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GOR JIHANIAN portfolio


GOR JIHANIAN résumé

CONTACT

EDUCATION

Email

University of Colorado at Boulder B.A. Environmental Design

gor.jihanian@gmail.com

Address 3252 W. Yarrow Cir. Superior, CO

2008 – 2012 Boulder, CO

Overland High School

2003 – 2007 Aurora, CO

Graduated with Honors Dean’s List Cofounder of ByDesign student group Member of Designers Without Boundaries

Graduated with Honors Member of varsity tennis/jazz band/chess club/ ping pong club

Ithaka Architecture and Design Graphic designer

University of Colorado Digital Library Digitalization Technologist

EXPERIENCE Freelance Designer

2012 – present Yerevan, ARM

Independent projects for entrepreneurs and organizations. Projects ranging from posters to brandmarks and website design. Recent projects include commemorative calendar for the Armenian Genocide Centennial in collaboration with the Pan-Armenian Association of Architects and Engineers

2012 – 2015 Yerevan, ARM

Catalogue design of a showcasing select projects from a decade of work. Creating graphic material for architectural presentations. Devising solutions for updating brandmark.

2009 – 2012 Boulder, CO

Digitizing and post-processing volumes from special collections and archives, optimizing archiving standards, handling of rare and fragile material, designing marketing and outreach materials for children's programming at local public library.

REFERENCES Tres Birds Workshop Independent contractor

Summer 2011 Denver, CO

Assisting in renovation project of historical building. Responsible for undertaking various independent projects including furniture construction from reclaimed material and finding creative solutions for room partion system.

Coburn Partners Architecture intern

2011 – 2012 Boulder, CO

Working in a collaborative project to design flexible solutions within a fixed budget of a 2,000 sq.ft. space. Guiding the project from schematic design through construction including original installations.

John Barbour | Senior Instructor john.barbour@colorado.edu Holley Long | Digital Initiatives Librarian holley.long@colorado.edu


SKILLS

INTERESTS

LANGUAGES

Digital

Analog

Work

Play

Photoshop Illustrator InDesign HTML/CSS/JQuery Rhino + Grasshopper CNC routing Lasercutting

Woodworking Ceramics Film photography Hand drafting Modelmaking Molding/Casting

Grid systems Typography Geometry Process Technique

Tennis Squash Ping pong Chess

English – fluent Armenian – fluent French – basic

GRANTS/SCHOLARSHIPS

EXHIBITIONS/PUBLICATIONS

AWARDS

UCAN Serve AmeriCorps

BMoCA

Louis Armstrong Award

Completed over 300 service hours developing plans for the vision of a community program.

Public exhibition of Studio Arts Boulder

“For outstanding musical achievement and dedication to the program”

Honors Journal

Undergraduate Research Opportunity

Studio Arts Boulder project featured in 2012 issue of annual interdisciplinary journal

$3,000 competitive research grant awarded by the University of Colorado-Boulder to create a digital collection of World War I pamphlets.

Electronic Library of Colorado Architecture, Landscape and Planning Published photographic research

Photography Awarded 1st place in high school competition Work exhibited in Cherry Creek’s Photographers Gallery

Ceramics Awarded 2nd place in high school competition


Naropa Campus Studio 2 Matthew Jelacic 2010

The Naropa redesign project explored a holistic approach to architecture. The challenge was to create non-autonomous spaces that promote opportunities for interchange among students, teachers, and the general public. This goal called for a conscious effort to find order in the campus.


History The unique environment of Naropa University is a continuum of an ancient lineage, drawing inspiration from the 5th century Indian university, Nalanda. The school inherited it's name from the 11th century abbot, Naropa, who while attending Nalanda, attained great wisdom that not only nurtured academic knowledge but equally emphasised spiritual growth, particularly that of Buddhist philosophy.

Problem The lineage of these teachings reached ChĂśgyam Trungpa Rinpoche who founded the Naropa Institute in 1974, repurposing an earlier 20th century school, Lincoln elementary. Over the years the school expanded to include the Allen Ginsberg Library and, more recently, the Nalanda Administration Center, the principle anchors of the university.

The campus is plagued by a number of small disconnected mobiles that that were gradually added without the adherence to a master plan. If a campus is a city for students, then these mobiles are the reckless sprawl that erodes the vitally of people’s spaces.

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Site plan

Lincoln Building Nalanda Center Allen Ginsberg Library Proposed bulding

25'

50'

100'


Order and geometry In Buddhist symbolism the ideology of the Noble Eightfold Path is represented by a wheel inscribed with eight spokes, the dharmachakra. The Naropa University's teachings are based on this philosophy and this geometric symbol is embedded in their seal. Geometry is the language of mankind. It is prevalent in architecture and philosophy, with one constantly informing the other. In Corbusier’s well-known narrative, primitive man brings order

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to the site by setting the pegs of the hut to the body’s measure – foot and pace – described by geometric truths – square and octagon. The order of Naropa's campus is the correlation between geometry as a means of proportioning space, and as a symbol of principle teachings.

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classroom office bookstore café student lounge courtyard performance hall IT center meditation center

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Geometry 2

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Ground floor plan

Structure

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First floor plan

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25'

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100'


Clothing the mass

Parti

Regulating lines

Taking precedent from Iannis Xenakis’ ondulatoires at the monastery of La Tourette, the wooden screen serves to provide privacy and shading. The design draws further inspiration from manipulations of the initial geometry; when an octagon is continually drawn one within the other, the result is an undulating rhythm.

