Portfolio Wisconsin 2010 Season Maxim Borshchevskiy 1st year M.Arch
To the Review Committee Dear Reader, This is my second completed portfolio since I started my Masters at Taliesin, The Frank Lloyd Wright School of Architecture. The Summer in Wisconsin was full of exciting moments and new impressions. In my portfolio I want to share with you my learning experiences and new expectations for the Arizona season.
Yours sincerely,
Maxim Borshchevskiy
Introductory Letter Wisconsin 2010 Season
Research Design Studio/ Box Project 2
1/5 17
Writing Workshop and Tutorials
23
Shakespeare Sessions The Social Life of Spaces
28 30
Contract Lectures Thin Shell Roof workshop Drawing to Understand Reading the Landscape
32 37 40 43
Relaxation Instructor Evaluations Assessement Map Bibliography Looking Forward
46 55 56 57
Table of contents Wisconsin 2010 Season
The Research Design Studio with Aris Georges helped me to understand the basics of design research. Throughout the process we explored different research strategies, collected and analyzed data related to our Box project. I learned to use research as an effective tool to organize and collect data related to the design process. It helped me to define the context, focus on a complex design problem and to find approaches to solve it. Our final design research map became the reflection of our team design research process and also helped to develop timelines for our collaborative project.
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
REPRESENTATION
MATERIAL FACTS
INTEGRATED PRACTICE
PERSONAL COMPETENCE
DESIGN COMPOSITION
Research Design Studio Wisconsin 2010 Season
Pranav and I set up our goals and timeline for a complex research on our proposal for an Olympic museum in Athens. Our design research question was “How does a contemporary building integrate with historical ones in modern times, while fitting into the urban fabric?” We decided that the building and the process would benefit from a combination of Comparison, Experimental + Quasi–Experimental, Logical Argumentation, and Case studies.
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
Greek orders
REPRESENTATION
Perfect proportions and geometry
MATERIAL FACTS
INTEGRATED PRACTICE
Greek public Architecture
PERSONAL COMPETENCE
Greek public Architecture. Athletic structures.
Greek public Architecture. Temple
DESIGN COMPOSITION
Research Design Studio Wisconsin 2010 Season
Our research included: History: Olympic games, Greece, Athens, Greek Architecture, Neoclassical interpretations. Case Studies: Objects, Museums (Olympic/other), Common Ground. Site Conditions: Climate, Site, views, Neighbours, context, History, civic requirements. Analysis of program: Blocks, Diagrams, zoning – Conceptual Modelling etc. Philosophy
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Color and motive
Technology and inventions
PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
Democracy
REPRESENTATION
MATERIAL FACTS
Independency The ideas of freedom and philosophy in Ancient Greece
The importance of color and geometry/ motive
INTEGRATED PRACTICE
PERSONAL COMPETENCE
DESIGN COMPOSITION
Celebration of the Beauty of Human body in Ancient Greece
Research Design Studio Wisconsin 2010 Season
We did a series of case studies, looked at the best examples of contemporary museums in Athens and in the world. We also had field trips in Milwaukee and Chicago, explored The Milwaukee Art Museum by Santiago Calatrava and Chicago Art Institute Modern Wing by Renzo Piano.
Quadracci Pavilion- new addition to the existing museum -contains mostly public functionsreception hall, auditorium, cafĂŠ, store, parking and 10.000 s.f. of flex. space + very expressive, lightweight composition, works well as a city attraction/ landmark + extremely dynamic, kinetic + works good functionally- horizontal and vertical circulation are logical and well placed + very efficient use of day lighting +well integrated into the landscape +choice of materials - functionality of main flexible space -not suitable for exhibiting works of art -no visual connection with main pavilion =works well for its function
Chicago Art Institute West Wing
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
REPRESENTATION
Chicago Art Institute West Wing
MATERIAL FACTS
INTEGRATED PRACTICE
PERSONAL COMPETENCE
DESIGN COMPOSITION
New Acropolis Museum by Bernard Shumi
Research Design Studio Wisconsin 2010 Season
Research Design Studio has built a really strong base for our project, predetermined the direction of design development. Considering the specific nature of the project and especially the site being within the historic center of Athens, close to Acropolis, Zappeion and Panathinaiko Stadium design research was an essential part of design process. I believe that the results of our research reflected in our design would certainly made the building more related to the site. Understanding the cultural context of the place helped to tie together the specific functions of the building with the visual expression and historic references like stoa and agora- public spaces in Ancient Greece.
