ASHKAN REZAEE
SELECTED WORKS | ARCHITECTURE+
1
2
WORKS LIST CONTENT
3
FLOWER PAVILION Natural Fabric
FLOWER PAVILION ASHKAN REZAEE TAHRAN/IRAN 2013 DR.KHAKI INDIVIDUAL 4
01
I believe that all centers that appear in space - whether they originate in biology, in physical forces, in pure geometry, in color - are alike simply in that they all animate space. It is this animated space that has its func-
tional effect upon the world, that determines the way things work, that governs the presence of harmony and life. Christopher Alexander
5
1.1 Using natural forces to create natural feeling of fabric. Simulated with Autodesk Maya. 6
FLOWER PAVILION ASHKAN REZAEE TAHRAN/IRAN 2013
FLOWER PAVILION Natural Fabric “Inspiration comes in many forms, and, if we look at the record, bio-inspiration is as old as history itself. Nobel laureate Erwin Shrodinger, in a series of lectures called “Nature and the Greeks”, at University College, Dublin, 1948, gave a comprehensive historical account linking modern scientific thought and the earliest stages of Western philosophy. It is in keen and steady observation that inspiration seems to first appear. The essential I message of artist Elena Lapena’s plant portraits is the imperative, “Look: this is beauty”, and she shows us, like the botanist/photographer Karl Blossfeldt before her, a way to look. In this issue we also feature three men who were inspired to their vocations, as well as their discoveries, by such observation. John Crowe was intrigued by tardigrades as a teenager, Wes Jackson had an epiphany about the efficiency of prairies, and Wilhelm Barthlott became deeply fascinated in his study of plants. Architect Ilaria Mazzoleni, also featured, came to her focus through a wide observation of what others saw, and drew her own conclusions about how to apply it in her work. Finally, the many artists and designers within the exhibition, Nature’s Toolbox, have asked us to observe Nature in different, idiosyncratic, ways. We salute each of them, artist and scientist, designer and inventor, who has cared to look.”1 The Idea of Flower Pavilion was come when I was in my 4th semester. The site is located in a plant-populated location relatively in the city of Tehran, not far from Aghakhan-Awarded “Nature Bridge” project. The plan was to design scheme for a pavilion which help to make the area much more popular in case of revitalizing the area and attention to the nature. Becuae of Its essence which obtain from nature, The process of designing and modeling took a lot of simulation. The pavilion is self-balance and it is rescalable. The programm which is offered in next page is one of many possibilities which the pavilion can adapt programms.
1.2 Red Yucca Bloom photo: cobalt123, 2010 | Flickr cc
1.3 Ginkgo biloba | Elena Lapena
1 Tom McKeag, Norbert Hoeller, and Marjan Eggermont, zygote quarterly,2012, Fall 7
1.4 The form of the flower pavilion was simulated with Maya nCloth simulator and empowerd with Grasshopper Plankton panelizer.
1.5 when the base structure of pavilion is completed, It’s the time to put some activities in there. There were many alternative partitioning could be undergone, One of alternative is shown above. 8
Fiberglass
Panelized with Aluminium rod 13MM 1.9 Within drawing through city and specific points, the three part structure were molded.
1.6 The structure of flower pavilion; consists of panelized curved surface to create selfstayed structure.
1.7 Left to right Manger office, Flower Exhibition, Cafe, Center of pavilion which consider as a place whithout any function. A place where people behavoir There were series of mapping and griding operations on flower pavilion surronding site and 2 km radius of it (1.6). According to distances of certain places from the site the main outline of pavilion drew up itslf. In the process of rationalizing lines and angles, the terrtory of operation and construction has been found.
