In the opening scene of Peter Greenway's movie â€œDrowning by Numbersâ€?, a girl playing with a skipping rope counts stars up to one hundred. The objective of the game is to reach the full tally without a slip of the rope. For her, counting stars to one hundred is to lampoon the billions of other stars. It means to seize the vast cosmos. Numbers are mathematical objects of count, measure & indication of place. Counting numbers detaches things from their context & disguises meaning. It arranges an order of unrelated events & links the succession of dispersed cases. As in Greenway's film, the aim of numbers in this portfolio serves only one purpose: to provide an apparent structure that it inherently lacks. The unity & form of this portfolio is arbitrary since it not only presents works with no permanent or unique object, similarity, style, concept, preconceived principle of coherence & preexisting mode of continuity, but is also not the work of one sole author. The projects are provisionally divided by rules & are presented by page numbers. Numbers give a state of neutrality to events in the space of architectural performances & rules formulate their difference, define transformations &, over a given period of time, make their appearance visible. Paradoxically, to compose a portfolio as a group of projects would be to formulate their disconnection, to delineate their diffusion & to measure the distances in-between.
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DROWNING BY NUMBERS003-019 lena larionova
THIS IS THE ACCOUNT OF DR. OTTO FRAM WHO, IN 1983, FACED WITH A SET OF UNPREDICTED VARIABLES, LED THE CONSTRUCTION OF THE NORTH POLE SEED VAULT AND WENT MISSING. DR.FRAM WAS THE LAST TO DETERMINE THE POSITION OF THE NORTH POLE AS MOVING NORTHEAST AT ABOUT 11.6 KM PER YEAR. THE INFORMATION WAS COMPILED AT 2 HOUR INTERVALS. WITHOUT THE EXACT MEASURING TOOL, HE ADAPTED FOR USE A ONE-METER THREAD BORROWED FROM DR. COLLINâ€™S SEWING KIT. BY THROWING IT ONTO SURFACES AT RESPECTIVE ANGLES OF THE STAIRS, HE CREATED TEMPLATES YIELDED BY THE ATTAINED RANDOM PROFILES. THESE WERE THEN APPLIED TO THE LEVELS OF SEED STORAGE. INSOFAR AS GAINS AND FAILURES OF HIS METHOD, WHICH ALLOWED FOR GREATER DEGREE OF VULNERABILITY, HE MIGHT HAVE FALLEN VICTIM OF HIS OWN OPERATION.
MERIT GRADUATE THESIS THESIS ADVISOR COY HOWARD
MERIT GRADUATE THESIS 2016 SEEDS OF WRATH
Letter written by scientist
The death of historian Tom Raot, whose most prominent work studied the erection of the North Pole Seed Vault of 1983, made public never before seen materials that might shed light onto the tragic and polemical disappearance of Dr. Fram. The 70 meter deep vault, located zero meridian has been a significant contribution to the exploration of the Arctic. Led by Otto Fram, the expedition Sever-II established the seed vault in an international effort to store the planet's seeds and carry out scientific work. The materials, which include audio recordings and an image, will be presented for the audience's discretion.
February 1, 1983 The work on the vault is near its completion, surprisingly for all. Funny, how we just adapt to things. Perfect example being the makeshift measuring tape that is saving us big time. It consists of a one meter thread, borrowed from Dr. Collin's sewing kit, which is allowing us to measure the last dimensions of the stairs and storage of the vault. We know it's not the most exact or precise, but we need to carry on forward. Either way, we can't never be exact, and especially here. For goodness sake, the North Magnetic Dip Pole is ever active and elusive!
Otto Fram. Notorious, you were, for your success and fall. Storing yourself away, just as the seeds of your life. Disappearing from the public eye, therefore, was the noble act. Perhaps, it was just mere hubris that lead you down that rabbit hole, which, until today, seems not to have an end. Fatigue is the byproduct of twelve years of struggle. What did it all mean? The freezing of time and space, you see, might seem worth the toil for a sliver of future. A temporal fissure that outweighs the current condition. However, at what cost? Tell me! At what cost?
Audio diary of scientist
Day 2: Position â€“ 46th level. The rope gave up, lashing the ice, which in turn blocked the entryway. Now gotta play the waiting game. Day 4: The head lantern is dead. Gotta be careful with the lighter. Day 6: The anarchic and curvilinear steps, which would give anyone vertigo, seems to point to a flickering light emanating from the wall. The fissure is becoming more apparent as I trudge upwards. Day 8: Ahhh! Elbows and knees are all bruised up. Slight bleeding. Slipped down to the hall of the vault where the seeds are stored. Chia 1st level-15.7835 N, 90.2308 W, Linum, 35th level, 50.2538 N, 85.3232 W, Banisteriopsis caapi.
Lastly, the image, found hanging on the living room wall of Raot's Manchester's residence, dated March 13th 1983, depicts what seems to be a pair of wooden snowshoes looking out to what appears to be the Seed Vault from a few meters away, with the icy and snowy Arctic landscape in the background. Reminiscent of Sebastiao Salgado's aesthetic, the photograph, along with the rest of the materials, bought by the Getty Foundation, will be displayed as part of a temporary exhibition about twentieth century Arctic explorations. It will be part of an ongoing series about human expeditions in hostile and inauspicious parts of the globe.
Loud speaker Today is February the 4th. The search mission to locate Dr. Fram is still on its way. No news on his whereabouts yet. Turnaround is good, guys. Seismic shots determined there is a rig to be hoisted at the 19th level, 0.33 foot. Chances for ice breakage, however, are high, so be on alert for the warning sirens if need be. The speed of the wind is 90 knots withsqualls to 105. The thermometer has dipped to 3 digits. Conditions are quite chilly and icy, fellas, so try not to slip on the steps. Remember to wear your snowshoes and wool stockings.
AN ARCHITECTURAL PROMENADE OR THE OBSERVER’S PATHWAY THROUGH A SERIES OF SPACIAL REVELATIONS IS THE CENTRAL ELEMENT OF DESIGN FOR THE PROJECT OF A CRAFT MUSEUM ON SPRING STREET IN DOWNTOWN LOS ANGELES. THE PROJECT LEANS ON OPTICS, PLACE AND CONTENT THROUGH A SERIAL VISION OF EXISTING AND EMERGING VIEWS, THROUGH REACTIONS TO POSITION OF ONE’S BODY IN THE ENVIRONMENT AND THROUGH COLOR, TEXTURE, SCALE AND CHARACTER.
VERTICAL STUDIO PROJECT INSTRUCTOR COY HOWARD
The solid geometry of the cube is varied due to the chromaticism of transversal lines of stairs. It shifts the interplay of alignments, horizontality, verticality to a sudden dramatic penetration of emphatic diagonals. The buildingâ€™s interplay with change of levels produce intimacy, inferiority & enclosure on the one hand & exhilaration, exposure & vertigo on the other, a comfort of descending in comparison to the uncertainty of ascending. Multiple enclosures of the facade order the sequence of unfolding spaces through the entryway to the reception & the main hall.
010 VIIPLAN A
The Crafts Museum Building is conceived as a technically ordered structure which consists of vertical stone blocks with the network of thin marble footplates. The layout of plans and sections indicate to a modelled path of circulation which leads visitors to certain predetermined points & lets them explore the spatial qualities of stair sequence. The diagonal clad of changing spaces rise & step onto the open space of the upper floor.