A continuous rammed earth wall encapsulates the two proposed buildings and the interstitial courtyard. This extends throughout the masterplan creating a visual and acoustical barrier of the parking lot to the south of campus and the north of main street. Rammed earth is used for it's strength and thermal properties, as well as setting a standard of environmental consciousness for future growth.

The regulating line is a means of determining a visual order; a commonality shared by the whole and it's parts. The proportioning of the circulating tower informs the overall mass down to the dimensions of doors and windows.

North elevation

Regulating lines

Section looking south

South elevation

Section looking north

West elevation


Studio Arts Boulder Studio 3 Rob Pyatt 2011 Partners: Wren Kidder Daniel Warren

In collaboration with Boulder Pottery Lab we designed an artist-run community campus for the studio arts. The campus required dedicated workspaces for each discipline, exhibition spaces, and artist residencies. Driving the design was the Pottery Lab’s vision to stimulate community, provide economic benefits, and have a positive environmental impact.


Exhibition 1

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gallery cafĂŠ courtyard sculpture garden

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ceramics glaze room kiln yard printmaking glassblowing metalshop woodworking

Residency 8

living quarters communal courtyard

25'

Site plan

Section looking east

Studios

Section looking north

50'

100'

Section looking west 25' 50'

100'


Research driven design

Programmatic organization

Site strategy

Each studio space is designated according to invaluable insights from the client; extensive research into the program requirements including the machinery, workstations, storage, as well the production process; and analysis into the success of similiarly structured schools.

Each studio is conceived as an autonomous unit in order for the patrons to be fully immersed in their respective discipline. The studios are arranged around a common courtyard. The progression through the site is a sequence of public (gallery, courtyard), semi-public (studios), and private (residency) zones.

The campus is located on the site of a former mill. After years of ore processing, the land was compromised. The site is currently undergoing a remidation program to restore the land.

parking 6500 ft2

Program organized by required footprint from most public to private.

Rearranged according to program relations and creation of outdoor rooms.

exhibition 1000 ft2 cafĂŠ 600 ft2 ceramics 4000 ft2

The programs take final form, adjusted to the topography and materiality.

print 2000 ft2

glass 1600 ft2

metal 1600 ft2

wood 1300 ft2 residency 1200 ft2

Public Semi-public Private

Existing site contaminated after years of misue.

The site is part of an overall clean-up strategy for Valmont Butte.

The building footprint is then excavated from the site.

The excavated soil is used as the building’s primary structure


Rammed earth structure

Daylighting

Community spaces

Approaching the campus as an extension, rather than an addition to the landscape, is the guiding design strategy for using rammed earth as the primary building material. Thick walls extend perpendicularlly from the axis of the ridge. All entrances to rooms pass through this threshold, a constant reminder of the integration of landscape and structure.

Openings are oriented towards the south allowing for panoramic views to the vista and maximal exposure of sunlight depending on each studios needs. Skylights are inserted along the thick rammed earth walls, taking advantage of it’s thermal mass properties.

Following the guiding tenet of Pottery Lab’s vision to create a stimulated art community, the central courtyard functions an outdoor public space for artists and enthusiasts to congregate, discuss, and participate. A similar space is reserved for the resident artists, a stoop, a place to gather during the almost ritulistic ceremony of kiln firing.


Gwathmey Studio Design Media John Barbour Bambi Yost 2008

This set of drawings is a reproduction of the Gwathmey Studio plan. They were drawn for mastering the basics of hand drafting techniques, as well as learning the the architects’ design processes, specifically the use of primary geometries within a modular grid framework to organize structure and space.

East elevation

Roof plan

First floor plan

Ground floor plan

North elevation

West elevation

South elevation

4' Section looking west

Section looking south

Section looking east

8'

16'


Coal Creek House Studio 4 Julie Herdt 2012

The project sets to design a house anticipating the changing needs of a family. Assembled using prefabricated components, a series of modular bays becomes a framework able to expand as a family grows, remaining flexible to their needs, and responsive to the enivronment.


Relationship to the land

Plan

Modular bay

The house is raised on a pier foundation sitting lightly on the land, which allows air and water to naturally flow around it as opposed to a tradional foundation. The canopy of two large cottonwood trees forms a natural outdoor space that blends into the verandah, which then connects to the rest of the house.

A repetitive bay structure is laid along an eastwest axis, progressing from living and entertaining spaces to private quarters. Internal circulation divides servant spaces (bathroom, laudry, storage) towards the north, and served spaces (living room, kitchen, bedrooms) towards the south, to receive the most daylight and views of the landscape. The model pictured captures the house in it's initial state while the plan below depicts the extended version.

Each 12’ x 20’ bay is an independent system consisting of a structual timber framework raised on a concrete pier foundation fitted with an assemblage of panels.

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6' verandah sitting room dining room kitchen pantry living room/ summer verandah 7 wash room 8 bathroom 9 laundry 10 bedroom 11 closet/storage 1 2 3 4 5 6

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24'


Floor

Wall

Roof

Functionally independent layers of panels share a common dimension to the overall module. A 12’ x 20’ bay consists of: 6 SIP floor panels - 4’ x 10’ 30 Warmboard panels - 2’ x 4’ with a final layer of wood or ceramic. This whole system is hung from a rim board that is 12’ on center between the posts.