1.8 9
RESIDE: LNDSCP AS A LIVING CHRCTR interconnection of dwelling and lndscp elements
RESIDE:LNDSCP AS A LIVING CHRCTR ASHKAN REZAEE TAHRAN/IRAN 2014 FALLAHNIA INDIVIDUAL 10
02
Contemporary cities, especially their dispersed parts, tend to change and grow incessantly. The phenomenon of city sprawling characterised the second half of the 20th century and became so widespread and powerful that it has shifted the way cit-
ies were traditionally organised, from well-contained urbanities to the dispersed territories we live in today. Claudia Faraone, Andrea Sarti, Intermittent cities on waiting spaces and how to inhabit transforming cities
11
12
RESIDE:LNDSCP AS CHRCTR ASHKAN REZAEE TAHRAN/IRAN 2014
A
LIVING
RESIDE: LNDSCP AS A LIVING CHRCTR interconnection of dwelling and other organism There are many factors which should be considered in designing a residential complex and the most important one is the form and the identity of the blocks. The amount of light reaching each unit, the direction and orientation with climate consideration, and formal variety and visual grace are the most important elements that affect the blocks’ design. Accordingly in order to design a flawless residential complex various spectrum of residential blocks in the district (which the building is going to be designed in regard to), analyzed. At the end with the results of the data, showing the Maximum benefit from the day light, climate-comfort and the aesthetic aspect, the result is satisfying. However the description above is the indicator of quality in this project. People, Living and landscape and how they should connect to each other are the main issues. “Architects generally have to respond to clients who ask for buildings that stand out and make a statement. However, landscape architects are often at their most successful when their work is least visible. This low-key but incredibly vital approach is apparent in almost every stage of the design process. Architects often begin with grand explorations of form, but landscape architects must intently observe the site, understanding its capabilities, and holding them up against all its possible uses. In landscape architecture it is almost always true that form follows function. This simple formula sounds so easy to resolve, but the landscape presents almost limitless functional possibilities, and the complexity of the intersection of uses is landscape architecture’s great challenge.”1
1 Tim Waterman-The Fundamentals of Landscape Architecture
13
2.1
2.3
2.2
2.4 2.5
2.1 The first proposal of The units materials and details 2.2 Site analysis and the aggregation method 2.3 Elevation of 3 units block 2.4 Section of 3 units block 2.5 Site elavation at night 14
ORGANIZATION OF THE TYPOLOGY
2.6 Types of dwelling plan in the first level 15
2.7 There is a harmonic orientation within outside and inside of houses. The angle of views from the inside is changing according to the change of orientation of each block. Also symmetric pattern makes empty spaces meaningful landscape-wisely.
2.8 Wall section detail. 16
2.9 There is a harmonic orientation within outside and inside of houses. The angle of views from the inside is changing according to the change of orientation of each block. Also symmetric pattren makes empty spaces meaningful landscape-wisely.
LNDSCP AS A LIVING CHRCTR “In international academic circle, the focus on “cities” as color carrier started from 1970’s, resulted by protection and recovery of old cities. As the theme of “environment protection” was established between 1960’s and 1970’s, research on urban color issues started to develop prosperously in some countries and districts. Urban color is a systematic and guiding research from macro and urban point of views by taking urban visible factors as research objects, covering urban architecture, vegetation, climate and culture, etc.” 1 The Second phase of the project is related how geometry, attributes and elements of landscape connected to the subject:Reside. In this case I use the perception of movement as a clue, As it in choreography, Music, Cinema, you can extract too many shared manner and action within landscape as well.