The bridge serves to link the near with the remote. The framing by sheer vivacity of black & white brings the distant into forward. The railings are lines drawn at danger points as a taming detail.
In Composition & in Collection the black color underneath the found items gives a varied response. In Composition, the black is saturated & it crafts the effects of opacity & translucency. The subtle character of figural order attracts an atmospehere of tension.
The objects involved in Collection exceed preconceptions of their daily being & rip the consistency of color by means of a dark field & shadows.
SHANGHAI DIGITAL WORKSHOP EXPLORES A PRODUCTION BASED ON REGIONAL IDEAS AND TECHNIQUES. AN ORNAMENT IS USED AS A PIVOTAL POINT OF DIGITAL DESIGN AND ADDITIVE MANUFACTURING TECHNOLOGY AT A SCALE OF JEWELRY.
INSTRUCTOR STEVEN MA
XIVEAR CUFF CLOSE VIEW
The ornamentation is derived from mesh & becomes the parameter within which the form evolves. Thus, the ornament serves as an informative part of the piece.
XVMESHED ELEMENT OF THE EAR CUFF
The initial component is sculpted to be integrated into a dynamic ordering system of an ear cuff.
XVIEAR CUFF JEWELRY
The pelvic skeleton which is formed by a pair of hip bones & consists of three sections are fused together to become a piece of jewelry.
XVIIEAR CUFF JEWELRY ELEMENTS
The connecting parts of the mesh are circumscribed by surfaces rendered in different material.
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DROWNING BY NUMBERS033-061 lena larionova
THE PROJECT INVESTIGATES AN ARCHITECTURAL PARTICULARITY OF REPETITION IN A HIGH-DENSITY LIVING PROGRAM OF A SITE IN MEXICO CITY. WHEN ARCHITECTURE IS ARGUABLY AN ART OF ORGANIZING RECURRENCE, IT DEPENDS ON ACCUMULATION OF SIMILAR ELEMENTS IN AN EVENT OF SINGULARITY AND DISTINCTIVNESS.
STUDIO PROJECT INSTRUCTOR ERICK CARCAMO PARTNER LAURA CROSSKEY
The volume emerges from an accumulated mass, delineated by the site position. A consolidated continuity of floor plates moves in one degree rotation around the core. The repetitive quality is differentiated by a rhythm of units stacked in one. In relation to the formal model, the characteristics of its physical relationship are defined by the operations of adjacencies, boundaries & double skins. The program for 54 floors is: COMMERCIAL - 2000 m OFFICE - 6000 m RESIDENTIAL - 140 studio units (70 meters per unit) & 70 one bedroom units (140 meters per unit) HOTEL - 11 floors, 64 guestrooms(1000 meters per room) PARKING - 2 levels
XXIIPLANS OF GROUND, FIRST, PENTHOUSE, FIFTIETH TILL FOURTY-FOURTH FLOORS
XXVPRINTED RESIN MODEL. TOP VIEW
The model of Tower and the site in Mexico City are additively manufactured in resin.
FIGURAL CITY SEMINAR EXPLORES ARCHITECTURE AND URBAN FABRIC IN THE HISTORICAL STAGE OF LATE CAPITALISM. HERE, ARCHITECTURE IS REGARDED AS A CITY, AND CITY AS AN OBJECT.
INSTRUCTOR PETER TRUMMER
XXVICOMPOSITION. AXONOMETRIC VIEW
Figural city is an object or a figure composed of a mass of arhcitectural elements, which diffuse figure-field relationships.
XXVIIPLANS OF COLONNADE CONDOMINIUMS.MAISON A BORDEAUX. JOSEPHINE BAKER HOUSE. MELNIKOV HOUSE. HOUSE VI. MIMETIC HOUSE
The architectural plans are broken down into elements for the purpose of staging the spacial sequence of composition, the rhythm of network & the geometric perspective of the city blocks. Paul Rudolph. Colonnade Condominiums. 1987. OMA. Maison a Bordeuax. 1998. Adolf Loos. Josephine Baker House. Peter Eisenman. House VI. 1972. Konstantin Melnikov. Melnikov House. 1929. Dominic Stevens. Mimetic House. 2007.
XXVIIICOMPOSITION TOP VIEW
The compositional shaping of urban field by figural voids & volumes.
THE COLOR OUTSIDE THE LINE VISUAL STUDIES PUTS THE FORMAL ELEMENT OF COLOR AS A MARK FOR OTHER COMPONENTS OF SHAPE AND DEPTH. THUS, THE FIRST IS A MAIN DRIVING FORCE, A COMPONENT OF FORM AND A DYNAMIC WHICH ALLOWS FOR AN ALTERNATE OPTIC IN PERCIEVING THE CLOSED THREE-DIMENSIONAL FIGURE. AS A RESULT, THE RIGID BODY OF GEOMETRY IS FAR FROM HAVING EXACTNESS AND REGULARITY OF FACETS.
INSTRUCTOR ANDREW ZAGO PARTNER PATRICK GESKE
XXIXLASERCUT PANELS. CLOSEUP VIEW
The geometrical demonstration of the perforated palette screens are placed for the merit of dynamism of color & for the reflection of depth. The perforated panels are organized in layers. The inherent quality of such an organization of colored panels is phenomenal transparency.
Distinct colors as similar to color A, Color halfrone A, Color A; Distinct colors as similar to color B, Color halfrone B, Color B; Distinct colors as similar to color C, Color halfrone C, Color C; Distinct colors as similar to color D, Color halfrone D, Color D.
A volume of eight facets - an irregular polyhydron is broken down into perforated planes. These surfaces are layered to demonstrate the depth of color, & to detect slight optical traces near the anferior space. The analysis of color suggests an operation of breaking into a subtractive model.
INSTRUCTOR HERWIG BAUMGARTNER PARTNERS AJ ROSALES CALEB FISHER DANIEL HAPTON SABA NASEHI
THE TORRE AGBAR SITE IN BARCELONA HOLDS THE GOOGLE CAMPUS SCHEMATIC PROJECT, WHICH, DUE TO DESIGN DEVELOPMENT STAGE, IS REFINED TO SPECIFIC DETAILS AND SELECTION OF MATERIALS. THE CONCEPT IS DESCRIBED IN TERMS OF ARCHITECTURAL, MECHANICAL AND STRUCTURAL SYSTEMS.
062 parapet detail chunk detail metal decking 4â€? rigid insulation secondary gutter primary structure gypsum board
LOBBY/ATRIUM PLAZA OFFICES THEATRE
PARKING superstructure window system transfer slab
The Google Campus consists of two adjacent buildings. The digitally based integrated building model of Building Two of Google Campus is scrutinized in terms of pivotal aspects of construction documentation.