Wall panels are prefabricated to plug into the existing bay structure. The side of each bay is made up of three 4’ x 8’ panels available with varying levels of transparency.

Hinged joinery allows the rafters to be hoisted and bolted into place by steel plate connections. Curved panels are then attached and sheathed in corrugated iron.

Floor panels

Wall panels

Vault assembly

hardwood/ ceramic tile

warmboard radiant heating

structually insulated panels


Confluence Culinary Center ACSA competition John Barbour 2012 Partner: Wren Kidder

The 2012 ACSA competition set the challenge to design a culinary arts center within an urban context utilizing steel as the primary structural material. The proposal uses the properties of steel in a modular framework to create flexible top-lit teaching and study spaces above, while promoting a relationship to the adjacent parks below.


An urban confluence The site is located within a historic section of Denver, flanked by River Front Park, Confluence Park, and Commons Park. This urban greenbelt integratates bicycle and pedestrian pathways of the Cherry Creek Trail and South Platte Trail, and the rivers that lend them their names. The area is within walking distance of Denver’s newly revitalized transportation hub – Union Station.

The design responds to the urban and natural influences surrounding the site. The building acts as a continuation to adjacent park, and contributes to the vibrancy of the area.

Parkspace

River views

Transportation

Service access


Plan

Steel structure

Modular faรงade

The building occupies the northern section of the site creating a partial courtyard distanced from the main street and joined to the adjacent parks. The restaurant and bake shop directly serve this public space. The teaching kitchens are raised above the courtyard, overlooking the parks and rivers.

Long spans are achieved using a continuous Warren truss along the perimeter, supported by a regular column grid. This provides a rigid framework for the steel deck and concrete floor, as well as the panels of the modular faรงade.

The building's faรงade is composed of prefabricated panel components, allowing for rapid on-site assembly. The modular panels are hung from the load bearing steel truss and can be modified into several configurations to reflect the internal programmatic requirements.

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teaching kitchen classroom student lounge library office wine room restaurant lecture hall bake shop food storage

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Ground floor plan

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Modular panels 15'

30'

60'

First floor plan

Northwest elevation

Southwest elevation


Southeast elevation

Northeast elevation


de Jong attractors Digital fabrication Marcel de Lange 2012

Delving into the world of generative design, this introductory excercise uses Rhinoceros 4.0 in tandem with Grasshopper 3D to produce the dynamic forms of Peter de Jong attractors. The seeming complexity of each shape is the result of a simple mathematical rule allowed to evolve through extensive iterations.


X-block Digital fabrication Marcel de Lange 2012 Partner: Wren Kidder

An experiment in creating an infinite continuous wall constructred by a traditional casting process using modern digital fabrication techniques. The wall is comprised of a basic modular unit derived from a geometrical pattern. With the aid of CAD and CNC technologies, a four-part mold of the form was digitally modeled and processed. The resultant plaster casts capture and manipulate the brilliance of light.


2D evolution

3D evolution


Mold

Casting

A four-part mold was necessary to achieve the complex form and simplfy the production. Each compontent was optimized allowing for precision CNC routing.

The manufacturing process experimented with casting materials using various reinforcement methods – ranging from traditional metal rebar to syntheic fibers.


Cabinet for a Kamancha Woodworking 2011

A cabinet simply proportioned to house an Armenian bowed string instrument – Kamancha. Each face, edge, and corner is a play of symmetry and juxtaposition, celebrating wood’s variant beauty.


Pine Sculpture 2011

A practice in testing the properties and limits of a single material. Based on an initial pattern, braided clusters are interwoven, bowed, and suspended just before the breaking point. Each manipulation forms a new variation.


Origins Sculpture 2011

A geometric study visualizing the genealogy of the circle through transformations of regular polygons. In a series of equidistant planes the point divides it’s self to become the line which becomes the triangle, and as the column descends the number of vertices increases, completing the square, pentagon, hexagon, heptagon, octagon, enneagon, decagon.


Nardi | For my Grandmother Woodworking / Marquetry 2012

Between layers of paint and rusty nails, lives a precious period in our family history – our first house. After we moved, I wanted to preserve these memories for my Grandmother so that wherever we sit again to play a game, we can reminisce of the Colorado summers we spent together on our backyard deck.


Inlayed brass hinges connect the wooden frames. The revatively soft redwood has already receiving scars from the regular play of captured checkers sent to the bar.

Original deckwood nails are retained and aligned allowing for a serpentine hammered brass lock.

The natural fungal staining of Box Flame Elder accents the red deckpaint. Bookmatched sheets of veneer create a dynamic mirrored pattern.


Nardi | Meditation on Platonic Idealism Woodworking / Marquetry 2012

The practice of geometry is a search for truth – for the ideal forms that comprise the Universe. Relying solely on rule and compass to trace the blueprints of ideas that exist in perfection in the mind. Dedicated to the Platonic solids – Dodecahedron and Icosehedron – dual polyhedrons, existing one within the other.


When closed, the edges the hinge joint is hidden.When open, the board reveals the brass flat hinge.

Natural burls of the wood are accented throughout,.

Custom checker pieces are turned two different wood tones: walnut-dark and maple-light. A single concavity is made to easily move the pieces during play.


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Initial geometric construction begins with the square AC.