2.10 Botonical as a one the main elements in lndscp from left to right: Leycesteria formosa, Ligustrum sinense, Parthenocissus henryana, Plumbago auriculata
2.11 from left to right: Azalea coccinea speciosaa, Buddleia davidii, Calycanthus floridus, Cercis canadensis, Clerodendrum trichotomum, Cratagus crusgall, Erica carnea, Fritillaria meleagris, Idesia polycarpa, Leycesteria formosa, Ligustrum sinense, Mohonia japonica flower, Parthenocissus henryana, Pittosprorum tenuifolium, Plumbago auriculata, Rhododendron elizabeth, Taxodium distichum, Viburnum bracteatum
1 Liying Tang, Pingyi Li, Research on Color Planning of Landscape Architectures in Tacheng, Xinjiang, School of Art and Communication, Southwest Jiaotong University, Chengdu 610031, China, School of Fine Art, Sichuan University of Science & Engineering, Zigong 643000,China
17
18
RESIDE + LNDSCP SEQUENCES
19
OASIS HOSPITAL Spirit of Sustained Spaces
OASIS HOSPITAL ASHKAN REZAEE / FERESHTEH ROSTAMI ISFAHAN/IRAN 2014 YEKITA + DR.HOSEINI COLLABORATION / IDEA + DESIGN + OPERATION 20
03
Material selection can be based on a variety of choices. Often designers select materials for their shelf life, phenomenological qualities, or for the flexibility of their detailing or connection. However, the connection detail is most crucial to a system’s flexibility and the aesthetic of complex architectural forms. From
a simple nail to a custom fabricated joint, the connection detail contains the information for delimiting the articulation and performance of a system. the connection detail contains the information for delimiting
Beorkrem, Christopher Materia strategies in digital fabrication
the articulation and performance of a system.
21
3.1 Horizontal sections of the hospital gives plans but when we see these section together and simoultanously , the function and connection between spaces draw guildlines itself to demonsrate how it works. 22
OASIS HOSPITAL ASHKAN REZAEE / FERESHTEH ROSTAMI ISFAHAN/TAHRAN 2014
OASIS HOSPITAL Spirit of Sustained Spaces The site of The Oasis Hospital is located in Isfahan with hot and dry climatic situation. The challenge were to design the hospital with full functionality and moreover to be responsive for changes in environment and also the climate. In the functional section of design we confronted with many factors for every section in a hospital like: CCU, LDR,... and more significantly public spaces. I don’t know much about public events in hospital in foreign country but in my country there are a lot of auction for charity which have been happening since I remember. Besides all the factors we considered, There are 3 issues we targeted to be our main concern. First ‘The Climate’ of Isfahan, Second is ‘LDR Section’ and Third is ‘Public Spaces’. Public Space In the first floor as called ‘Event Space’, there are much of a space to be filled with people under any circumstances. There is also a prototype we offered to be a roof shelter and interaction component in the first balcony, This thing consists of too many gyroids ( a minimal surface) which are aggregate with space and person to create such a delectable atmosphere. One of the key architectural features of the building is the, south-facing terrace that spans more than 50% of area of level one. This is clearly visible when approaching from the west and east and creates a unique landmark identifying the hospital. Most importantly it creates a social heart in the middle level of the building for patients, visitors, and staff and provides considerable environmental and potential health benefit: - It is a safe meeting space, only accessible to the public via the two internal lifts and available to the wider community as a meeting and exhibition space.
3.2 Physiology of labor, hormones and pain.
3.3 Elevations of a model LDR room and ensuite toilet room.
1 Gedey, Shannon, ‘LABOR-DELIVERY-RECOVERY ROOM DESIGN THAT FACILITATES NON-PHARMACOLOGICAL REDUCTION OF LABOR PAIN: A Model LDR Room Plan and Recommended Best Practices’, Centre for Science Studies, Perkins + will Publication 23
LDR “Epidural analgesia is the most popular method of controlling pain in labor in the United States today, but it has serious side effects and risks for both mothers and babies. Though most laboring American women choose epidural analgesia, it is important not to confuse a hospital’s failure to provide options with patient preference. Few large obstetrical units offer LDR rooms that facilitate non-pharmacological pain relief through comfort measures, and more women would choose these methods if they were readily available. Moreover, patients who have the opportunity to choose non-pharmacological pain relief techniques report higher satisfaction with the birth experience. The architectural design of an LDR room can greatly facilitate the use of non-pharmacological techniques or effective pain relief through two primary mechanisms: relaxation through a calm, supportive physical environment, and labor in water. LDR rooms should be designed to incorporate best practices to ensure that laboring women are able to be relaxed and comfortable, that their movement is not restricted, and that their privacy is guarded. This study applies best practices to develop a model LDR room that takes into account current American codes and standards and includes features that facilitate non-pharmacological pain relief techniques.”