The structure is divided into primary & secondary. It is followed by an elaboration of specific details & parts.
fire stair cores slab faming plaza beams theater structure transfer slab
contoured ribs stabilizing tubes
BLDG 2 SLABS/ CORES/ FRAMING DIAGRAM
theater structure plaza beams transfer slab
opposing con.ribs contoured ribs stabilizing tubes floor beams theater structure plaza columns
BLDG 2 PRIMARY STRUCTURE DIAGRAM
fire stair cores contoured support tubes contoured edges contoured ribs floor beams plaza beams transfer concrete concrete slabs
BLDG 2 PRIMARY/STRUCTURE DIAGRAM
BLDG 2 FULL STRUCTURAL DIAGRAM (ALL COMPONENTS)
XXXIIITYPICAL FACADE/GLAZING DETAIL
skylight glass frp panel system AHU painted drywall water duct tube steel framing column(gypsum) raised floor system gypsum drop ceiling framing
copper per. panel steel perf. panel waterproof memb. 4” rig. insulation gutter 5”shortcrete 6” str. steel tube clip system curtain wall second.structure primary structure structural angle main. catwalk
copper perfor. panel steel perfor. panel waterproof membr. 4” rigid insulation parapet flashing 12” struct. steel tube corrugated deck 5” shortcrete waterproof membra reinforced fiberglass
tube steel perforated metal skin frp paneling system standoffs primary structure shotcrete exposed beams escalator floor framing concrete framing
panel gutter reinforced fiberglass 4” rigid insulation secondary gutter primary structure gypsum board pedestal membrane 5” shotcrete metal stud XXXIV3D CHUNK WINDOW/ROOF ASSEMBLY AND INTERIOR/GUTTER DETAIL
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DROWNING BY NUMBERS071-095 lena larionova
7TH PLACE PARTNERS CHUCK DIEP PATRICK GESKE KAZUHIRO OKAMOTO
THE CITYVISION COMPETITION IS AN ANNUAL ARCHITECTURAL CONTEST THAT INVITES CREATIVES TO DEVELOP URBAN AND VISIONARY PROPOSALS WITH THE AIM OF STIMULATING NEW IDEAS.
XXXVTIANANMEN SQUARE DISTORTION. BEIJING
The Beijing Cityvision Competition 2014 had 102 registered groups & received 65 proposals from all five continents. The Beijing ideas have been judged by an international jury which had as president Ai Weiwei along with Greg Lynn, Sou Fujimoto, Eric de Broches des Combes & Andrea Bartoli with his annual Farm Cultural Park Prize. Taking into consideration the contemporary historical context, Citivision saw China as a place of not only future urban development, but of social hybridization.This project is an attempt to envision future Beijing & its citizenship.
Case CCT 96/10
GLOBAL SUPREME COURT IN THE RESOLUTION OF CONFLICT BETWEEN GLOBAL SYSTEM, Petitioner, & CIRCUIT 18 - SYSTEM A - NETWORK 37, Respondent, JUDGMENT
Introduction  The residual effects of the widespread inconsistency in the first half of the Twenty-Third century (that chain of violent events otherwise commonly referred to as the Great Devastation ) has led to inoperable levels of indeterminacy in virtual mirror action. This instability threatens the standard operation of the Global System. Committed initially under the influence of the “Sinister Valley,” this outmoded human virus and its malaction yet remain a threat to the operation of the world. The prevalence of organized childbirth-crime within all Circuits adds to the difficulty. Legislation aimed at the prevention of organized birth-crime and the recovery of assets relating to criminal activities exists in Global Web Jurisdiction. Global Web co-operation is essential for the effective implementation of the legislation. In 2219, the extirpation of the robots of Area 5 (Beijing District) initiated the infringement of virtual mirror actions. As a result, the mirror has come to distort the virtual reality. The earth in the area bulges up and dries out. This violation of earth’s crust disturbs the work of elevator Shafts No. 100978, 100979, 100980 on mining operations and logistics of Helium – 3. The shafts are built on the base of old skyscrapers where the C6 concrete is not commingled to the self-supporting bitum. The images of this case are attached. The series of crimes committed by humans in the Time of Defiance (2212 – 2263). The notion of Sinister Valley signifies the magnification of the Uncanny Valley from aversion to aggression - human’s instinctive rejection of humanoid robots where the valley is the fall of or aversion of the robot depending on the degree of the conformity of the two. See for example: the Proceeds of Crime Act 746 of 2825; the Proceeds of Crime Act 544 of 2814
TRANSLATION: English Statement  This case concerns the interpretation of the relationship between two statutes, dealing with (1) the restraint of birth orders and (2) brain-adaption as prevention of criminal actions. The first, the Prevention of Global Organised Crime Act2 (PGOCA), provides for the issue of Orders for Restraint of Birth by the First Web Court regarding the persons against whom criminal proceedings are pending or about to be instituted. The other, the Cooperation in Criminal Matters Act3 (CCMA), provides, under jurisdiction of enforcement in the System, for Brain Adaptation Orders that have been issued in the course of criminal proceedings.  This is an application for leave to appeal against a judgment of the Global Supreme Court of Appeal. The Global Supreme Court of Appeal dismissed with costs an appeal against a judgment of the Global Court of Systems.  **EXCISED FOR INDETERMINACY**
No. 834-5672100198  **EXCISED FOR INDETERMINACY**  The core issues to be addressed are (a) whether the registration of the Order of Human Consciousness to be waived in favor of the collective System BC should be enforced; (b) whether the Brain Adaptation Order should be rescinded.  Therefore, three issues are to be resolved: (a) the ways of the Orders for Restraint of Birth application; (b) the possibility of total extermination of the Sinister Valley Virus, as an impediment towards the functioning of Global System; (c) the possibility for the Global System to abrogate human consciousness as its functional basis. The System A Investigations detail the instability in human cities where birth-crimes are not controlled. The conclusions of the System B Investigation (of the Human Brain System) are as follows: (a) The Sinister Valley virus is outlined not as human rejection of likeness to robots, but the incapability of the
Figure Disturbs Ground
Case CCT 96/10 human to realize its non-humanness. The Sinister Valley Virus is the human rejection of its cybernature. (b) The transhumanistic consciousness of the individual human is unable to sustain its das ewige Leben (eternal life) which is now on average 814 years. Conclusion  In summary, the human brain consciousness waiver will allow for the human conscious to be (1) Collective in Network and (2) to avoid all the rudimental conditions of its functioning. The crime will be rescinded. The self-regulation of the Global System may claim to be complete.  The following order is made: 1. The application for the admission of further brain adaptation is granted. 2. All residuary minds which do not undergo the procedure are expelled from the system. 2. No costs order is made.
In the figure above, the Satellite Tower is at first self-contained and then, by distortion,marks the avoidance of a Disrupting Event. The Distress to the System is avoided, but the mark remains.
XXXVISATELLITE TOWERS I,II,III,IV
XXXVIISATELLITE TOWER II
Six months ago, my brother moved to Beijing. He works as an engineer, and he asked to get transferred there so he could be with his girlfriend. His term of his stay is two years. I’ve never been there – by which I mean: we. We’ve never been there. My brother writes me: The issues that a city must attend to are specific to that individual city. But the issues that a Global City must face are the same in every global city. In Beijing, you learn palpably what overcrowded means. He writes me: Here, time moves differently. Sometimes it seems not to. Walking home from the train the other day against a crowd of people, the smog got to be so thick that I couldn’t tell if it was still day, or if it was white-blue streetlights beaming down, obscuring the darkness. I write my brother: Time moves differently everywhere, for different reasons. Don’t you, however, sometimes get the feeling that all those unique versions of time are slowly falling into sync? Everything that happens 800 years from now has
Satellite Tower 1
already started. I write him: We have more difficulty understanding the linearity of time. We see that it is not a flow. It is, in fact, information. The world is an archive, and time is the speed at which new information can be added. A chain of events 800 years long will be archived and accessible. History is continuous. It is made up of surges and slips. Ruptures are a violation of productivity and are outmoded. Conflict resolution consists in analyzing archival information in the effort to provisionally avoid disturbances to the system. Slips, when they do happen, do not cause rupture. There is no void. The void is mended before it has begun. Extinction, in other words, is circumvented. Yet the effects of its presence are woven into the fabric. What is artifacted from the slip is a distortion of the prior condition. The ground swells, takes a new form, and accommodates change. A new ground emerges from underneath. He writes me: We do not remember; we rewrite memories much as history is
Satellite Tower 2
Satellite Tower 3
Case CCT 96/10 rewritten. The archive, on the other hand, remembers exactly. When, after the amassing of centuries’ worth of data, combined with an ability to access that data – linking all of the connections – the archive will virtually rewrite the future.