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
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Collaborative work on this design helped me to develop my team-working skills. I believe it is an essential part of architectural practice. It was a great opportunity to work on real architectural problem, it was both a serious challenge for us as well as a useful experience in our architectural education. Working on this project I learned a lot about different aspects of design including pedestrian and vehicular circulation, relations between public and service zones, security and fire protection as well as many others. I explored a new ‘exoskeleton’ structural system and understood the importance of both exterior and interior materials.
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
Program for competition Building axes/ orientation
REPRESENTATION
MATERIAL FACTS
INTEGRATED PRACTICE
Exoskeleton PERSONAL COMPETENCE
Block modeling DESIGN COMPOSITION
Dynamic expression of human body
Mass modeling
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
The site for the proposal as well as the surrounding area allowed me to learn more about Ancient Greek architecture, cultural and social traditions of the place as well as to fulfill the fusion of Modern and Ancient architecture in the historical center of Athens. It was also interesting to work on a design research and to test different strategies of combining Past and Future in both architecture and urban environment.
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
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Development of spatial composition, putting height accents, sustainability issues, framing important views, relation between exterior and interior spaces, integration of landscape features and vegetation with the building and site were the design goals for our team and I think we successfully resolved these issues in our proposal. I believe the ability to express the competitive spirit of Olympics in relation to the surrounding architecture and landscapes is equally important to the actual functionality of the building itself.
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
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I consider this project a successful solution to the given design problem. It is one of thousands of approaches, and of course it is not perfect. But it reflects our ideas and tremendous effort of putting together the function, esthetics and the ideology of The Olympic Games in a building which will celebrate the beauty of Peace, Sports and Freedom.
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
REPRESENTATION
MATERIAL FACTS
INTEGRATED PRACTICE
PERSONAL COMPETENCE
DESIGN COMPOSITION
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
REPRESENTATION
MATERIAL FACTS
INTEGRATED PRACTICE
PERSONAL COMPETENCE
DESIGN COMPOSITION
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
REPRESENTATION
MATERIAL FACTS
INTEGRATED PRACTICE
PERSONAL COMPETENCE
DESIGN COMPOSITION
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
REPRESENTATION
MATERIAL FACTS
INTEGRATED PRACTICE
PERSONAL COMPETENCE
DESIGN COMPOSITION
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
REPRESENTATION
MATERIAL FACTS
INTEGRATED PRACTICE
PERSONAL COMPETENCE
DESIGN COMPOSITION
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
Final Box Narrative My second Box project is a collaborative design proposal for a new Olympic Museum in the city of Athens, Greece. My friend and colleague Pranav and I were very excited about the idea and the program of the competition held by ArchMedium, so we determined to take it as a base for our Box project. We considered it a perfect opportunity to work together on a bigger-scale project, develop our skills and push the boundaries of our education further. The site for the competition is located in the heart of Athens. It is a perfectly flat lot, occupied by a running track. The shape of the site is almost triangular with a narrow point facing east towards the intersection of two major roads, encircling the lot and the Panathinaiko Stadium. Across the road, on the south side there is a 3-5 storied residential area. A city park with a sports complex is the west border of the site with a pedestrian trail leading to the Temple of Zeus. The north side of the site is opening towards the Zappeion and Syntagma Square. The original idea that emerged during the volumetric studies resulted into dividing the structure into two separate volumes, effectively accommodating the unusual form of the lot. The geometry of both buildings is intentionally aligned with surrounding monuments, incorporating our original ideas with an Ancient Greek planning of architectural ensembles and Acropolis in particular. The east-west placement of longer axes of the building allows to effectively shade the inner plaza and to use the advantage of solar energy gain. The internal organization of the museum is crucial to our concept. The mixed use of the building also required the integration of other features into the design concept. The North Wing of the museum includes the entry lobby, Ancient Olympic Galleries, temporary exhibit, audiovisual gallery and a fine dining restaurant, oriented to the magnificent views of the Acropolis and Temple of Zeus. The visitors are encouraged to explore the museum in chronological order starting from the Ancient Olympic galleries in the first level of the north building. The elegant ramp leads to the second floor and pedestrian bridge that connects the two buildings. Visitors can enjoy the gallery from different angles while moving up. The floor-to-ceiling glazing on the bridge provides exceptional views to the plaza and surrounding monuments. The logical sequence continues in the two storied South Wing which has Modern and Winter Olympics galleries, auditorium with its own lobby. Second levels of both wings have open-to-sky terraces where visitors can enjoy the framed views from the terraces and outdoor cafĂŠ, and have a break from a main exhibit. The exit is provided through the gift shop which is located in the western part of the South Wing. The exit leads to the plaza and is visually connected with the lobby, closing the loop of The Olympic Museum.