3.4 Thease diagrams demonstrate how the Hospital form built and works. 24
3.5 The dynamic facade proposal as a first alternative for south elevation
Climate The most important factor in designing a hospital is to provide comfort for temporary stay of patients. Hospital as an example of “non-place” –a station, In which usage is not consecutive and stopping is not eternal- needs a precise design so that even those with only one time visit could find their way through the circulation. These two concerns showed up in three parts of the main core of the design: the direction of the building which fits the climate of Tehran (17.5 degrees rotation due to the horizon line is the finest). Simple design which provides an easy access and circulation through the building with the least demand for orientation signs has been considered in this project. The other unique factor in this design is the facade of the hospital which naturalizes staying condition in different angles of the building to provide maximum comfort for patients. While facade is functional,It is inspired from the skin metaphor as a cover, the first and the most important defense organ in the body.
3.6 Levels plan
25
3.7 From top to the bottom: Elevation, Section and design silhouette of the facade. The plan is logical and clear: it makes full use of the available site to improve the efficiency of required hospital functions: many features serve more than one function: - Engaging more with the public; voids as the manner of supporting the internal condition. - Outpatients have easy access to waiting rooms on the ground level by having a first navigate corridors to; Inpatients go through the lively areas of the level two, three, and four without interacting with others. - The lifts are clearly visible through all 26
3.8 The heterogeneous installation on the second floor functions as a shader with a shining colors. This place is to use as the event space in the hospital. It has been made with timber structure and Heinz Isler-IAN shell structure fabrics. The gyroid, illustrated above, “is an infinitely connected periodic minimal surface containing no straight lines (Osserman 1986) that was discovered by Schoen (1970). Große-Brauckmann and Wohlgemuth (1996) proved that the gyroid is embedded.” The gyroid is the only known embedded triply periodic minimal surface with triple junctions. In addition, unlike the five triply periodic minimal surfaces studied by Anderson et al. (1990), the gyroid does not have any reflectional symmetries (Große-Brauckmann 1997). 27
ARCHTRUIMPH ENERGY PAVILION Bringing cosmic geomtries to earth
ARCHTRIUMPH SUMMER ENERGY PAVILION ASHKAN REZAEE / FERESHTEH ROSTAMI/M.NIKKHAH/Z. MOSADEGH LONDON/ENGLAND 2015 COMPETETION COLLABORATION / IDEA + DESIGN + OPERATION
28
04
Cecelia Payne-Gaposhkin was a pioneer of modern astronomy. She devoted much of her research to the study of multiple star systems and coined a comic adage to describe one of the basic tenets of that work:
‘‘Three out of every two stars are in a binary system.’’ By this she meant to illustrate that roughly half the stars in the sky have companion stars in orbit.
J.Craig Wheeler , Cosmic Catastrophic : Exploding Stars, Black Holes, and Mapping the Universe, 2007.
29
0°
90°
180°
30°
120°
210°
60°
150°
240°
4.1 Movement was leading a great role in our design. Having it shown, moving around the pavilion gives a diverse set of shapes and perception of the form.