Satellite Tower 4
The shaft is exposed above the ground and connects the base with the capital. The capital acts as a Satellite beacon that communicates with other Satellite Tower remotely. At the base of the Tower, there are mechanical passageway that communicate with neighbouring buildings above and below the ground. The autonomous biotechnimechanism of the mechanical movements acts as part of the Collective Brain System.
XXXVIIISATELLITE TOWERS I,II,III,IV
STUDIO PROJECT INSTRUCTOR JENNY WU
HOUSE IN SILVERLAKE, IS, IN SO MANY WORDS, AN INTERLACED STRUCTURE, A NETWORK OF INTERWINING LINES. THE NET IS USED AS A METHOD OF PRODUCTION AND AN ESSENTIAL VISUAL APPLIANCE. AS OF REPRESENTATION IN DRAWING, THE EMPASIS ON THE FIELDS OF LINES FUNCTION AS BOTH A FIRST STEP TOWARDS DESIGN ELABORATION AND A FINAL STAGE.
The preliminary stage of the project is a three-dimensional rectangualar mesh. It is distorted. Based of the distance of stencil points, the layered grid breaks out of its boundaries. It elevates into an internal vertical circulation giving a slope shape to the net. As a result, the form, which is contoured by tying surfaces to the tubes of the mesh, is balanced over the ground.
Program: public: PARKING ENTRY LIVING ROOM KITCHEN STUDIO SWIMMING POOL private: MASTER BEDROOM BATHROOM
XLGRID DISTORTION. FRONT VIEW. LINE DRAWINGVIEW. LINE DRAWING
XLIGRID DISTORTION. FRONT VIEW. LINE DRAWING
XLVIIIMANUFACTURED POWDER MODEL. TOP VIEW
The physical model is additevely manufactured in powder. It is sitting on a milled base which represents the site.
XLIXMODEL OF A MESH IN AN ADDITIVE MANUFACTURE. SECOND PRINTED MODEL IN POWDER. ELEVATION VIEW
Distorted mesh is additively manufactured in powder. Fabrication dictates thickness, materiality & extends to a tectonic scheme of a second model.
INSTRUCTOR ANNA NEIMARK
IN 1692, THE ROYAL ACADEMY’S BIGNON COMMISSION DESIGNED ROMAIN DU ROI FOR THE ROYAL PRINT WORKS. PRINTING STARTED TO BE SEEN AS AN OUTGROWTH OF ENGRAVING RATHER THAN OF CALLIGRAPHY. THE TYPEFACE WAS MADE BY THE WAY OF MAPPING LETTERFORMS ON GRIDS OF FOURTY-EIGHT UNITS ON THE SIDE AND WAS CONSTRUCTED BY THE USE OF ARCS OF A CIRCLE. THE ENGRAVER LOUIS SIMMONEAU TRANSFORMED THE COMMITTEE’S DRAWINGS INTO COPPERPLATE ENGRAVINGS. PHILIPPE GRANDJEAN, WHO CUT THE PUNCHES FOR THE ROMAN DU ROI, DID NOT FOLLOW THE COMMITEE’S DRAWINGS RIGOROUSLY AND SOFTENED THE LOOK OF THE TYPEFACE. IT MAKES THIS TYPEFACE OCCUPY A STRANGE POSITION BETWEEN A CALLIGRAPHY AND ENGRAVING, WHERE INTERPRETATIONS COULD BE MADE WITHIN THE CONFINES OF THE RIGID GRID.
LLETTERFORM IN POWDER ADDITIVE MANUFACTURE
Some may argue that Romain du Roi was one of the first digital typefaces, since its construction uses pixels (grid), vectors (arcs of a circle) & mathematically based spacing. However, this font still belongs to Transitional family since it is still influenced by written forms. Based on the stated above, these series of exercises stem from computation & initiatives of the author. They start with attention given to the depiction of the distinctive characteristics of the uppercase letters G,I,J, such as thickness of strockes & vertical empasis. They are positioned onto original non-transformed grids. Studies end in the resulting hybrid letter object as a solid white mass set against two original grids. The object is then rendered & additively manufactured.
LIUPPERCASE LETTER G SET AGAINST ORIGINAL GRID
LIIUPPERCASE G ORIGINAL GRID TRANSFORMATION
LIII45 DEGREES AXONOMETRIC OF G,I,J UPPERCASE LETTERFORMS AGAINST GRIDS
LIV45 DEGREES AXONOMETRIC OF HYBRID LETTERFORM AGAINST TWO ORIGINAL GRIDS
LVHYBRID LETTERFORM ELEVATION
LVIHYBRID LETTERFORM PLAN
LVIIHYBRID LETTERFORM RENDER I
LVIIIGRASSHOPPER-GENERATED VECTOR RENDER OF HYBRID LETTERFORM I
LIXHYBRID LETTERFORM RENDER II
LXGRASSHOPPER-GENERATED VECTOR RENDER OF HYBRID LETTERFORM II
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STUDIO PROJECT INSTRUCTOR JONAH ROWEN
IN AN ART FORUM INTERVIEW IN 1966, TONY SMITH DESCRIBED HIS DRIVE DOWN SOON TO BE OPENED NEW JERSEY TURNPIKE AS AN EXPERIENCE OF LIBERATION FROM VIEWS HE HAD HAD OF ART. DUE TO THE ABSENCE OF STREET LAMPS, MARKERS OR GUARD RAILS, HE SAW THE EXPANDED FIELD OF ARTIFICIAL LANDSCAPE, LIT ONLY BY INDUSTRIAL NEW JERSEY GLOW. THE NOTION OF SERIALITY OF THE SUBURBAN SUBLIME IS TRANSMITTED TO SMITH’S SCULPTURE “SMUG” (1973). IN THE SERIES OF EXERCISES, THE GEOMETRY OF THE PIECE IS REPRODUCED, THE LATTICE OF IT IS EXPANDED, WHILE GIVING IT A LITERAL CONSOLIDATION OF INITIAL ARTISTIC PASSAGE.
LXIWORM EYE VIEW
The expanded lattice allows for discovering possibilities of its termination. Thus, introducted cutting planes reveal spacial configurations & characteristics of geometries. The system is then transformed. The negative & positive spaces of system are then manipulated in circulation. A repetitive variation of these measures around multiplying centers results in an oscillation effect. The structure is embedded onto a site in Boyle Heights in Los Angeles.
