BASED ON THE GROUND PLANE . THE VERTICAL MASSING OF THIS CITY IS SMOOTHERED AND COV-ERED WITH SPRAWL .. THE CONTINUOUS DETERIORATION OF EDGES HAVE LEFT THE CITY VOID. THERE IS NO DEMARCAT-ING BOUNDARY BETWEEN DISTRICTS, ZONES, TOWNS, AND LOCAL CULTURE. THERE ARE ONLY OBLIQUE MOVEMENTS WITHIN THE DELICATE STREET FABRIC. THE THEORETICAL TRAJECTORIES OF FORM AND FUNCTION SHALL BE RET-ROFITTED ACCORDING TO EXITING INFRASTRUCTURE,EXISTING POPULA-TIONS, AND EXISTING HISTORIES. THE AR-CHITECTURAL POETICS OF URBAN SPACE IS ESTABLISHING A MONUMNETAL THE-ATER FOR FUTURE DEVELOPMENTS WHILE PROMOTING HUMAN OCCUPANCY AND HABITATION. AS A MNUEMONIC ARCHI-TECTURE – THE SCALE OF MEMORY HAS NO SPECIFIC RESPONSE, MEMORY RECOL-LECTION, OR NAVIGATIONAL REQUIRE-MENTS. THE CHRONOLGY OF BUILDINGS WILL TRANSITION AS ORIENTATIONAL DEVICES FOR FURTHER ACKNOWLEDGE-MENT OF PLACE. THE LOST CITY OF LOS ANGELES HAS WILL HAVE TO SACRIFICE ITS HOMOGENOUS MANIC MONOPRO-GRAMMING. THE “FLOWER TOWER” IS OPEN EVENT ARCHITECTURE OF 1 BIL-LION SQUARE FEET.

1,000,000,000 SF FLOWE(R) TOWER

1,000,000,000 SF

FLOWE(R) TOWER

OUTDOOR TERRACE FACING SUNSET

THE NEW SKY MALL

VIEW EAST FROM PROPOSED TOWER

1,000,000,000 SF

RECREATIONAL

OFFICE

LIVE

SOLARIUM(S)

VERTICAL TRANS

FLOWE(R) TOWER

Can a new monumental machine establish a lost identity ?

The overall design intent of this proposal is the mount a new urban space onto the open core of civic/cultural space in front of City Hall. The intervention establishes itself as a physical bridge from existing elevated detached terrace by RE-grounding itself as a new physical threshold. The architecture creates a formal device that aspires to connect the higher pedestrian plane of arts with the concealed lower park of local govern-ments. The Intervention overlaps these two institutions in order to create a more intimate transition while also seamlessly supporting the monu-mental urban presence of the government hall. This illicit bureaucratic intersection can now create a new underground plexus of co-terminal activities.

LAp DANCER

The SPACE of LA can capture the temptation(s), desires, fears, and dreams of any seeking individual. Today, the downtown has become a LOST garden of secret pleasures. It has been abandoned because people fear of not having the social amenities found elsewhere. The core of downtown lacks a friendly outdoor center. The city has become desperate for interfacing with its honorable patrons. PUBLIC space has become subverted to the machine and the pedestrian masses have such been obliterated. The motions through the city should have a human pulse, a human touch, a human connection.

This proposal calls forth a re-connection with our contemporary culture in order to provoke a more visceral associa-tion. The proposed architecture informs it self as metaphorical Lap Dancer. This project is a multi-modal pleasure experience. The park is designed to amplify natural senses as the user interfaces with the activity or space/object. The act of pleasure amplifi cation must then be turned into spectacle for other users.There will be visual, textural, olfactory, and auditory stimuli all summoned by the act the user has chosen to participate in. The user has the choice; they have the power to control their level of pleasure. The park works in harmony with the edge conditions of the park boundary. Certain ideas are expressed as super graphics or patt erns to relate to the scale of the city. Our generation of the spectacle is a product of over lapping, colliding, and perceived volumes consisting of separation of space and program. The skillful manipulation of visual, textural, auditory, and olfactory proximity make this park the adventure everyone should have.