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
REPRESENTATION
MATERIAL FACTS
INTEGRATED PRACTICE
PERSONAL COMPETENCE
DESIGN COMPOSITION
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The orientation of the site as well as the pedestrian traffic in the area gave us the idea of lifting the building above the plaza level, providing access to the site from all four directions, effectively wedging the central plaza into the existing touristic traffic. The wrapping of the building around the plaza provides effective shading and comfortable recreation with plenty of seating area for visitors. The organization of space is referring to the ideas of ancient agoras and stoas. Reflective pools, fountains, sculptural accents and vegetation as well as the plaza level being two meters lower than the ground level provide additional comfort in a hot Mediterranean climate. The envelope of the building is a result of numerous sketches, shape and volumetric studies. The final form of the building is an 'Exoskeleton'- the structural system which allowed us to express our ideas and also provide a free spatial organization of interiors. The beauty of the human body in motion, its perfection and gracefulness as also the inherent passion for competition and victory are the essentials of Olympic Games. The triangular geometry of negative spaces between the structural elements of the envelope is an abstraction of dynamism of the human's body working beyond its limits. The elevations of the building are shaped according to the possible points from where it can be observed. We achieved the visual effect, similar to the Parthenon's 'perfect angle'. The dynamic form of the building is also following the changes in terrain. The western sides of the building are lower, providing the undisturbed views of the Acropolis and Temple of Zeus. The distance between the North and South wings is wider at that point. It allows a visual connection to the surroundings. In the eastern side there is only a narrow passage between two wings, which works as a buffer zone for the outside traffic and also cuts noise from the road. The two-storied atrium of the lobby is an interpretation of the Olympic torch and is visible from every part of the plaza and from the surrounding greater area of Athens. The roof is formed according to the shapes of surrounding hills an also giving enough slope for effective rain water harvesting. I consider this project a successful solution to the given design problem. It is one of thousands of approaches, and of course it is not perfect. But it reflects our ideas and tremendous effort of putting together the function, esthetics and the ideology of The Olympic Games in a building which will celebrate the beauty of Peace, Sports and Freedom. st
Maxim Borshchevskiy, 1 year M.Arch
PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
REPRESENTATION
MATERIAL FACTS
INTEGRATED PRACTICE
PERSONAL COMPETENCE
DESIGN COMPOSITION
Box Project 2: New Olympic Museum in Athens Wisconsin 2010 Season
Writing Tutorials Workshop with Michael Whaley helped me to improve my writing skills. I consider the ability of an architect to put ideas and concepts on paper in a clear, logical way an essential part of architectural profession. 2010 Common Essay Taliesin is often described as a 'living legend.' But the meaning of these words is different for different people. For some it is associated with the architecture of Taliesin: the house and compound of Mr. Wright and Taliesin Fellowship. For some it's one of the steps in the educational journey – a School and source of new knowledge. And for others this place is Home in every meaning of the word: a place where they spent the best years of their lives being a part of a wonderful community and working and living in the gorgeous landscapes of Sonoran desert and Wisconsin prairie and farmland. I think that for both new apprentices as well as for more experienced fellows who made history of this place the importance of it in their lives increases with every year spent within the Community. That seems to be a kind of 'magic' of this place. The Taliesin Community is what gives this place life and meaningfulness. I believe that the School and “Taliesin” are two inseparable parts of a whole, being at the same time directly connected with the history of the Fellowship. However the School has to face today's reality- continuously evolve to satisfy the rigorous standards of education and cater to today's architectural students. The main question is, can the School keep the education at the required high level, and still save the 'magic' and legacy of Taliesin? Yes, I think it can. In this paper I will share with you my thoughts about how Taliesin, The Frank Lloyd Wright School of Architecture can become a world-class 21st century architecture school. I will also give some comments on some of the issues that I consider important in