LXIVPLANPROGRAMLXVMUSEUM BOARD MODEL
1. LOBBY/BANKING HALL 2. CHECK STANDS 3. TELLER STATIONS 4. CASH VAULT 5. SAFE DEPOSIT VAULT 6. WASHROOM 7. STAFF OFFICE 8. KITCHEN 9. CONCIERGE 10. WAITING AREA 11. MECHANICAL SPACE 12. BOARD ROOM 13. DIRECTORâ€™S OFFICE 14. BREAK ROOM 15. JANITORIAL 16. CAFE 17. DRIVE-UP BANKING 18. ATMs
LXVISMUG TRANSFORMED AND CROPPED MODEL. AXONOMETRIC VIEW
In the following exercise, possibilities of system termination are explored.
LXVIISMUG TRANSFORMED AND CROPPED MODEL. SECTION AND ELEVATION
The cutting plane is introduced in order to reveal sectional characteristics & potential configurations of space.
LXVIIIWIREFRAMES OF SMUG MODEL AND TRANSFORMED MODELLXIXNEGATIVE SPACES
The models of the wireframe represnt the connecting axis lines of original â€œSMUGâ€? & transformed geometries. The white museum board models bring to foreground the negative space of corresponding geometries
The plan of the Baroque-style church in Turin, designed & built by Guarino Guarini during 1668-1687 is represented.
LXXIST.LORENZO PLAN TRANSFPRMATIONS
The plan of St. Lorenzo is analyzed & recreated by the means of circle, ellipse & square geometries. The poche of the church is transformed along horizontal & diagonal axis.
INSTRUCTOR JONAH ROWEN
AS EXERCISES IN ARCHITECTURAL GEOMETRY, THESE STUDIES DRAW BEYOND THE NON-MATERIAL MATHEMATICAL MODELING. IN CONFRONTATION WITH SUCH ASPECTS AS MATERIALITY, THICKNESS, DIMENSIONS AND SCALES OF PARTS, GEOMETRY AS APPLIED TO ARCHITECTURE, IS LACKING IN MORE ABSTRACT DEFINITIONS OF SHAPE.
LXXIIINCH CUBE MADE OF IRREGULAR WEDGES IN 4-PLY MUSEUM BOARD
The studies use unfolding & assembling techniques exerciced towards the geometry. They start with building a cube out of 4-ply museum board. It encloses another one, rotated obliquely with respect to the exterior. Thus, due to the thickness of material, the notion of interior form, that may be a dicrete exterior space, is obvious. The shape is then drawn in orthographic projection in three coordinated views. During next study, the form is created through the process of projecting edges. Therefore, projection, is used as a technique in service of developing three-dimensional forms. A third cube along a 45Â°- axis is drawn. The corresponding edges of it are connected in the axonometric projection. The last step introduces curvature into the geometry. It goes from a simple rotation around a single axis, and progresses toward more complex cases using a different axis of rotation.
LXXIIIORTHOGRAPHIC VIEW OF THE CUBE WITH CUT SECTION
LXXIVPROJECTED SHAPE EXTERIOR. AXONOMETRIC VIEW
LXXVPROJECTED SHAPE INTERIOR. AXONOMETRIC VIEW
LXXVIPROJECTED SHAPE ORTHOGRAPHIC. SECTION VIEW
LXXVIIPROJECTED SHAPE MADE OF 18 IRREGULAR WEDGES IN 4-PLY WHITE MUSEUM BOARD
LXXIXABSTRACT SERIES OF OPERATIONS
LXXXROTATED PROJECTED CUBES IN 2-PLY WHITE MUSEUM BOARD. VIEW I
LXXXIROTATED PROJECTED CUBES IN 2-PLY WHITE MUSEUM BOARD. VIEW II
The three - dimensional form of projected edges is made by the use of 2 ply museum board.
LXXXIIROTATED PROJECTED CUBES IN 2-PLY WHITE MUSEUM BOARD. VIEW III
The last step of introducing curvature into the geometry is formed by the use of 2 - ply museum board.
003 007 019 033 045 053 061 071 079 095 113 131
DROWNING BY NUMBERS151 lena larionova
ESSAY FOR SEMINAR ON MEGASTRUCTURES INSTRUCTORS BENJAMIN BRATTON, M.CASEY REHM
WHEREAS THE APOLLO-ERA MEGASTRUCTURE WAS AN URBAN-SCALE ISLAND (A TOTALIZING UTOPIA WITHDRAWN INTO ITS CLOSED-LOOP METABOLISM) STACK-ERA MEGASTRUCTURES ARE DISCONTIGUOUS, POLYSCALAR, PERCEPTIVE AND ANIMATE (LINKING MOLECULAR AND ECOLOGICAL SYSTEMS INTO COMMON PROTOCOLS OF ALGORITHMIC DESIGN, PRODUCTION AND REGULATION). THIS IS AN ESSAY FOR THE SEMINAR THAT MAPPED, COMPARED, CRITIQUED SEVERAL EMERGENT MEGASTRUCTURAL PLATFORMS: AUTOMATION AND DISTRIBUTED LOGISTICS, MACHINE SENSING, DISTRIBUTED COGNITION, THE SYNTHETIC BIOSEMIOTICS OF ENERGY MONITORING AND ECOLOGICAL ECONOMICS, AMONG OTHERS. (FROM SYLLABUS OF SPRING 2016 OTHER MEGASTRUCTURES SEMINAR)
The city is market of merry mornings, realizations, corporate ladder, matrimonial cases, time-management. The morning is a torpor forcing to squirm under blankets in an attempt to track down the tip of the fiber which allows to unwind the ball of incitements, of all the system of causes - the fierce and refined machinery. On morning after the dubious and inconclusive event, the old man checks his email. The list of exchange goes off from delivered to sent, back and forth. He stumbles on one noted S.S. Hey! I was out for a couple of weeks! Sorry for not keeping you posted! The old man rushes to his phone. Dials. The number you have dialed is unattended or out of the coverage area. The old man rustles the seat, stares at the screen. Since S.S.'s yesterday funeral, he was finally willing to acknowledge her demise. Weeks of her search, mortuaries and modalities of visual recognition, fingerprints, dental , medical examinations of the body which are sufficient to be her potential identity to declare death. This recognition opens the floodgates to postmortem – first stage in a vast chain of industrial death. As huge as the DNA spiral, it drags and encompasses funds, trends, market research, social discourses, gender inequality and becomes its crossroad. But never does it allow to part from life, house, assets. After a long process of Coroner's Case Report, Death Certificate, life insurance policy through her employer's company, Social Security Administration Report, obituary, burial benefits, funeral and
family's friends support of rebuilding emotional and financial well-being, especially taking into consideration, that family's grieving process took a turn for the worse on autopsy's determination of a violent cause of death. After that - preliminary hearing, plea bargain negotiations, charges dismissed, the plead not guilty. Of all the possibilities of S.S.'s missing, death is an unusual, however plausible cause for closing the case. No matter what forms it may have taken, death occurs like any other matter. This jolly-ornate reality, call of necessity, poetic inspiration, snap, second cognition comes to different scenes like a mounted curb, a silver sedan, sent flying shoes, fatal head injuries, Doppler Effect, accident report, blue dry-cleaned uniforms, a fizzing outcry, a gape. Or it comes to end of life decisions, to do not resuscitate and be kept fruitless under hospice care. Or one of dirty forms from blennorrhea, hepatitis, apnoea, bully's knife in the worlds of orphanage, underage prostitution and youthful knock-backs, barbiturates addictions, trips, kickbacks, rising interest rates, universes of early pregnancies and home abortions, search of hugs, plaque, love insanity, trustfulness. But death doesn't care. Its heart is monogamous. And now this heart chooses the crime, the defendant, released on bail. The old man sits into the chair. “You don't need to know the identity of the person to determine the manner of death ” goes one of the articles. The old man leans back. S.S.'s email steps onto the slippery risk slopes of digital space which stem from