BATHHOUSE

MOBILE SEX MUSEUM

BRIDGE

OPERABLE LAWN - CANOPY

SITE PLAN

MOBILE SEX MUSEUM

LOVER LAWN ABOVE

PRIVATE ENTRY BELOW

RAMP CONCOURSE

A-OUTDOOR LOUNGEB-UNDERGROUND BATHSC-PUBLIC SUANAD-MISTY FOUNTAINSE-LIQUID SPAF-MASSAGE ACADEMYG-SKIMP POOLH-JUICE BARJ-PARLOR ROOMK-MILKY CAFEM-LOVER’S LAWNN-OUTDOOR JUCUZZIP-SEXSCREEN

MOBILE SEX MUSEUM

A-OUTDOOR LOUNGEB-UNDERGROUND BATHSC-PUBLIC SUANAD-MISTY FOUNTAINSE-LIQUID SPAF-MASSAGE ACADEMYG-SKIMP POOLH-JUICE BARJ-PARLOR ROOMK-MILKY CAFEM-LOVER’S LAWNN-OUTDOOR JUCUZZIP-SEXSCREEN

CLIENT:

COMPLETEION DATE:

SITE:

PROGRAM:

SIZE:

NOTES:

ARCHI_World International

Jan 2005

Peru, South America

Mobile tower - 300 Guests

29,000 sf

Cannot Touch Site

composite

21architectural theater - “body forms” are motivated by hybrid operations implying traditional stage language(s)

architectural puppets are machined costume

skins / structures / enclosures -

are place where the mind seeks to fi nd pleasure / discover rest / live the un-certianity of life

architectural poetics - forms that fl oat but never touch or fee the ground

architectural / theater prosthetics - Sleeve + Mask

skins / structures / enclosures -

are place where the mind seeks to fi nd pleasure / discover rest / live the un-certianity of life

Can new space dance, fashion and augment itself as a character on stage and the audience is the city ?

T1

T3

T2

T1

T3

T2

SITE PLAN - CITY CONTEXT

T2

DIGITAL MODELOVERALL

VIEW TOWARD MOUNTAIN AND METRO RAIL

SOUTH WEST CORNER ELEVATION WITH TOWER BETOND

PROCESS MODELS

EARLY ROCK FORMATION MODELS

ENTRY ARMS FOR DIRECTING MOTION AROUND SITE PER-

T3- PRIMARY PERFORMING ARTS THEATHER

T2- - ADJUSTABLE CEILINGS FOR ACOUSTIC CONTROL

T2- - ADJUSTABLE CEILINGS FOR ACOUSTIC CONTROL

3D- SECTION OF PARMETRIC MODEL

3D- SECTION OF PARMETRIC MODEL

3D- SECTION OF PARMETRIC MODEL

3D- SECTION OF PARMETRIC MODEL

MAIN ENTRY - ATRIUM

MAIN ENTRY - ATRIUM

How can the crafted industrical trades of

ship building inform a trade of viewing

art ?

V B M 2005

HOW CAN THE ASSEMBLY LINE PROCESS INFORM A MORE INTELLIGENT AND INTERACTIVE RETAIL SPACE ?

How can the density of ironic layering spaces

inscribe a new strata for pedestrians without

automobiles ?

The contemporary practice(s) of making a new architecture for the LAUS can inscribe a vernacular spatial (loci) and material coding of building /structure tectonics within the existing train hub site and manifold itself as new icon for the local downtown travel-ers and international visitors from abroad. The design proposes a re-centralized plexus (foci) of interweaving complex urban design relationships. Using a concept of “Time”, it can be considered an open landscape of hidden imaginary facts that reveal exposed events, political structures and infi nite cultural associations. The mega-autotropolis place of LA is a woven lamination of various transportation movement patt erns. This HSR project capitalizes on re-instituting and densify(ing) the central core city area with 40,000 more human occupants per day. This spatial event actualizes a new set of networked activities back into the city’s origin. The new angelic architecture celebrates this diff erentiated event by abstracting an eternal evolutionary set of voluptuous forms and novel geometries. The new facility should augment a new frontier of hybrid start of the art places. The unfolding of this palimpsest refold a connection to the embroided spaces of Los Angeles.