245°
30
275°
305
ARCHTRIUMPH PAVILION ASHKAN REZAEE / FERESHTEH ROSTAMI/M.NIKKHAH/Z.MOSADEGH LONDON/ENGLAND 2015
ARCHTRIUMPH PAVILION Bringing Cosmic Geometries to Earth The recognition that physical space (or space-time) is curved is a product of the general theory of relativity, such as dramatically shown by the 1919 solar eclipse measurements. However, the mathematical possibility of non-Euclidean geometries was recognized by Gauss more than a century earlier, and during the nineteenth century mathematicians developed the pioneering ideas of Gauss, Lobachevsky, Bolyai and Riemann into an elaborate branch of generalized geometry1.Concerning time, space and geometry requires a profound and well-structured tool, It have been never given us a choice but ‘Model’. Having this tool to work with requires a better understanding of relativity which is the notion of dialog between each part of the system. Within small regions, spacetime is Spacetime approximately described by special relativity, just as a small region on the surface of the Earth can be approximately described by a plane. The phenomenon of gravitation is described in Einstein’s general relativity by the behavior of spacetime in the large. Gravitation will be described by the curvature of spacetime, which is closely analogous to the curvature of the surface of the Earth. A good analogy for this model making is the construction of a map of a city. The city and the map of the city are two distinct things that no one would confuse. This confusion is harder to avoid in cosmology. To be useful, the map must be faithful to some of the city’s interesting properties. Furthermore, the map is constructed according to some specific conventions: major roads are in red; north is at the top; and so on. Also, a map does not try to define what a road is. That you learn by demonstration. People point out roads and non-roads to you, and you acquire the idea of a road by induction. Such basic ideas, which are not defined but are learned by demonstration, are called primitive notions2. The project was a competetion by Archtriumph as a ‘Summer Energy Pavilion’ in London. The peoject was done by a team included : Ashkan Rezaee (me), Fereshteh Rostami, Mahdi Nikkhah, Zahra Mosaddegh.
The hierarchy has proven to be a powerful tool to enable a more rapid estimation of the parameters in a very difficult forward problem. However, IBPES has proven to be quite sensitive to initial conditions, unlike earlier stages.
4.2 Earliest Ideogram of the Pavilion; Lead to reduction technique
4.3 While they are in “FUSION PAVILION” they can find daily sceneries of energy cores (sun, earth and trees) more thoughtful. The platform constitutes of walkable routs and halt spots; these concave and convex spots frame such exquisite and meaningful sights as if you are in the center of energy emission.
1 Kragh, Helge, ‘Geometry and Astronomy: Pre-Einstein Speculations of Non-Euclidean Space’, Centre for Science Studies, Department of Physics and Astronomy 2 L.Burke, William, ‘Space, Geometry, Cosmology’,1980, University of California, Santa Cruz 31
As we know the phenomena of galaxies and nebulas all have some energy cores where fusions occur. As far as these cores provide the required energy, system will continue living. In this project we borrow some conceptual ideas from cosmos energy interactions. As a result, We bring this enthusiasm to our design by considering sun, earth and trees as three remarkable factors which posses the same role as cores up in galaxies which means FUSION PAVILION are affected by these attraction points and in turn provide quite interactive spaces. Began with this question how we can make people’s consciousness much more sensible by translating the language of forces into architecture. One of the most significant feature that nebulas share with each other is they all have a central core and many masses which differ in distance from their origin. But the point worth mentioning is that the distance and the central power determine the hierarchy and the way each object behave. All this astronomical rules would help us to perceive a new way of thinking about order and hierarchy which lead us to new approaches of designing.
4.4 Second Stage | Grid Growth based on environmental Factors :SKY, TREes , soil
4.5 First Stage | utilising 3D grid to develop a complex curve based on primitive geometries
32
4.6 Active galactic cores that stretch 4 billion light-years from end to end
1 30 - 90 mm Aluminium tube Rings 2 3mm string cable 3 Floor Thermowood, 100mm thickness 4 Floor Structure 3D Grid e.g Space-face 5 Hollow Steel founda tion filled with sand
4.7 Elements of Fusion Pavilion by material and the way they are connected. 33
4.8 “...But in an odd reversal of alliances, the modernity of calculus as a notation of variations also partakes in a generically post-modern pattern of rhizomatic variability, complexity and fragmentation (of narratives, ‘récits’ or ‘strong referentials’).”
To emphasize on three energy cores in the site some viewpoints are defined by four voids which are created from crossed strings. These strings connect to the separated rings by specific fasteners. Simple activities like sitting, lying, hanging out and mainly leisure time activities are considered as pavilion’s function. These functions were chosen to persuade people not only to spend a quality time with themselves but also experience an exotic sightseeing.