The square is quartered and bisected at point E. The line EF marks point G. A circle is drawn with a radius from the center to point G. This area is in golden proportion to the original square.

Square AC is bisected at point H. Line HA marks point J. The completed rectangle CJ and rectangle AJ are phi rectangles.

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The same process is continued on the other side of the square, forming a root 5 rectangle LJ composed of a square and two phi rectangles – division zones between points and checkers, and area for dice play.

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Phi rectangle LD is overlayed with root 5 rectangle MN. Six equal divisions mark the space for points. Height of inner and outer triangles are determined by lines NO and CD, respectively.


Getogether SHIFT::Tech App competition ONEArmenia 2013

Developed within the competition framework, Getogether is an innovative mobile application that is significant, scalable, and profitable. The proposal is a hospitality exchange program set to revolutionize the way we eat. Bringing together friends and strangers in the least commonplace of rooms – the kitchen – to share a meal and meaningful conversation, while sharing the cost, preparations, and clean up.

AT&T

11:56 AM

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Name of Getogether

Chicken N’ Waffles Friday Nov 8 12 eggs 1 whole chicken

GETOGETHER

8:00 AM

Grandma’s Dolma Saturday Nov 9 7:30 PM 1 16-ounce jar grape leaves

Invite Guests

Add to menu

Khinkali Sunday Nov 10 1 bundle of fresh parsley 3 onions

8:00 PM

Adjarian Khachapuri Saturday November 9th 500g all purpose flour 1 liter whole milk

Khinkhali made by Gor Jihanian and 4 others

Community

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10:30 AM

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Significance

Scalable

Profitable

Throughout the world, conversations and movements are taking place about our relationship with food. The industrial food service has failed to recognize that the essence of eating is the connection of people through all stages of the culinary process. Believing the kitchen to be the most appropriate forum for discussion, we seek to reestablish the traditional model and adapt it for a modern world.

Responding to local and global scales, in it’s most basic form it can be one friend inviting another to cook dinner together, to becoming a globally occurrence. Suddenly, dining in another country is no longer going to a restaurant to try a new dish, rather becoming a full immersion into another peoples' culture.

Abundance drives value so as the user base of an application expands to a become a network, so too does it’s possibilities. Vital is the integration with food culture sites. In a mutually beneficial partnership, information is exchanged through a cyclical process constantly generating news information.

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Grandma’s Dolma 1 16-ounce jar grape leaves add ingredient

Saturday November 9th 7:30 P.M.

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Movses Khorenatsi St. Yerevan, Armenia

Notes

Grandma’s Dolma

Adjarian Khachapuri

1

add ingredient

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Yerevan Food Market Movses Khorenatsi St. Yerevan, Armenia

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1 medium-sized yellow onion

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A S D F G H J K L

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Chicken N’ Waffles

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Upbeat City Entertainment | brandmark Brandmark/ website design 2013

A commission to redesign the existing brandmark and website of a Connecticut based diskjockey – DjCITY. The new brandmark eliminates the literal expression of the pseudonym; focusing on the company name, set in bold slab serif typeface. The accompanying logo is a geometric abstraction of the classic vinyl record. Previous logo

UPBEAT CITY ENTERTAINMENT

UPBEAT CITY ENTERTAINMENT

UPBEAT CITY ENTERTAINMENT


UPBEAT CITY ENTERTAINMENT

UPBEAT CITY ENTERTAINMENT

UPBEAT CITY ENTERTAINMENT


Upbeat City Entertainment | website Brandmark/ website design 2013

The website is designed to be an interactive platform for sharing the joy of each event, as well part of a system for managing events. Taking full advantage of major social media APIs – Instagram, Twitter, Facebook, Disqus – and syncings Google's Calendar and Maps features. The result is a one-page horizonal scrolling site, in a state of perpetually flux, changing to the beat of each moment.

The landing page is a full screen image uploaded directly from the user's instagram feed with accompanying message.

A short and casual introduction over a full screen image streching across two panels.

Icons and brandmark adjust for proper contrast. Integrated Twitter account provide in-the-moment welcome messages or sharing exciting moments from events.


Information is presented in highlighted yellow blocks to contrast the images, evoking record store signage. Rates and services are revealed by flyout menu.

Gallery of Instagram images from latest events. Followed by a Disqus comment box allowing clients to rate and share their experiences directly with through their social media account.

Calendar is synced with the user's Google account serving dual functions – managing events and showing availablity to potential clients.

Integrated Google map showing headquarter location along with contact information and links to various social media outputs.


Ithaka Architecture and Design | brandmark Brandmark 2013

Using structure, tone, and transparency in a new color palette to devise solutions an updated brandmark. Solutions also explore the use of an isometric grid as an underlying ordering system.

Previous logo

Structure

Tone

Transparency

Initial geometry constructed on the basis of an isometric grid.

Dimensionality is added by three distinct tones of teal.

Varying levels of transparency reveals cube with underlying geometric structure.


ITHAKA

Architecture & Design


Postcards Graphic design 2013

A collection of postcards highlighting the unique landscape and architecture of Armenia. Information is equally distributed and presented in three languages: Armenian, Russian, English. An accompanying map adds context to the location of the monument in relation to the country's contemporary and historic lands, and also is an interactive element, allowing creative opportunties for tourists to share their experiences.