THE BACK IS NOW THE NEW FRONT

LAHSR

How can the singular event of crash trigger a synape of randomized fi ltered forms ?

SITE

Why do most organic style buildings want to be

green and sustanabile ?

LOST ORIGINAL

726 SOUTH SANTE FECan LA just “be” the homestyle junk master it wants to be ?

skin-job

Robertson

In 1797, Etienne Gaspard Robertson was given permission to pres-

ent a magic lantern showing to the open public (Figure 3). This

event occurred within an abandoned chapel located within the

Capuchin monastery (France). The empty chapel was considered an

ideal venue to sponsor traveling exhibitions. In Robertson’s spectral

showing, he presented a mixed media production combining phan-

toms, gouls, and specters. He incorporated mobile lanterns into his

format by engineering several mechanical apparatuses that features

front, side and rear projections. He also deployed smoke, mirrors,

and other theatrical contrivances in order to att ract Parisian patrons.

His material choice to display these moving images was on large

pieces of wax coated gauzes. This semi-transparent material con-

structed a phantasmagoria to be physically experienced. In this situ-

ation, the audience was more actively engaged in the performance

because the stage area was the entire space. Robertson traveled

around Europe and North America to ultimately become one of the

most influential media artists who pioneered the magic lantern with

the social classes of his day. His imagination provokes a new read-

ing of entertainment space by interacting with the immediate crowd

gathering.

How can a large scale urban infrastructural composnet becoma new spine for mixed uses and mixed places ?

*team members tripp anderson jason eggenburger rob mothershed

NY 2003 NEW YORK HIGH LINE ENTRY - RANKED IN TOP 50

2003 NEW YORK HIGH LINE ENTRY

2003 NEW YORK HIGH LINE ENTRY

27

LAXONE DAY - ALL AIRPLANES WILL BE GROUNDED - THEN WHAT ?

RE

ORION

LA

How can the inherent form of site topography direct

the interior and exterior relationships ?

Why do americans insist on an adhoc approach to contemporary design and modern living ?

TRIPPLE HOPPER - 2004

ATLWHY DO MOST AMERICAN PRE-FER AN ADHOC APPROCAH TO BUILDING AND MODERN LIVING?

27 Research Labs 28 Central Stair29 Public Entrance30 Auditorium31 Covered Balcony

30How can the lighting of a path direct the unfolding of a fi xed landscape ?

<html><head><title>BUTTERFLY</title><meta http-equiv=”Content-Type” content=”text/html; charset=iso-8859-1”><script language=”JavaScript”>

CSOA

Context view

Auditorium

Researc Library

Classroom

What does it take to get the body the have a perfect tan ?

32

What if the macro-geologic manipulation of nature was symbolically registrated within the micro space of a new anti-monument ?

The proposal for the ChiChi Earthquake Memorial park explores the complex relationship between mankind and the natural landscape. This relationship is addressed physically and spatially as well as psychologically and emotionally through the design of a park and memorial that reveals the danger inherent in the arrogant assumption that man-kind possesses a complete understanding of the natural world and that this knowledge provides the ability to control nature.

The design for the memorial and park proposes a rich fabric of distinct threads of experience that allow individuals to develop deep and personal memories of the ChiChi quake, thus imprinting their individual memories on the landscape. This process of imprinting suggests a declaration of control over the landscape, and is associated with the ritual of grieving, which involves the very personal process of coming to terms with a loss. However, the implication of control over the landscape is intentionally questioned through a series of devices implemented throughout the park that serve to remind us of the contingent nature of our control, and the instability of the natural world which is constantly shift-ing physically and phenomenally. (jw)

JORDAN WILLIAMS ( FROM PLEXUS R + D) WROTE IN DECEMBER 2003

The proposal for the ChiChi Earthquake Memorial park explores the complex relationship between mankind and the nat-ural landscape. This relationship is addressed physically and spatially as well as psychologically and emotionally through the design of a park and memorial that reveals the danger inherent in the arrogant assumption that mankind possesses a complete understanding of the natural world and that this knowledge provides the ability to control nature.