both the educational process and overall School policies. I think that Taliesin, the Frank Lloyd Wright School of Architecture is a unique place. The educational process here is different from any traditional educational program in architecture. The quality and breadth of educational process seems even more valuable and flexible compared to more traditional architectural schools. Learning in two different environments also provides a great opportunity to explore the differences in nature, climate and cultural context as well as to get more specific knowledge of how to design and build in two different climatic zones. The migration itself seems to be an easy and exciting way to see and analyze the beauty of architecture as well as study the beauty of Nature. For example, living in the Sonoran desert helped me to better understand the importance of preserving the desert and encouraged me to integrate the buildings and the landscape in my designs. Even though both of the campuses are historical landmarks and were built many years ago, they still work well for the purposes they have been designed for. But the requirements for educational facilities change over time: now we need more space, comfort, privacy and equipment. The main questions are: how do we accurately transform old buildings so that they work well in the modern environment? And how do we integrate new structures in the existing architectural ensembles? The fact that most of the buildings both in Arizona and Wisconsin were constantly built and re-built by students proves that 'learning by doing' as well as active participation in construction must be an essential part of education in Taliesin.
But now the NAAB educational requirements and educational program in general limit the amount of time that can be devoted to the preservation of historic buildings and sites. What important is to analyze and respect what worked well and what failed in these buildings – and to pay more attention to these points in our own designs. New design construction projects can help students to develop their skills and knowledge in architecture and construction, to learn about new materials and building methods. That is what the School is known for and what makes us so different from other schools. Paying more attention to actual building construction will develop the idea of 'learning by doing' as a fundamental aspect of education at Taliesin. It can become the pivot point of one's Learning Path, provide us with more educational facilities, and attract new students to occupy them.
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PERFORMANCE CATEGORIES
CRITICAL GROUND
I believe that the uniqueness of the School, its social and educational activities should limit the number of students enrolled. The size and conditions of both campuses as well as the number of faculty and quality of the facilities are extremely important. Eventually, the addition of new facilities and restoration of the existing ones, together with the hiring of more faculty, will give us the opportunity to increase the number of students to 45-50. But doing so will require changes in the educational program as well. Having students with very different backgrounds can be a great advantage to a program, but it requires much more individualization of the learning process. Architecture is a highly demanding profession- an architect must be well versed in many disciplines and be able to adapt to a rapidly changing reality. Therefore, it is very important for the School's program to pay more attention to contemporary design methods and technologies. Also, providing more building construction and technical drawing experience will help Taliesin apprentices to be always in demand and become leaders in the architectural profession. Taliesin, The Frank Lloyd Wright School of Architecture is a place that celebrates its history, honors the legacy of the Fellowship, and practices the philosophy of Frank Lloyd Wright's Organic Architecture. It is well-known that his ideas and principles still work very well in the modern environment. These, together with the use of new sustainable strategies and materials, and strong knowledge of new building technologies and construction methods, will provide young architects with amazing opportunities to succeed in their future careers. I strongly believe that Taliesin is on its way to becoming this 'training ground' for a new type of professional that will design new Sustainable and Organic architecture – not copying Mr. Wright's work, but taking his basic principles and integrating them in the modern environment.
PERSONAL COMPETENCE
Finally, I believe that the first priority for the School now should be to find a good balance between our legacy – of which the Community is an essential part, the demands of an ever-evolving architectural profession, and the modern building technologies that are now driving it.