34
4.9
4.10 35
MUSIC FLOW Flexible building : Listen then Playback
MUSIC FLOW ASHKAN REZAEE EARTH WITH TOPOGRAPHY AND NATURE/CASE STUDY TEHRAN/IRAN 2016 DR.MOAZEMI
INDIVIDUAL 36
05
Hit is obvious, moreover, that mathematical organization imposed on stone is noneother than the completion ofan evolution of earthly forms, whose meaning isgiven, in the biological order, by the passage of the simian to the human form, the latter already presenting all the elements of architecture. In morphological progress men apparently represent only an intermediate stage between monkeys and great edifices. Forms
have become more and more static, more and more dominant. The human order from the beginning is, just as easily, boundup with architectural order, which is no more than its development.” Georges Bataille, “Architecture,” Documents 2 (May 1929): 171-72.
“The measurement and description of amorphous, fluid, flexible, open, non-ideal, non-eidetic, provisional, incomplete, indefinite, and irreducible effects is an alternative to the mere arrest of these qualities in conflicting forms.”
37
UNDERSTANDING LINEAR PATH TO CREATE MUSICAL FLOW
5.1 Basically Xenakis Juxtaposition and Open Score in music was shaped my core idea of Music Maze. The figure above is the first ideogram of MF which I came up with in the first stage. 38
MUSIC FLOW ASHKAN REZAEE EARTH WITH TOPOGRAPHY AND NATURE/CASE STUDY TEHRAN/IRAN 2016
MUSIC FLOW Flexible building : Listen then Playback “The speculations about the relation between music and architecture are probably as old as both arts themselves. Generally speaking, they occur on two levels: the intellectual and the phenomenological The first interpretation dates back to ancient Greek thought and is linked with the problems of form and structure. The most elaborate paradigm here is the theory of ‘harmonic proportions’. This synthesis of rationalism and metaphysics knew its peak in the Renaissance when numerous architects and composers tried to shape architecture and musical form according to the same numerical principles. In the second interpretation, originating from 18th century aesthetic relativism, the expressive quality of art is central. Here, beauty does not arise from the intricate structure of the work of art, but from its aesthetic effect and its immersive power. My personal interest in music and the desire for connecting architecture to the harmony of music, also framing new questions and needs about spaces in which music is blooming led me to choose my thesis topic “House of Music”. Iannis Xennakis was the first clue to begin with the music related spaces as I read Sven Sterken “Music as an Art of Space: Interaction between Music and Architecture in the works of Iannis Xennakis” and got familiar with very intriguing Xennakis’ metastatis project which was extremely inspiring. “ I categorize the principles of design into 2 sections: 1 Xenakis forms Since Xenakis years of discovering about music and architecture and his inspirational works, There are two issues I can address. First the position of audience in the time of performance which I compile it in my project as kind of space which people hear diverse sounds from the building while they are passing certain path. Two is way of interaction of people with sound as a mathematical and logical algorithm. In this case I use a type of form finding which gives us the impression of this matter.
Xenakis was an architect prior to moving into musical composition, and sound as an environmental sensual experience appears in his earliest sketches: blueprints of the revolutionary potential of his ‘hyperbolic paraboloid’ to reshape the spatial and harmonic frame. Metastasis (1953) was one of his first musical works using the parabola to signify the sliding glissandi (the glide from one pitch to another) that features prominently in his subsequent compositions .