The tragic events of September 21, 1999 remind us, as do all natural disasters, that our relationship with the natural world involves the continual and often unpredictable exchange of control between nature and man. At times humanity is able to exert control over the landscape, harnessing nature to achieve the goals and aspirations of culture. However, man’s dominance over the natural world is periodically relinquished, and we become subject to the seemingly random forces of nature. The ChiChi quake represents one tragic instance of this forfeiture of control. The design for the memorial and park proposes a rich fabric of distinct threads of experience that allow individuals to develop deep and personal memories of the ChiChi quake, thus imprinting their individual memories on the landscape. This process of imprinting suggests a declaration of control over the landscape, and is associated with the ritual of grieving, which involves the very personal process of coming to terms with a loss. However, the implication of control over the landscape is intentionally questioned through a series of devices implemented throughout the park that serve to remind us of the contingent nature of our control, and the instability of the natural world which is constantly shifting physically and phenomenally.

The primary diagram is comprised of two systems that frame the dialogue between man and nature. First, a graft of the agricultural fi elds west of the site provide a system to explore the patt erns of man’s control over the landscape. The agricultural area was sampled using fi ve distinct criteria in order to map the complex shifts in use as well as the scale of development in the landscape. The fi ve basic hues of the agricultural mosaic provided fi ve categories of space including dense space, porous space, open space, mutating space and object space. The second system is comprised of a series of thrust and subductive faults that create disruptions in the landscape which allow for diff erentiation and spatial hierarchy. The interaction between these two systems across the site creates a spatial concretization of the intertwined relationship between man and nature, and the fluctuating control of one over the other. The abstract quality of the programmatic cate-gories grafted form the analysis of the agricultural context implies flexibility, or a capacity for mutation. The programmes suggested for the park are secondary to the articulation of a dynamic tissue that is fragile and can be transformed by the users. This active relationship with the landscape provides a counterpoint to the institutional nature of the victim’s me-morial, which symbolizes a historical event. The development of a projective programmatic plate to contract the reflective programmatic plate acknowledges the manner in which monuments evolve in relation to culture.

Initially, the reflective plate will be the dominant programmatic realm psychologically as a consequence of the immediacy of the tragedy and the indelible nature of the loss. However, as time progresses, and as those with intimate knowledge of the tragedy pass, the memories of the event become increasingly abstract and symbolic. At some point in the future, the dominance of the reflective plate will be surpassed by the importance of the projective plate. It is at this point that the design of the park, with is layered and flexible tissue, allows for a shift in priority from the grieving of lost souls to the cel-ebration of a civic body that came together in the face of tragedy, reasserting control through the process of rebuilding the city and embarking on the development of a memorial to remember those lost and simultaneously celebrate the future.

In order to accommodate this shift in the memorials relationship to the residents, the program has been divided into two basic realms. The reflective plane is comprised of activities associated primarily with the sacred quality of the monument to the fallen, the victim’s memorial and the urban memorial. The activities are zoned on the eastern side of the site adjacent to the natural topography. The urban memorial contains media documenting the history of ChiChi, the physical eff ects of the quake and the rebuilding process. This area serves as a transition for the city street to the sacred space of the monument to the fallen, which consists of a surface containing the names of those who lost their lives as a result of the tragedy.

The memorial surface runs parallel with a spatial sequence emphasizing decent into the earth. This decent occurs within the space of a fault that lies between the memorial site and the city, and is interpreted as an extension of the geological fault that produced the ChiChi quake. The systematic decent into the earth provides a series of varying spaces for grieving. Some spaces are more open, collective and connected to the context, while others are more intimate, personal and detached from the outside world. In order to allow the families of the victims to create their own distinct memories and imprint themselves upon the memorial, each family will install a plate with the engraved name of their loved one onto an armature. The memorial wall will only be complete once all the families have imprinted their memories by physically memorializing their loved one. The monument to the fallen sits above the victim’s memorial and acts as a hinge in plan and section and as a symbolic marker for the tragedy. The monument is a mechanical tower that moves from a horizontal to a vertical orientation over the course of 365-day period. Each year at exactly 01:47 the tower reaches its maximum vertical position, and proceeds to fall to its horizontal position over the course of 73 seconds, which is the duration of the main ChiChi quake. Once the tower reaches its horizontal position, it begins the year long process of elevating to the vertical position. This movement creates a permanent and active representation of the earthquake and reminds all that the quake was not a random or isolated event in geological terms, and that the event will be repeated at some point in the future.