Writing Workshop and Tutorials Wisconsin 2010 Season
My written assignments included three Box project narratives, paper for Shakspere class, OpArch paper and Comman essay. I believe that writing class was a next step in my understanding of the English language. Opinion piece on architectural subject Architecture and Light Three temples There are so many things about light that make it incredibly important for human beings. Light allows us to define what is around us by illuminating the objects on which it shines as well as the space that is around them. Light, or absence of light, can also transform space in each day of the year or even each moment. Masters of architecture of all time periods have used natural light as an effective tool to transform spatial context, to create the effect of enlarging a space or making it smaller, or to highlight aspects of the space that are of interest. Above all, light makes a space more habitable and more visible. It is the most common and, at the same time, the most difficult problem in any architectural design. Light directly influences the geometry and volume of the building, its orientation and placement on the site, its structure and proportions. It affects the interior of the building even more in fact. The orientation and size of windows and the placement of clerestories and not only change the look of the structure but also directly influence its inhabitants. Carefully calibrated amounts of natural light improve the quality of space, making it more comfortable and convenient for people. The combination of natural and artificial lighting is also a form of art. Artificial light can emphasize architectural details or bring more contrast and clarity to how space is perceived – all the while remaining hidden or invisible. Or it might become a design element, bringing attention and aesthetic value to the light source itself. Modern materials also have their particular relations to light. The ability of materials like rough concrete, polished aluminum, and plaster or plastics to diffuse, reflect, or absorb light should also be considered along with their structural, aesthetic, and other characteristics. Carefully combining the transparency of glass and fabrics with more solid materials can visually change spaces. And it can create mysterious, sensual atmospheres. Although all public buildings require architects consider the importance of light, offer particular challenges. Architects know that it is of prime importance to get the lighting in the religious structures. Whether natural or artificial light or a combination of the two: the right lighting enhances and improves a space, bad lighting degrades it. Churches and chapels in particular give an architect almost a total freedom in his work with light. The main criterion is to emphasize a space, make the visitor feel the holiness of it and make experience it through all senses. Religious architecture always demanded special attention to light. Christian churches and chapels as well as Muslims mosques and Buddhist temples of all times were designed and built with precise attention to many details. Every part of the building, every detail and motive had its own sacred meaning. The set of rules that define the orientation of the building, placing of entrances and exits, position of altars and sacred attributes made religious architecture difficult to design and build. But only architects that completely understood the theory of light and brought their passion and effort in their designs stand out against the others. In this piece I want to share my admiration of three contemporary architectural masterpieces that are famous among other qualities especially for the exceptional use of light.
The Chapel of the Holy Cross in Sedona can hardly be related to any known styles of architecture. The brutal exterior of the building is defined with a simple rectangular shape cast in rough concrete with a bottom being wider than the top, and a gigantic cross that is pushed out of the envelope. The contrasts of dark tinted glass of the curtain wall and the lighter concrete with a perspective effect of sloping walls create the powerful and well-defined symbol of sacred place. On the contrary the building can be defined as an Organic architecture. The roughness, color and texture of material are in harmony with the gorgeous surroundings of Red rocks. And the way the building is nested on the top of two rocks, anchored in the middle with an enormous cross is definitely worth mentioning. The interior is flood with light. The pattern of the mullions and the wide flanges of the central cross bring dynamic and unpredictability to the unfinished concrete walls, floor and ceiling. The exaggerated height of the space and proportional relationship between the human being and the cross give one a sense of greatness and grandeur.