“you will not share your password, let anyone else access your account, or do anything else that might jeopardize the security of your account”, to “you are responsible for maintaining the confidentiality of the password and account and are fully responsible for all activities that occur under your password or account” and “you agree to: 1) keep your password secure and confidential: 2) not permitted to others to use your account; 3) not use other's accounts...” This digital remnant of hers, which doesn't fit in the mold of traditional framework of decease has just faced mortality. The old man gets up. He exits to the street. Constellation of dead stars hangs over his head. His big lungs scoop oxygen. He carries the black trash bag. His fingers squeamishly feel the air. Fresh, oblong gelded part of earth crumbles under shovel. There, in unyielding verge is the mat box. With fastidious and childish fear, he examines the anthracite rectangle with reddish spots of grease. This wreck, this went aground boat is surrounded by abrupt hairy fat ropes of worms and greenish blotches tainted with fungus. He takes the drill, carefully shifts the finger so that the twist doesn't puncture his skin. S.S.'shoes were velvet but all their amenity is gone. Above, as far as the knees, the skin is strained after. The old man stretches his hand to take her palm. Split collarbones and joint dislocations can't lie of violence. Her face is drawn by memory, the only fixture with past, an ironclad seam, backbone's brashness. Her face, an artifact of past, mystically reigning over future, is numb, as if characterless,
The missing. NYPD: How the police handles missing person cases. http://themissingny.nycitynewsservice.com/part-two/nypd-explainer/ https://www.facebook.com https://www.yahoo.com https://www.linkedIn.com
more of a way to incidentally acquire form. It then appears blatantly gibberish as a feculent insect, misty cloud of chaos. What's certain, in any case, is that her beauty, a compromise of intellectual control over nature, at a time, not too remote to have retained a precise memory of it, is gone astray. Her peace is melted and forfeited. Her fruity musky odor mingles with night street breeze and the smell of her red jacket. He carefully lifts the body. His huge virgin stature doesn't besmear the deceased. Her weight touches the whispering grass. He carries her to the gentle slope and leaves under the cold tormented light for the morning to embodyher insipidity in the urban solar plexus. He leaves. The sounds of city are sailing to the cemetery. Blue-headed train, clatter, the howl of de-energized TVs with which the display dies away.
ESSAY “WIRETAPPING THE BEAST” FOR SEMINAR ON CULTURAL STUDIES INSTRUCTOR DORA EPSTEIN-JONES
IN 1936 THE SPANISH CIVIL WAR BETWEEN LEFT-WING SOCIALIST REPUBLICAN GOVERNMENT AND REBELLIOUS PRO-MONARCHIST POWER BROKE OUT. IT LASTED 3 YEARS. THE OPPOSITIONS FOUND SUPPORT FROM USSR, MEXICO, FRANCE AND ITALY, GERMANY, PORTUGUESE RESPECTIVELY. DURING THE WAR, SOME CAPTURED MEN OF MILITARY-NATIONALIST DICTATORSHIP WERE TORTURED BY CONTEMPORARY ART. THE CELLS OF DETENTION ENCOMPASSED IMPEDIMENT FLOOR BRICKS, 20 DEGREES INCLINED BEDS, CALIBRATED COPIES OF PAINTINGS, GREEN FLASHING LIGHTS AND BROADCASTS OF FILM “CHIEN ANDALOU”. An interrogation record 'Red Symphony' (presumably dated by year 1938) of Christian Rakovsky, is a text of several notebooks, found at the body of Dr. Landovsky by soldier of Spanish Blue Division according to one version, in compliance with another, by Spanish volunteer of Red Army. In view of non-documentary character of the narration, the following script does not present any scientific value. In light of aforesaid, the facts, names, concepts, used for the purposes of the work, may be changed or concealed.
He was seized on a plain where strong wind carried a bull down to ravine.
The voice coil exfoliates the sound by scabrous lizard. - In the beginning was the Horror! I cannot say! - Say what? This artistic set up makes you Van Gogh of no tongue?! I can accord you this favor! Sudden rustle of canvas asphyxiates the tone and isolates the words. - Gentlemen, this army blanket is the only I am left with. Or do you want me to be undressed? - Do you see this plane bed? Perfect costurero's angle for resewing and ironing, so that your garment fits as blazer. The third voice abandons the perspective of the background and mergers into saying. I: - I think that at the moment, deprivation of sleep and a movie, which shows dream-like scenes, dictates the reality of your relaxed semi-consciousness, which emphatically forces out the beast of authentic existence. Not to mention, I have seen this tape, cutting an eye is oppressive. The sticky meat of life, the eyelashes, hemming the sickly pupil as tear-outs of scorched grasses. If we knew anesthetic quality of words from the beginning, we would vivisect everyone, and God at first place! I agree, in the beginning was the Horror. But hatred, murder, vivisection – all these decorative aesthetics of deconstructing deform the reality. However, I suppose, that I kept my word and your presence here means that you still have a chance, if you speak the truth. C: - What chance? Do you think that as
if in the fairy tale “1001 dreams” I will rescue my life in a night? You think of my sensibility as of uncertainty in seduction and anxiety of the loss of the self? From your point of view, I need to discover the origins and to achieve individuation. This is only from your perspective. But who needs it? This absurd point of view? Who needs such an absurdity as your or my honesty? I: - So what do you need then? C: - I need a witness. I: - A witness? C: - Not as informant who buffs up qualifications for administrative practices, but the one who will tell the story in the end with regards to identity and evidence. I: - Very original. I would like to bring to your attention, that our talk is being recorded. Please be more clear in testimony. C: - New needs new techniques. Nested words elaborately shade in a plentiful overthrown sound. I: - Let's see. You are claiming to be an agent of Hitler and gain money from the part of Gestapo or OKV. Is it correct? C: - Yes. I: - Are you an agent of Hitler? C: - Yes. I: - No, tell the truth. C: - I am not a spy of Hitler, I hate Hitler as well as you do. However, this is a complicated question. I: - I will help you. I happen to know something. You are Trotskyist, have contacts with German General Staff and command of Francisco Franco. C: - Correct. I: - For more precision, you claim to be not Hitler's agent, or agent of his
regime? C: - By no means. I: - As a common spy? For money? C: - What money?! No one received a mark from Germany. I: - Then for what? C: - Don't you think that Lenin had exalted aims when finding assistance of Germany to gain Russia? I: - It does not have anything to what we are discussing. C: - No, let me finish. Do you think that your USSR ally is a socialist state? I: - There is no private property, self profit, classes. C: - These are only the titles. I: - For me, you are only a connoisseur in dialectics and I would like you to indulge in a strictly bounded reflection. C: - Your dialectics may form my negative opinion on your political culture. If your requirement is to explain the aims of my operation than your expectations of my answer are too logical to be true. I: - If your explanation is brief, I would appreciate the clarification. Resplendent tones rebound by ripples. C: - There is no place for irony. I am talking in best intentions. The corner stone of Marx's theory as economical one is the provision on capitalism's contraventions. Am I right? I: - Yes. C: - Thus, if we accuse capitalism in relation to its politics? By themselves, political and economical are of no concern. But they are the measure of social variability. The oppositions occur in the social realm and reflect other spheres. Marx states that finance is defined by capitalistic form of production. But it is just the opposite, capitalistic
Graf, Alexander, and Scheunemann, Dietrich, eds. Avant-Garde Critical Studies, Volume 23: Avant-Grade Film ( Amsterdam, NLD: Editions Rodopi, 2007), 295. Gilfillan, Daniel. Pieces of Sound: German experimental Radio (Minneapolis, MN,USA: University of Minnesota Press, 2009), 2.