The surface of the monument is perforated with 2,455 holes that represent the lives lost as a result of the quake. In the horizontal position, the voids create a mosaic of light that teselates the memorial ground plane. In the vertical position, the voids are backlit, creating the superimposition of a manmade constellation upon the natural constellations of the night sky.

The connection back from the subterranean memorial occurs via the grove of survivors. This orchard of trees is a place of transition between the memorial and the reflective landscape plane. It provides an intimate space for contemplation as well as a vertical connection to the reflective landscape plane. The reflective plane has been developed as a space of containment for observing the monument to the fallen. This plane is programmed with a series of zones that provide alternative landscapes for reflection, ranging from open grass planes to fi elds of bamboo. Access to the base of the monu-ment to the fallen occurs from the heart of the reflective plane and culminates in a cantilevered plate that sits over the victim’s memorial. The second realm, the projective plate, is situated between the two thrust faults, and forms a transition between the city and the park. This area is articulated with larger plates of landscape that allow for dynamic activities including horticulture, recreation, relaxation and entertainment. This area is fluid and has been conceived in such a way that programmes and activities can mutate. The memorial is a place for grieving; a place for remembering the tragedy and the victims of the earthquake. The specifi c manner in which individual victims are remembered constitutes a unique imprint on the fabric of the memorial park. Memory is a subjective and personal act, it is a hidden impulse that needs to be transformed in order to be represented. This project recognizes that the process of memorializing a victim should involve an action that transforms each family’s specifi c grief. The action has been given specifi c quality and value through its intersection with a landscape that is diverse and heterogeneous, fi lled with places for each family to discover and use as a vehicle to transform their memories.

The garden is a place for the community to celebrate the spirit of the reconstruction of ChiChi. Following the tragedy, the community came together to grieve the victims, to provide temporary relief for the survivors and to plan for a strong and vital future. From the consequences of this tragedy arose a sense of community, an understanding of how every individual is part of a larger body. The garden provides a place for the community to continue coming together. The memorial garden is a place for remembering how our lives are intertwined with the natural world. It is a place of reminder of the fact that as an integral component of the natural world we have the ability to aff ect our environment in powerful ways, and at the same time we are subject to its forces and movements.

Diff using Faults around the site traces the lateral movements thru void sections running parallel with main retaining wall.

Can design of a new spiritual center shelter its SKID-ROW in-habitants while also fostering a healthier context to grow and advance ?

E-volo 2010

ROBERT MOTHERSHED,AAIAJACQUELINE NGUYEN,AAIA

How can a building within a building enframe an open structure

while enclosing various functions ?

Professional Digital Modeling Consultant for FER Studio - Project is in San Marcos CA - 2005 - 90 LW Units

How can a new residential development re-fi t a previous

approved foot print and FAR without going through any

new zoning procedures ?

Professional Digital Modeling Consultant for Plexus R + D Studio - Project is Atlanta GA - 2003 - 4 Town home-Units

Prof

essio

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eling

Con

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nt fo

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exus

R +

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Stu

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How can the writing of holy scripture suggest a a unique singular contemplative space ?

Professional Digital Modeling Consultant for CJA in Costa Mesa , Ca - Ray Varela was lead designer- Project was an invited entry for local Church - Project is Newport BeachCA - 2005 - Wedding / Funeral Chapel

How can large scale urban campus set within a generic block connect with a sedimentary terrain of desert , mountain, and river ?

Professional Digital Modeling Consultant for COARCITECTS, LA - Paul Zhafen, FAIA was the lead designer - Project was for brand new Biomedical Campus in Downtown Phoenix AZ - 700,000 SF of Lab space with teaching classrooms, library, vivarium, and offi ces. I worked full time for 1 year doing render model graphics presentation assignements.

DOUBLE SKIN FACADE FOR ARIZONA PROJECTRENDERING WAS TO REGISTER PUCNED VOID PATTERN OF CORTEN STEELI PERFORMED IMAGE TEXTURE MAP AND RENDERING VIEWS AT COA

How can the continuous vertical stacking of space relate the the city

streets and offer coherence to it occupants ?