5.2 The 3D-printed model of Music Flow
1 Sterken, Sven, Music as an Art of Space: Interaction between Music and Architecture in the work of Iannis Xenakis 2 August Schmarsow, ‘Das Wesen der architektonischen Schoepfung’ [The Essence of Architectural Creation], 1894
39
2 Mutation of movement and simulation “The essence of architectural form is infected with movement, for through the experiences of our visual sense … come to rest the intuition forms of the three-dimensional spaces. As a medium for automation and optimization, contemporary design computation is more aligned with Modernist thinking where the machine analogy dictated Frictionless operations of closed spatial objects either as buildings or city master-plans. Unplanned human interference was designed out, leading to cognitive dissonance and, ultimately, dysfunctional use.” This way of profound thinking led me to amorphous form finding. This I’ve been into, were followed by many architects, sculptor and designers. The necessity of heterogeneous design is to model nature and natural forces which their affect ain’t always be symmetric , pointy or easy to understand in first sight. A force integrated system which works with sound and music in this case. I can mention this description of Zaha Hadid Musical Hall, “The design of the music hall ”enhances the multiplicity of Bach’s work through a coherent integration of formal and structural logic. A single continuous ribbon of fabric swirls around itself, creating layered spaces to cocoon the performers and audience with in an intimate fluid space,” explained Hadid. The ribbon wraps around the stage, the audience and itself, creating different layered conditions by “alternately compressing to the size of a handrail then stretching to enclose the full height of the room.””
5.3 1 JS Bach Chamber Music Hall by Zaha Hadid Architects 2 Inner part of ‘Basidiomycota’ type fungus 5.11 Event-based spaces of Music Maze and the path with people makes
a system which I called “Music Maze System”, Includes events space as attractors and path and people as deflectors. Music-wisely with the interaction of these three elements, the morph of the fluid forms. Space elements such as volume and time have been involved in this stage when points were found and form took place.
5.4 Tara Donovan acrylic rods installation / Tara Donovan is an American artist who lives and works in Brooklyn, New York. She is known for site-specific installation art that utilizes everyday materials whose form is in keeping with generative art. Donovan’s work uses everyday manufactured materials such as Scotch tape, Styrofoam cups, Paper plates, Toothpick, and drinking straws to create large scale sculptures that often have a biomorphic quality. 40
Edmund Husserl developed the category of the .anexact yet rigorous in the Origin of Geometry in 1936, to describe forms which are neither exact (they cannot be reduced to mathematical statements) nor inexact (they cannot be measured with precision). The necessity of these vague descriptions to any ideal geometry has been developed more extensively by Jacques Derrida in Edmund Husserl’s Origin of Geometry: An Introduction of 1962.
5.5 The Programm, It Parted into 5 in addition to accesses : Performances, Installations, Platforms as auditorium, Air Studio, and Soundescape Spaces.
5.6 One thing, however, can be deduced with certainty from the illustrations: Gabo is much more a man of ideas and a constructor of refined spatial shapes than a painter. He has absolutely no sense for colour and his design is hard and scholastic to the same degree as some of his transparent plastic constructions are sophisticated and novel in aesthetic expression.
5.8 Level growth and the way cells are moving to join together and make a mesh system. 5.7 Plan Schematas in each level 41
Linear sequences are a vehicle by which architects and landscape architects lead and manipulate the perception of the person experiencing a space. Any sequence is built of movements and creates a succession of events. Each event is relative to the preceding one-for example moving from a dosed to an open space or from light into the dark-and might affect future responses and choices. The observer weaves his or her path by combining choice with restrictions. He may choose to stop, walk faster or slower, look around, reverse the position in space, but the freedom is confined by certain designed obstacles on the way such as walls, slopes, water, staircases, and points of view that affect her perception. Spatial sequences may vary considerably between being directed and controlling or open and offering choices. Clearly, in a spatial setting one cannot be totally free to construct sequences. Yet, different spatial designs lend varying amounts of choice to the person experiencing them.
5.9 Everywhere in Music Flow you see at least two paths. It has been designed to be a hub. For instance in this picture there is the Rock Performance area but steel you can choose whether you want to go to left or right after that, Wondering what is expecting you there, A SOUND SURPRISE. 42
5.10 Above the names of involved techniques and methods and below are perpendicular transectios as a time-line defines stages 43
ARCHITECTURE PORTFOLIO ASHKAN REZAEE Shahrak Ekbatan, 1393953536, Tehran, Iran +98 912 276 25 12