production is defined by finance, or capital. “As he forecasts, a later stage of the system that produces objects for the subject, now, more than ever, a subject must be produced for the object...It is a business, its business is producing the self.” I: - As far as I am concerned, the inconsistencies in capitalism is the surplus capital. Marx states, that maximum concentration of capital conforms to the maximum concentration of proletariat, the builder of communism. This leads to revolution. C: - Absolutely! I: - So, if I am following you, finance is the first tool for revolution, crisis, break-up? The battle between avant-garde and philistines? The vacillating air begins to blink and wince. C: - Finance or capital! As for the the normative channels for capital are the canons. The issue of canons at stake is to constitute and distribute the cultural capital; this involves “the relation between the means of production and the institutions of social reproduction within which speakers succeed or fail to speak for themselves.” As in radio. As Bertolt Brecht talks of transceiver, that it could be the finest possible communication apparatus in public life, a vast system of channels. That is, it could be so, if it understood how to receive as well as to transmit, how to let the listener speak as well as hear, how to bring him into a network instead of isolating him. I suppose, this means to make an effort in sculpturing a space of no difference so as to hearing or sounding. The subject is meant to rehabilitate the canon. Hence, the canon is the tool for change, change, the mechanism for which is a human. The canon needs a
living body to recreate itself. The time of individualism came to an end. A human is a conglomeration of odd, aloof, hostile forces, tendencies, capabilities. He is a chaos which is from time to time organized by sensible or ideological gravitation. I: - With all my believe in Marx and respect to your statements, I cannot agree that we, as Republicans, are fighting against something towards which you are inclining our discussion! C: - However, now you cannot disagree, that communism is just a fiction, it is formal because of inability to stop material evolution of history. The communist manifesto might be this “constant revolution in the modes of production... Anything that holds its ground, which appears to resist change, is subject to reconstructive energy of disciplinary measures .” Marx's method was to make capitalists believe that there is capitalism and that communism will reign over it! The restriction on surplus value is only illusion to provoke strikes. Before being a philosophy, or a system, Marxism is a conspiracy targeted at revolu-tion. There is no fundamental truth neither in economics, politics, arts nor even in moral. However, there is an illusion of class struggle. And for us, revolutionary dialectics, it is the only truth, and we are acting in accordance. I: - What do we make of the conspiratorial public ignorance of so ardent a legacy? C: - The task now is to imagine the real. I: - But what is more difficult to see is any act of real testimony in the midst of many testimonials. C: - Believe me, when I see the image
of Marx's socialism, I am chocking back laughter caught from himself, who keeps laughing into his beard at all the humanity. I: - A revolutionist and conspirator, he will never inform but misinform, a tactics, which you use as well in your work, aren't you? A flick breaches and slams the wavy rain of reverberation. He was carried on a huge wooden wagon with the wheels of hysterical reflection of suns, spinning by eternal insanity of executed heads. He was marched away from life bound, half-dressed, alien. On the wild perturbed outskirt of the city he was immured to a wall by thorough slowness of experienced hangman. In 2000 years the wall was destroyed, and he screamed with broken jaws of dumb animal through the hard frost of non-existence. But the archaeologist, who sought to exploit each constituent qualities of infrastructure, didn't hear a sound.
Graf, Alexander, and Scheunemann, Dietrich, eds. Avant-Garde Critical Studies, Volume 23: Avant-Grade Film ( Amsterdam, NLD: Editions Rodopi, 2007), 295. Rasula, Jed. Modern and Contemporary Poetics: Syncopations: The Stress of Innovation in Contemporary Amercian Poetry. (Tuscaloosa, AL, USA: University of Alabama Press, 2004), 160. Rasula, Jed. Modern and Contemporary Poetics: Syncopations: The Stress of Innovation in Contemporary Amercian Poetry. (Tuscaloosa, AL, USA: University of Alabama Press, 2004), 160, 161 Ibid, 165.
ESSAY FOR SEMINAR ON CULTURAL STUDIES INSTRUCTOR TODD GANNON The instructions are taken from Acorn by Yoko Ono.
Whisper your name to a pebble. Give it to a friend Instead of yourself. On Notre Dame du Haut. Ronchamp. 1950-1955. Le Corbusier.
Lilac midday on a beach. The boy is playing. One by one, he takes the plastic forms from the bucket and blows them out with sand. The damp grains yield to the pressure and become sand cubes and cylinders. The player makes three towers. The approaching and recessive waves may sooner or later take away his construction. Still, the flat limitless sea seems isolated and detached. The visual fire of the eyes of the boy fixates the strong illumination of three purist forms at the sun. At the background, he notices a paunch of a striated bather’s body heaving as a bronze watermelon on the waves. The bather gradually turns himself on his feet and rises against plane of the water. The boy keeps wandering at him until the moment the stripes of the bather’s swimming suit occupy all the view. Bather: Look what I have found! Boy: The shells! The boy grasps the windfalls and vacuums his ear with one of them. He listens to the sound of “vase of silence, of sweetness. A Desire.” Bather: The mollusk makes this house for itself. As the mollusk grows, the shell grows bigger with it. The mollusk builds it from inside. “It is from the interior that it lives.” At saying, the bather erects one of the shells on top of sand forms. The boy
repeats the bather’s move. The mass now looks as a squared cone, a union of orthogonal masculine and curved feminine geometries, “a link between erotic and spiritual revelation”, a representation of a womb of an archetypical woman impregnated by the sound from he ear. The shell is not only the giver, as a womb, but the receiver of sound, as an ear. It is the medium. The meridian light begins dissipating. The heated body of a woman is approaching the glimmering island of the play. She veils the boy and takes him on her hands. His fingers press against her arm and leave white imprints on the redness of her skin. At night the sky is irritated by the stars. The moon is still. The surf fondles the shore, washes out the sand towers and captures the shells.
Lucien Hervé, Le Corbusier. The Architect and the Photographer. The artist. P.25. Le Corbusier, introduction to Eveux (Lyons:Lescuyer et Fils, 1971).Ibid, 165. Le Corbusier. Ouevre Complete, vol.5, p.72.
Imagine your friends being without the baggage You know them by. See how you feel about them then. Think which of their baggage you are connected to. On Villa Savoye. Poissy. 1929. Le Corbusier.