38

Housing within the urban fabric of downtown Atlanta has always been a result of large plan-ning eff orts. This project recieves its formal manifestation from its immediate and regional context and formally responds to the typological nature of high-rise programming. Retail, Busi-ness Offi ces, and Housing are the three major uses for this 300,000 square foot OTIS competi-tion that our third year design studio integrated. The setback of the main tower is positioned toward the east of the site in order to promote more open views toward Stone Mountain and also provide a negative extension of the nearby park into the front yard of the site. In address-ing the immediate broken geometry of Atlanta’s Peachtree main street, the southern wing of this multi-programmed project mimics how a straightforward shift can re-orientate a closed perspective. All the On-Site parking is located beneath the rear of the site and security control is introduced into the shared public lobby where interaction is a forced collective component. This singular space horizontally connects a new MARTA station and existing restaurant with a bar of small retail shops. The housing units are split into three categories with one being open loft space toward the east where interstate by-ways are introduced to the city. The other units have sky lobbies that share open balconies. To summarize, the project asserts a passive insertion of democratic tall building space with lower scale perimeter features that focus pedestrian activity inward at various designated locations that allow a overlay of protective enclosures.

CLIENT:

COMPLETEION DATE:

SITE:

PROGRAM:

SIZE:

NOTES:

ARCHI_World International

Jan 2005

Peru, South America

Mobile tower - 300 Guests

29,000 sf

Cannot Touch Site

When can the material fabrication assembly of transgress its design into a sensual intimate work zone ? Worked container design for both plexus r + d and J:PA - 2004

When can the material fabrication as-

sembly transgress its design into a sen-

sual intimate Live Zone ?

Worked as render assistant with FORM:uLA Bryan Cantley wasthe residental designer

When can the material fabrication assembly of transgress its design into a sensual intimate Work Zone ? Worked as render assistant with FORM:uLA Bryan Cantley was the TNA offi ce designer

Professional Digital Modeling Consultant for FER Studio - Project is in Lousiville Kentucky CA - 2005 - Final SD presentation for Client walk-thru(s)

chapter 3 - referrnces

chapter 3 - references

RELATEDEXPERIENCE

Anderson College - Anderson , South Carolina (Spring + Fall 2000)Adjunct Professor for two undergraduate courses : Art 353 (Architectural Materials and Methods) Art 151 (Introduction to Architectural Drawing)

Clemson University - Clemson, South Carolina (Fall 2000 + Fall/Spring 2001/2002)

2222 South Figueroa Steet PH 13 Los Angeles, CA 90007 USAPhone: 310.972.0973

Email:robmothershed@msn.com

FJClark Incorporated, Architects Anderson, South Carolina, USA (June 1999 – March 2003)

Lexington County Judicial and Administrative Center l Lexington, SC Completed digital model and generated three-dimensional visualization for county government presentation, drafted Schematic Design and Design Development Drawings for the 239 K facility and prepared Conceptual Design Document

Oconee County Courthouse l Walhalla, SC Assisted in master plan study for new 68k SF center, aided in schematic design, design development phases and constructed 3D renderings for government client

Watkinsville High School l Oconee, GA Built digital model and assembled illustrations for education client and team consultants Currently working on construction document bid set (Nov 15 2002)

Feasibility Survey l School District of Pickens County, SC Analyzed, documented, and researched 12 public elementary,middle, and high schools at different rural locations that would incorporate a new model program for various core student populations

Developed company website in August of 1999

HOK Architects, Incorporated Greenville, South Carolina, USA (May 1998 – June 1999 : Greenville-SC Arch. Dept. was closed)

Littlejohn Coliseum Renovation/Addition l Clemson University Field verifi ed existing facility, revised Design Development drawings, administered material research,and coordinated construction documents

Greenville History Museum l Greenville, SC Assisted in Pre-schematic Programming Phase and formulated building footprint location