Սբ. Աստվածածին

Св. Аствацацин

St. Astvatsatsin

13-րդ դար Նորավանք Հայաստան

13-ый век Нораванк Монастырь Армения

13th century Noravank Monastery Armenia

Արարատ Арарат Ararat

Մեծ Հայք Великая Армения Mets Hayk

Տեղանքը Локация Location

Երևան Ереван Yerevan

Հայաստան Армения Armenia

Suren Manvelyan photography

All rights reserved © 2013


Toponyms of the Armenian Highlands Book design 2014

A project bringing to light my Grandfather's unpublished linguistic work – a specialized reverse dictionary, compiled arduously by categorizing toponyms, taken from secret Soviet Military maps, by suffixal endings in order to trace linguistic roots.


Approach

Book structure

Trilingual

The principle approach is to present the work in it’s orginality with only a minimal set of additions necessary for reference. A single horizontal rule divides catchwords from the original content.

The structure of the book is based on the original set of typewritten manuscripts. A 7-column grid applies the logic of the original documents.

The primary component of the book, the reverse dictionary, is in Russian. To broaden the scope for international specialists it is necessary for accompanying texts to be presented in three languages: Armenian, Russian, and English.

First entry • Last entry Name of map sheet

Page number

Халкавала • Юкары-Авара K-37-Г

293

Халкавала Зигала Магдала Омала Машала Хахавла Юсуфогла Нузла Кабатузла Першембе-Яйла Талиплияйла Джамбаши-Яйла Беялан-Яйла Багырман Яйла Бекташ-Яйла Фындыклыяйла Яйкылыяйла Кизылинсюфла Чалтымары-Сюфла Каракышла Зодама Батлама Читлама Акиома Кызылэльгма Тепеюма Абанa Зидана Зыдана Меръемана Дозмана Вона Дона Заргона Хаварна Турна Тасна Шахна Вона Куртляпа Ашагы-Авара Юкары-Авара

B6 Д1 Г3 Д2 Д3 Е6 E2 Д2 B1 Д3 Д6 Д4 Г4 Г2-Д3 Д5 Д6 Д2 Г4 Г3 E6 Е6 Г5 Г5 Г5 ГЗ Г5 E5-6 E5 Д6 Г6 Д1 В4 E3 E4 Д6 Г4 Г1 Е4 B4 ЕЗ E1 E1

НП НП НП НП лет. НП НП р. НП НП лет. НП НП хр. НП лет. лет. НП НП НП НП р. НП НП НП НП НП НП НП НП НП НП НП НП НП р. НП ск. бухта НП НП НП

Гиресун Амасья Орду Токат Токат Гиресун Сивас Самсун Орду Гиресун Орду Орду Гиресун Гиресун Токат Орду Орду Гюмушане Гиресун Орду Гиресун Орду Гиресун Сивас Сивас Гиресун Гиресун Амасья Орду Сивас Сивас Гиресун Амасья 2374 Сивас Токат Токат


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ՀԱՅԿԱԿԱՆ ԼԵՌՆԱՇԽԱՐ ՀԻ ՈՒ ՀԱՐԱԿԻՑ ՇՐՋԱՆՆԵՐԻ ՏԵՂԱՆՈՒՆՆԵՐ

Հապավում ներ Abbreviations Сокращения

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Ռուսերեն այբուբեն Russian alphabet Русский алфавит

ՀԵՏԱԴԱՐՁ ԲԱՌԱՐԱՆ

бух. г. дол. зал. кан. кург. лет. мог. м. оз. остр. о-ва НП пер. прох. пещ. p. разв. род. равн. ск. xp.

Վռամշապուհ Ջիհանյան

Հետադարձ (Ինվերս) բառարանը կազմվել է սո­ վետական Գենշտաբի հրատարակած Թուրքիայի հինգ կիլոմ ետրանոց (1:500 000) գաղտնի քարտե­ զի հիման վրա (տարածքի վիճակը մ ինչև 1941 թ.): Բառարանը կազմ ելու պահին (1980 թ.) այս եզակի քարտեզը տարածաշրջանի առավել մանրամասն քարտեզն էր, որն գաղտնագերծված չէ առայսօր: Հետադարձ բառարանում բառերը դասավոր­ վում են այբբենական կարգով՝ ոչ թե սկզբից վերջ (ինչպես սովորական բառարաններում), այլ՝ վերջից դեպի սկիզբ, ինչը հնարավորություն է տալիս բա­ ռերը դասավորել քերականական հատկանիշներով: Հետադարձ բառարանները կազմվում են առավելա­ պես հին լեզուների համար, որոնցում վերջածանցն ավելի կարևոր է, քան նախածանցը: Բառարանի մյուս առանձնահատկությունն այն է, որ աշ խար­ հագրական օբյեկտները ճշգրիտ տեղորոշված են ըստ քարտեզի: Չորսհազարամյա պատմալեզվական հետքեր կրող Հայ կա կան լեռ նաշ խար հի յու րա հա տուկ գիտական նշանակության պատճառով Բառարա­ նը կարող է հետաքրքրություն ներկայացնել ոչ մ իայն հայագետների, այլև այդ տարածաշրջանով հետաքրքրված բանասերների, պատմաբանների, լեզվաբան­տեսաբանների և գիտական լայն շրջա­ նակների համար:

Խմբագիր

Յ.Յ.Ս. Վայթենբերգ

ծովախորշ սար դաշտավայր ծովածոց ջրանցք բլուր ամառանոց դամբարան հրվանդան լիճ կղզի կղզիներ բնակավայր լեռնանցք անցում քարանձավ գետ ավերակ աղբյուր հարթավայր ժայռ լեռնաշղթա

bay mountain valley gulf canal burial mounds summer camp tomb cape lake island islands region mountain pass pass cave river ruins spring plain cliff range

Аа Бб Вв Гг Дд Ее Ёë Жж Зз

бухта гора долина залив канал курган летник могильник мыс озеро остров острова населенный пункт перевал проход пещера река развалины родник равнина скала хребет

a b v g d ye yo zh z

Ии Йй Кк Лл Мм Нн Оо Пп Рр

i j k l m n o p r

Сс Тт Уу Фф Хх Цц Чч Шш Щщ

s t u f kh ts ch sh shch

Ъъ Ыы Ьь Ээ Юю Яя

” y ’ e yu ya

Երեվան • 2014

Summary and title page.

Кале • Акреби I-37-ГПЛАНШЕТ

Адыяман Кале Мактеле Диярбакыр Гюндюкёле Юкары-Фетле Мардин Беязкуле Сиирт Черме Диване Урфа Тельхане Авине Тепе Арпатепе Кaратепе Чёльтепе Гюзельдере Сире Кёсе Поте Мешрефе Ашагы-Карабахче Кёлье Хоргаз Заз Аназ Сёйлемез Дергивиз Кельдиз Чильдиз Абдюльазиз Шимиз Аленз Арап”ялангоз Яланкоз Хороз Донгуз Реджлуттеллуз Икиагыз Сюндюз Мугаби Халеби Махлеби Эйюпнеби Акреби

To accompany the work, two sets of tables provide explanations of abbreviations used and a Russian alphabet pronunciation guide.

I-37-Г 38 В2 В2 А5 А4 В2 Г1 В2 В2 Е4 А4 А4 В2 А4 А6 В2 B1 Б2 В1 А2 В4 В1 Б6 В1 Б2 Б4 А3 B3 А2 А5 А6 A1 A1 B1 Б2 Г1 B1 A4 Б1 A1 Б3 В2 В4

НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП р. НП НП НП НП НП НП НП

Урфа Урфа Мардин Диярбакыр Урфа Урфа Урфа Урфа Мардин Диярбакыр Диярбакыр Урфа Диярбакыр Сиирт Урфа Урфа Урфа Урфа Урфа Мардин Урфа Мардин Урфа Урфа Мардин Диярбакыр Мардин Диярбакыр Сиирт Сиирт Урфа Урфа Урфа Урфа Урфа Диярбакыр Урфа Урфа Мардин Урфа Мардин

Each chapter follows the sheet numbering system and highlights, at a glance, the location and regions within that location.

Шиби • Мюбареки I-37-Г

39

Шиби Дарби Харби Ангави Чингырави Зиви Миризиви Мидьят-даги Хаджигейиги Сади Шади Бамеди Ахмеди Хамиди Решиди Сювейди Хумейди Коди Ирди Давуди Давуди Харбетюльсуди Харабехаджи Гюндюкхаджи Гюндюкхаджи Тюркменхаджи Олакджи Башмакджи Мерджи Демирджи Гази Джевзи Харапрези Темерзи Кеферзи Джирзи Кызбейи Тильваки Аллаки Самаки Мюбареки Мюбареки

А6 A2 В5 В3 В1 А4 А6 Б5 А4 А4 А2 В5 Б4 Б5 Б4 А4 В2 A3 Б5 А3 В1 В2 Б5 Б6 Б6 А4 В2 В1 Б5 А2 А2 Б5 B6 В6 Б6 Б4 B1 А2 Б2 А2 A3 А6

НП НП НП НП НП НП НП хр. НП НП НП НП НП НП НП НП НП НП НП НП мог. НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП НП

Мардин Урфа Мардин Мардин Урфа Диярбакыр Сиирт

269

ՎՌԱՄՇԱՊՈՒՀ ՋԻՀԱՆՅԱՆ

Կենսագրություն

1942–2010

Диярбакыр Диярбакыр Диярбакыр Мардин Мардин Диярбакыр Мардин Диярбакыр Урфа Диярбакыр Мардин Диярбакыр 801 Урфа Урфа Мардин Мардин Мардин Диярбакыр Урфа Урфа Мардин Урфа Урфа Диярбакыр Мардин Мардин Мардин Диярбакыр Урфа Диярбакыр Урфа Урфа Диярбакыр Сиирт