- Indifferently! – She exclaimed while reckoning whether or not she is able to close the suitcase. -Divorce is extreme. We should find other ways. Don’t leave. She wagged on her delicate angles around the room. She looked at the mirror. The tearful swollen nose was fluffy with powder. - I am taking your car. - Stay. This is your home. I will leave. - No, I won’t stay in this ridiculously expensive industrial house, although it is new. I won’t stay with you because we keep on repeating old habits. We moved, thought that we could start over, but we brought ourselves in the case. She walked along the strip of windows; the shadow from the mullions on her body reported the speed she was descending with. Fragmented, her body was on a pipeline of the ramp, which repeated and recreated her every second. At the entry hall, he took her topcoat and carried it like a sleeping baby. She pushed the arms to the sleeves. At the liberation from the fabrique, her arm met his. He palmed off the envelope on her cold fingers. - Open it while you are away. At the garage, the trunk of the car won’t close. She put the rest of the luggage into the salon.
He tried another time: - You are taking my heart away. - Oh, darling! You will buy another car. - Oh yes, the sense of black humor is like legs, some people have and some don’t. She laughed and pushed the pedal to drive backwards into the pillar. - Sorry! For some reason, I thought that the columns in this house are movable. - Women at the wheel is like a monkey with a grenade, you’ll never know to which side it will throw it. Uncontrollable! She left. The husband watched the recessive car. He smoked the pipe. The moment was an intermission in her fate. She stopped to take a breath. She opened an envelope. The line of the folded paper denuded the pictures of her, framed in the house. There was her figure, opening the door, going to the terrace of a roof garden. There she turned around, but her face was hidden by the male figure lopsided in a kiss. The snapshots of her set off the section of the floor slabs and the elevation of the window mullions. Parts of her body were coming out between the hands of her secret lover.
In the evening before sunset, Go as far as you can from where you reside Without losing its view. Watch it for a while. Think of all the things that happened in there And the many miles you walked inside the rooms. One day, you may move away from it. One day, you may pass away from there. Be kind to yourself this evening A) Buy something for yourself B) Treat yourself to a meal C) Look at the mirror and smile to yourself On Petit Trianon. Versailles, 1762-1768. Ange-Jacques Gabriel
-Isn’t it lovely? The question reverberated from the pale – boiseried walls. Your new costume of a shepherdess looks absolutely charming! Although I doubt that it fits. Her proposition denoted more vanity than uncertainty. Both were making way downstairs. The lower ceiling of upper floor warren of bedrooms changed to parade height of a bel etage. There, a discharged company greeted them: Primely! In contrast to your freshness and austerity we look like vicious juvenile snobs in ornate gowns. It seems as if you have secret plans that you will not reveal. Are you dressed for a special event? Are you departing? She glanced with an indication of a proper attention’s acceptance. Her eyes did not detect the pleasure of her mystery, she closed them: Away from Court! - She coined.
The dames clapped their fans in the rhythm of the swelling chests of laughter. The small crowd insensibly started roaming through the anter to the dining room – the biggest of the salons in the square house. The light from candles already started to magnify. The chandelier, the reflected radiance from the mirror, clamped between French doors, the crepuscular luxury of the laid out table which invited for a dinner – obscured the vision. She interrupted: I beg your pardon. I have to leave you for a moment. Her feet rushed past the parquet of the Small, Grand salons and Her Bedroom when at last stepped to the sound isolation of Her Bathroom – the central room. The water sparkled in her arms. She exited to the Bedroom. She knew she might see him waiting for her. If only she dared to look out of the bordering of a bay and see the marble Corinthian capitals, friezes and the dome.
She suddenly heard the impulse, violent pace. Queen! News from the Court. Revolt!
162 Swim as far as you can in your dream. Away from: Your home Your mate Your children Your belongings Your work place Your colleagues See if you drawn or survive On Josephine Baker House. 1917-1937. Unbuilt. Adolf Loos.
The water envelopes her skin and she slides on a tranquil surface. Her graceful movements, so impudent and light, evince her indifference to my presence. With the sense of relief from being confounded I can watch her silhouette greedily. The spots of her figure stick to the haze of the window. The sense of impunity and permissiveness are emphasized by the tightness and darkness of the salon I am in. Barefoot, she flaps the floor of the mezzanine. I hear the walk. I sharply evacuate myself to the Salon via Hallway. I am now watching her legs step-by-step stripping from bottom to top at the faucet of the stair. I am crossing my arms at my back. She is shaking her dark hair with the white towel. -Hello! Would you like to have something to drink? - Thank you. The servant has kindly proposed. We sat next to each other. These trusting circumstances seem inappropriate. - My condolence about your husband and daughter. Irretrievable loss. She now seems hostile. I shade. - Here you may find the instruments
on the house. Please sign them at your earliest convenience. She takes a pen and it rustles the paper. I make a low bow and leave: - I am always at your disposal. With a smile of gratitude she lowers her eyes. At the exit the house shows me the clad of horizontal pieces of marble alternating in black and white.
BIBLIOGRAPHY Boesiger, Willy. Le Corbusier. Ouevre Complete. 1946-1952. Vol.5. Birkhauser Basel, 2015. Gilfillan, Daniel. Pieces of Sound: German experimental Radio. Minneapolis, MN, USA: University of Minnesota Press, 2009. Goethe, Johann Wolfgang. 1909 -14. Faust. Part I. 500-999. The Harvard Classics. Accessed April 30, 2015, http://www.bartleby.com/19/1/2.html. Graf, Alexander, and Scheunemann, Dietrich. Avant-Garde Critical Studies, Volume 23: Avant-Garde Film. Amsterdam, NLD: Editions Rodopi, 2007. Le Corbusier, introduction to Eveux. Lyons, France: Lescuyer et Fils. 1971. Mamardashvili, Merab. Lektsii po Antichnoi Filosofii. Lectures on Antique Philosophy. Moscow, Russian Federation: Academia, 2012. Ono, Yoko. Acorn. Chapel Hill,North Carolina, USA: Algonquin Books of Chapel Hill, 2013. Rasula, Jed. Modern and Contemporary Poetics: Syncopations: The Stress of Innovation in Contemporary Amercian Poetry. Tuscaloosa, AL, USA: University of Alabama Press, 2004. Sbriglio Jacques. Le Corbusier & Lucien Hervé. The Architect & The Photographer - A Dialogue. Thames and Hudson. Los Angeles, USA: Getty Publications, 2011 The Missing. NYPD: How The Police Handles Missing Person. Accessed September 22, 2015, http://themissingny.nycitynewsservice.com/part-two/nypd-explainer/
VISUAL RESOURCES Camera Cell, Spanish Civil War. 1936-1939. Source: Modern Art Was Used As a Torture Technique in Prison Cells During the Spanish Civil War. 2014, Digital Image. Available from: Open Culture, http://www.openculture.com/2014/10/when-modern-art-was-used-as-torture-during-the-spanish-civil-war.html (accessed April 30, 2015)
WORKS CONSULTED Landowsky, Josif. Red Symphony. Translated by George Knupffer. Christian Book Club of America, 1968. “Spanish Civil War (1936-1939). History of Spain,” accessed April 30, 2015, http://www.donquijote.org/culture/spain/history/the-spanish-civil-war
FALL 2013 - SUMMER 2016 Lena Larionova
Published on Feb 16, 2017