Medical University of South Carolina - Operating Room Expansion l Charleston, SC Coordinated schematic interior design into a constructionrenovation drawing set and performed document details for record fi les *IPTAY- Avenue of Champions Project l Clemson University Constructed scalable stadium site model for design presentation that promoted public outdoor ceremonial for new athletic spaces

Robert I. MothershedClemson University Graduate School of Design & Building (May 2002) Master of Architecture(2001)Study Abroad Opportunity: Charles E. Daniel Center of Urban Studies in Genoa, Italy Clemson University College of Art, Architecture, and Humanities (December 1996) BS in Design

EDUCATION

Jones,Partners:Architects (J,P:A) ( August 2004 - November 2004 ) El Segundo, California, USA

PROFESSIONALEXPERIENCE

Harrison and Anne Forrester Travel fellowship – One semester of all academic/ travel expenses paid at the Charles E. Daniel Center of Urban Studies in Genoa, Italy First Place HOK (Hellmouth, Obata, and Kassabaum) Award – Senior Exit Thesis Project (1996)Allen Thompkin’s Scholarship Award for Outstanding Professional Leadership (Chapter President AIAS, 1996)

AWARDS

AutoCAD 2010 / FormZ 4.0 / Dreamweaver / Bentley Microstation 8.1/ PowerDraw/ Various Adobe Programs COMPUTER SKILLS

Temporarily Contracted as a Project Assistant for meeting current design/build project deadlines. Respon-sibilities are focused on steel fabrication and material assembly. Construction projects include: SCI-ARC Gallery Installation - LA / Jaunita Townhomes - Redondo Beach (interior stairs, balcony screens, metal deck ceiling, guardrails) / Spotwelder’s 4 + 6 20’ Metal Container Addition (structural joists/ beams/ gird-ers )- Venice Beach

Built digital 3D models for commissioned and competition projects. Managed construction document drawings for building permits and pricing. Researched and specifi ed new building materials and practices. Assisted with institutional client presentations. Prepared project portfolios and workbooks. Coordinated and drafted design details along with generating door, window, and fi nish schedules. Helped assemble and design 2 gallery design exhibitions (1 academic/1 museum).

Various Projects include: SPSU Identity Tower, Student Lawn, and Pedestrian Plaza / SPSUCompetitions Labo-ratory / Mooreland Avenue Live/Work / Ponce de Leon Townhomes / University of Florida Exhibition / Chi-Chi Earthquake Memorial / Memorial Street Train Depot / Little Azio’s / Dekalb County Government Center

PLEXUS r + d Atlanta, Georgia, USA (July 2003 – August 2004)

Gehry Partners, LLPMarina del Rey, CA, USA (Jan 2005-May 2005)

Lead Project Manager, Tensho TakemoriBrooklyn Atlantic Yards Master Plan, New York (SD)4 Hotel/ Residential Towers, NBA Arena, underground parking with renovated Subway station- 4.3 billion dollarconstruction project. Schematic design team member responsibilities included: Maintaining current arena fl oor planswith actual program scope areas. Coordinated client presentation drawings with digital parametric model and variousphysical Masterplan design models. Assisted structural engineering consultant with locating cantilevered columns withunderground parking entrances, storage docks, freight elevators, delivery stations, and utility connections. Weekly taskassignments helped resolve vertical and horizontal circulation issues with media security, private team and public areaaccess concerns.

Carrier Johnson ArchitectsCosta Mesa and San Diego, California, USA (Sept 2004-Jan 2005, July 2005-Feb. 2006)

Lead Project Supervisor: Ray Varela, AIA, 949-939-2027, rav@carrierjohnson.comCSU Dominguez Hill Learning Resource Addition and Renovation (DD)Assisted with overall design development and State Board Chancellor Approvals. Various task components included building physical pedestrian bridge models, electronically mapping natural sun pathmovements through the primary exterior entry courtyard, material area estimate take-offs, documenting existing siteconditions, and updated campus project site plan.