ՎՌԱՄՇԱՊՈՒՀ ՋԻՀԱՆՅԱՆԸ ծնվել է 1942 թ. սեպտեմբերի 21 Կահիրեում, որտեղ հայտնվել էին իր ծնողները 1915 թ. Եղեռնից հետո: 1947 թ. Ջիհանյանների ընտանիքը հայրենադարձվում է Հայաստան: Վռամշապուհը (Վռամը) 6 տարի սովորել է Էջմ իածնի Հոգևոր Ճեմա­ րանում, որն ավարտել է 1964 թ., իսկ Երևանի Պետական Համալսարանի բանասիրության բաժինը՝ 1970 թ.: Զուգահեռ ուսում նասիրել է դասական լեզուներ և սեպագրեր: Համալսարանն ավարտելուց հետո 1970 թ. աշխատանքի է անցել Հա­ յաստանի Գիտությունների Ակադեմ իայում (սկզբում ԳԱ Նախագա­ հությունում, հետո՝ Լեզվի ինստիտուտում), հեղինակել է բազմաթիվ մ ենագրություններ և հոդվածներ: Կազմ ել է Հայկական լեռնաշխարհի և հարակից շրջանների տեղանունների շտեմարան, որից և 1980 թ.՝ Հե­ տադարձ բառարան: Լեզվի ինստիտուտում պաշտպանել է «Հայկական լեռնաշխարհի ջրանունները» թեկնածուական ատենախոսությունը: Միաժամանակ գրաբար էր դասավանդում Էջմ իածնի Հոգևոր Ճեմարա­ նում և Երևանի բուհերում: Ջիհանյանը վարում էր գիտահանրամատչելի հեռուստահաղորդում «Զրույցներ գրաբարի մասին» (1986 – 1992)՝ դա­ սական հայերենի և հայագիտության արդի խնդիրների վերաբերյալ: 1991 թվականից սկսվեց Վ. Ջիհանյանի երկար տարիների գիտական համագործակցությունը Լեյդենի Համալսարանի պրոֆ. Յ. Վայթենբերգի հետ: Համատեղ ջանքերով ստեղծվեց հին հայերեն տեքստերի առաջին Համակարգչային Շտեմարանը, համակարգված թվայնացվեցին հար­ յուրավոր հայկական աղբյուրներ՝ մ իջնադարյան պատմ իչների երկեր, ձեռագրերի հիշատակարաններ և բազմաթիվ բառարաններ՝ “Leiden Armenian Lexical Textbase”: Բոլոր նյութերը պահպանվում են ոչ մ իայն Լեյդենում, այլև Վ. Ջիհանյանի անձնական արխիվում: Լեզվի ինստի­ տուտում Ջիհանյանը ղեկավարում էր Հայերենի պատմական բառարան բաժինը, ուստի և այդ Շտեմարանը պետք է հիմք հանդիսանար նաև բազմահատոր Հայերենի պատմական բառարանի համար: Աշխատանքի բնույթը պահանջում էր համակարգիչների հայացում,

Biography highlighting the life and work of my Grandfather.


Cover The illustration on the cover is an example of the type of Soviet Military Topographic map used to conduct the original research, the chosen fragment highlights the Arax river, the symbolic face of modern Armenia.

               ˜ ™ š   

› œ ž   

TOPONYMS OF THE ARMENIAN HIGHLANDS AND SURROUNDING TERRITORY REVERSE DICTIONARY

VRAMSHAPUH JIHANYAN

ТОПОНИМЫ АРМЯНСКОГО НАГОРЬЯ И СОПРЕДЕЛЬНЫХ РЕГИОНОВ ОБРАТНЫЙ CЛОВАРЬ

ВРАМШАПУХ ДЖИГАНЯН


Man-o TĂ´ Graphic design 2015

From the verses of mystic poets to the ornaments of great mosques – a design for a set of wedding invitations searches for inspiration in the overlap between poetry and architecture.


Cultural hues

Tiles to pixels

Ghazal 2214

The limited color palette finds its source in geography and geology. From the lapis lazuli mineral comes the distinctive Blue of Persia, and from turquoise the similarly titled color of Turkey. In tandem with the geometry, the intertwining of colors embody the union of marriage.

Glazed ceramic tiles adorning the architecture of mosques have generated endless variations of patterns over centuries. The basis of the design stems from discovering the reoccurring geometric themes, and transposing these into the modern material of pixels.

The verses of Rumi, the 13th century Persian poet and mystic, meditate on the transcendental and universal nature of love. In respect to the cultural backgrounds of the bride and groom, the selected Ghazal is presented in the original Persian, set in the nasta’liq calligraphic style, and accompanied by English and Turkish translations.


‫م‬ ‫ن و وت‬ ‫من و ت و‬

‫جاللالدین محمد رومی‬

‫نشی‬ ‫خنک آن دم هک نیم رد ایوان‬ ‫من و ت و‬

‫هب دو نقش و هب دو صورت هب یکی جان‬ ‫من و ت و‬ ‫جم‬ ‫من و تو بی من و تو ع شویم‬ ‫از سر ذوق‬

‫خوش و افرغ ز خراافت رپیشان‬ ‫من و ت و‬

You and I

Sen ve Ben

Blissful moment, sitting on the veranda, you and I

Saadet zamanı: avluya doğru oturmuşuz, sen ve ben

Two figures and two faces, with one soul, you and I

Endamımız çift, sûretimiz çift, rûhumuz tek, sen ve ben

Joyful and careless, free from distracting myths, you and I

Bulandıran palavralardan âzâde, gamsız bir keyif, sen ve ben

You and I, devoid of ‘you’ and ‘I’, unite because of love

Sen ve ben, ne sen varsın ne de ben, bir olmuşuz aşk elinden

Jalāl ad-Dīn Mohammad Rūmī

Celâleddin Mohammed Rûmî


‫م‬

Chanté Karimkhani Baran Aksut &


Armenian Genocide Centennial Research/ infographics 2015

In collaboration with the Pan-Armenian Association of Architects and Engineers, a circular calendar to commemorate the Armenian Genocide, focusing primarily on the continous destruction of cultural monuments during the past 100 years. Data driven design based on historical, political, and legal research reflects on the magnitude of loss, while relaying a contemporary forward-looking message.