Claremont University Master Plan- Graduate School Housing (DD)Modifi ed and updated site plan with new fl oor plan confi gurations.VCCCD Fire / Sheriff Academy (SD)Assisted with client power-point digital presentationsCIM Housing I-Hope Tower- Downtown LA- (DD)Developed new rooftop penthouse/loft units (live /work style).Newport Offi ce Building – (DD)Coordinated all design-build drawings for all team disciplines, building department offi cial, construction contractors.Westin Hotel Study – Ontario, CA (SD)UC-Irvine-Social and Behavioral Sciences Building (SD)Project design assistant, printed and fabricated scaled digital study models, constructed physical site models andprogram massing studies. Worked closely with manager to resolve working schemes that provided effi cient buildingsolutions. Attended all client project kick-off user group meetings and presentations. Managed current design draw-ingsfor campus director approvals.Mariner’s Church Chapel (SD)Prepared interior digital model renderings. Actively involved throughout the entire design charette iteration process.Oaklawn Masterplan – Chula Vista (SD)Created with project manager’s direction, a new viable urban design solution for new non-traditional housingneighborhood. This complex planning development framed a local vernacular of building with modern placemaking.Finished a full schematic design package that integrated over 700 residential units. Designed six complimentaryprototypical town home unit types that were fl exible and feasible. Established presentation graphics and clarifi edconcept models with program scope.

Liberstudio ArchitectsSanta Monica, California, USA (Oct 2006- current)

Project Coordinator Lead Project Supervisor: Gregory Hathaway, 310-467-4292

Submitted Professional Proposals / Fee Estimates – RFQ/RFPAerospace Corporation Headquarters + Town of Apple Valley ( New Public Works Facility)Santa Clarita Sports Complex- Phase 4 Gymnasium Facility + Rock-it Cargo at LAX. Lead al fi eld documentationdrawings for both active buildings and executed overall building furniture drawing.New Gymnasium Addition at the Fiore Teen Center –Thousand oaks, CA (DD)Updated site drawings, fl oor plans, sections, elevations and roof plans for client approval. Coordinated digital modelrenderings with outside resources.Beverly Hills Unifi ed School District – Modernization school projects for Hawthorne, Horace Mann, and El Rodeo (CD)Job captain position. Three different urban campus locations that primarily included Auditorium and Toilet facilityupgrades.Created all reference plan, section, elevation drawings for entire building project. Managed all electronic fi ledistribution, format, information for DSA review and submission. Generated accessible sign package. Met with educational user client groups for program scope development and assisted with fi nalizing summer mainte-

Dr. Jane HurtFull Professor

School of Architecture- 158 Lee HallClemson UniversityClemson, SC 29634, USA864.656.3913hn@clemson.edu

Stephen Rhoads, AIAVice president

Fjclark Architects Incorporated11 Alta Vista DrivePrinceton, NJ 08540, USA864.380.7792609.730.3880srhoads@sroadsarchitect.com

Jordan WilliamsErik Lewitt , AIAPrincipal(s)

Plexus r + d, Incorporated230 Peachtree Street NW-Suite 200Atlanta, GA, 30303, USA404.519.7728jwilliams@plexus-architecture.com

Bryan CantleyPrincipal FORM:uLA

CSUF - Professor800 North State College Boulevard Fullerton , CA, 92831 , USA714.357.2717bcantley@fullerton.edu

REFERENCES 2222 South Figueroa Steet PH 13 Los Angeles, CA 90007 USAPhone: 310.972.0973

Email:robmothershed@msn.com

http://www.robmothershed.net+

Bachelor of Science, Design, Clemson University, 1996Master of Architecture, Clemson University, 2002

Forrestor Traveling Fellowship - Genoa, Italy 2001 HOK -1st place -design sustainabity NO Registration: NCARB registered , current ARE test taker 4.0 IDP enrolled-1999- current Associate AIA member - since 2007 MEDIA member ATL. Clemson Advancement Foundation,CAF Service: President, AIAS SC Chapter president 1995 Clemson University, College of Art, Architecture, and Humanities AAH Fall Convention Planning Board, AIA South Carolina, 1996 Board of Directors, AIAS South Carolina, 1994,1995, 1996 Founder, Design Awards Program Visiting Architectural Critic, Clemson University, 1994 to present Woodbury - San Deigo Art Center - Pasadena - Spring Employer Guest 2008, 2009 Anderson College - Professor - Materia + Drawing Publications: LA Times. FORM . Metropolis

Total Career Experience: 10 years plus