1915 2015

M S S1 1 F 4 T 13 W 12 1 T 1 M 10 S 0 09 S 8 F 0 07 T0 6 W 5 0 T 4 M 03 02 S0 S3 1 F3 1 T2 0 W2 9 T2 8 M2 7 6 S2 5 S 24 F 23 T2 W2 2 1 T 20 M 19 S 18 S 17 F 16 T 15 W 14 T 13 M 12 S 11 S 10 F 09 T 08 W 07 T 06 M 05 S 04 S 03 F 02 T 01 W 30 T 29

Salnap at M onas tery

One hundred years after the Genocide, the Turkish government continues to deliberately destroy the architectural heritage of the Armenian civilization — a crime against all of humanity.

OCTO BER

NO

Armenian Genocide Centennial


St .H ov ha n

T 31 W 30 T 29 M 28 S 27 S 26 F 25 T 24 W 23 T 22 M 21 S 20 S 19 F 18 T 17 W 16 T 15 M 14 S 13 S 12 F 11 T 10 9 W0 8 T0 7 M0 6 S0 5 S0 4 F0 3 T0 2 0 W 01 T 30 M 29 S 8 S2 7 F2 6 T 2 25 W 24 T 23 M 2 S 2 21 S 20 F 9 T 1 18 W 17 T

O VE 1 15 6 M

R E B M CE E D astery Mon s o om Hor

R E B M St. Barthol omew the

JANU ARY

Apo stle

Mo nas ter y

Su rb

FE BR As tv at s

ch ur Ch

RY UA

sin at

s ne

ch ur h C 01 T 02 F 03 S 04 S 05 M 06 T 07 W 08 T 09 F 10 S 11 S 12 M 13 T 14 W 15 T 16 F 17 S 18 S 19 M 20 T 21 W 22 T 23 F 24 S 25 26 S 27 M 28 T 29 W 30 T 31 F 01 S 02 S 03 M 04 T 05 W 06 T 07 F 08 S 0 S 1 9M 11 0 T 1 W 1 2T 1 3F 15 4 S S

Out of this closed circle‌ RECOGNITION DEMANDS REPARATION

M 16 1


1

3

Active Armenian Centers in the Ottoman Empire before 1915

7 4

13 16 8

5

10

15

12 2

17 14

6 9 11

KEY

churches monasteries schools 14 0 15

1

26 1 27

2

53 0 64

3

51 1 53

4

54 0 50

5

14 1 26

6

17 0 18

7

105 11 126

8

44 5 63

9

198 21 204

10

93 16 113

11

242 65 204

12

106 31 90

13

148 10 122

14

510 161 207

15

406 76 322

16

457 80 192

17

EDIRNE IZMIR CONSTANTINOPLE IZMIT BURSA KONYA KASTAMONU ANGORA ADANA SIVAS ALEPPO HARPUT TRABZON DYARBEKIR BITLIS ERZERUM VAN


Prior to 1915 Armenian cultural, religious, and educational centers actively consisted of 4,000 churches, 450 monasteries, 2,000 schools.


“All expropriated Armenian Church property, regardless of location, should be returned.� Resolution with Justice Armenian Genocide Reparations Study Group


Armenian Population Worldwide KEY Population: 25,000

US CZE CH REP DE UB L NM IC A RK EG YP T ES TO NI ET A HI O FI PI N A LA N D

CUBA

CYPR

CHINA

COLOMBI A

CHILE

ARIA BULG A CAN DA

BRA

ZIL

IA EN M A R RI A ST LIA AU RA ST AN U A AIJ RB E AZ S RU LA BE M GIU BEL

COUNTRY

CE

A

A

N

TI

EN

RG

AN

FR

IA

RG

O GE

Y

AN

RM

IA

AN

AL B

IA

AZ

KH

AB

GE

CE

EE

ELA

ZU

NE

VE

GR

AS

UR

ND

STA N

EKI

UZB

HO

Y GAR

GUA Y

URU

HUN

UNITED KINGDO M ED ST ATES

The monuments of the Armenian Civilization are the treasures of all Armenians worldwide

INDIA

IRAN

IRAQ

IRELAND ISRAEL

ITALY JORD

AN

UNIT

UKRAINE UNITED ARAB EMIRATES

AN TURKMENIST

TURKE

Y

THAIL

AND

IK TAJ

KAZ

AKH

ISTA

SYR

KU

IA

SW

KY

YZ

IA

ITZ

SW

BA

EN

DA

AI SP

ER

ED

SU

TH

NO

N

UA

N

N

RI CA

A RAGU

ZEA

NICA

NEW

PERU

NORWAY

POLAND

PORTUGAL

QATA R ROM ANIA

IA N O ED AC A M T AL O M IC A EX M OV LD MO CO NA DS MO LAN HER D NET LAN

N

AF

RUS SIA SER BIA SI N GA PO S L OV RE AK SL IA O VE SO NI UT A H

LI

RG

LA TV

LE

IA

STA

WA IT STA

N

N

LA

N

ND


Profile for Gor Jihanian

GOR JIHANIAN | portfolio  

GOR JIHANIAN | portfolio  

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