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PERFORMANCE CATEGORIES
CRITICAL GROUND
PERSONAL COMPETENCE
Writing Workshop and Tutorials Wisconsin 2010 Season
Michael Whaley’s class encouraged me to use new terms and phrases to express my ideas. And finally It significantly increased my confidence in written English. In his Chapel on the Water architect Tadao Ando brings in a very similar approach to natural light. His cast-in-place exposed concrete structure is based on two rectangular volumes that intersect each other at slight angle. They are enclosed by series of perpendicular in plan vertical freestanding walls. Ando ties his building with a marvelous surrounding landscape of Osaka suburbs. The main chapel space is opened up to the rectangular lake. The leveling of floor in the chapel creates a mysterious effect of infinity of space with a floor slab merging into the lake surface. The sacred space is emphasized with an enormous size of floor-to-ceiling window without any visible mullions and a rough concrete cross that is placed right in the center of the lake. The smaller chapel is a narrow rectangular box with a sloping floor that lead down to a 10 meters high rough concrete wall with an enormous cross-shape cut. The natural light coming through the cross gives one the similar to the Chapel of Holy Cross feeling of admiration and ecclesiolatry.
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PERFORMANCE CATEGORIES
CRITICAL GROUND
Richard Meier's Jubilee Church in Rome arouses comparable thoughts but in a different way. Unlike the previous two buildings the exterior of Jubilee Church is tremendously different. It is a temple of light and passion. The perfectly proportioned elements of the structure include three curved concrete shells that come out of the ground at different angles and are tied together with almost invisible glass ceiling and skylights that bring light to the interior. Together with a series of white stucco vertical walls and a tall square in plan bell tower, the exterior of the church brings in the sense of harmony and unearthly beauty. The reflective pool and a narrow bridge that leads to the main entrance of the church create the feeling of weightlessness and divinity. The interior of the church brings in the amazing atmosphere. Unlike the two previous examples Jubilee Church does not make you admire the holiness of space. The diffused light coming out of the numerous openings in the floor, walls and ceiling together with a ceremonial whiteness of the space make you feel the part of the divine service, almost experience the touch of God. The combination of skills and talent allowed three modern architects to create absolutely unique buildings that are so special and at the same time so related in the architect's approach to introduce the new sense of balance and harmony through not only spatial and proportional relations of the spaces but also through the perfect use of natural light. Light is what makes these structures the masterpieces of contemporary architecture and put them in one row with Santa Maria del Fiore in Florence, Saint Peter's Basilica in Rome and Saint Sophie Basilica in Istanbul.
PERSONAL COMPETENCE
Writing Workshop and Tutorials Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
PERSONAL COMPETENCE
Writing Workshop and Tutorials Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
PERSONAL COMPETENCE
Writing Workshop and Tutorials Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
PERSONAL COMPETENCE
Writing Workshop and Tutorials Wisconsin 2010 Season
In Shakespeare class we explored the context and text of famous Shakespeare’s comedy ‘As you like it’. Terry Kerr and Michael Whaley leaded the group discussions and readings which helped me to understand the idea and concept of the piece. The culmination of the class was seeing the play on the American Players Theater stage. We wrote the critical review which helped me to summarize my impressions and thoughts about the play. “As You Like It” Critiques Being honest with you, that was my first time I attended a Shakespeare's play and was asked to write critiques on it. My expectations on 'As you like it' were based on reading it with full attention and concentration, however I considered it quite intricate and complicated, since I was never exposed to Shakespeare before. Even though I was familiar with the plot and main characters, I was not sure how the production at the American Players Theater of “As you like it” would correspond to the play itself. What I saw on stage within the next couple hours was completely beyond my expectation. There was much more drama and emotional tension throughout the play. The director's idea to set the production in America during mid-1930s seemed quite reasonable to me. It was not confidential that it was a time of hardship with some dramatic changes in society. I believe that it reflects some of the critical aspects of the play -a sense of melancholy and the idea that most of the characters are displaced- or being in exile. On the contrary, it is well-balanced with the feeling of comedy and the actors' performance. Despite of the fact, in this critique I will focus mostly on stage design and my visual impression from the play. I want to mention that the play itself without question, might be considered “out of time and place” because of the human principles, similar to any time and place.
The life of Shakespeare's characters in the exile, their search for truth, love and identity, can be applied to anyone. Hilarity ensues throughout the play, as identities are mistaken and twisted. It doesn't matter who we are- being a human is the most important outcome you can get from the Story. The play itself helps to understand what you believe in, learn to see from different perspective, what is going on around you and perhaps to find an appropriate place in this World. The choice of set design elements, such as the design of costumes and primary colors used in the set, increased the feeling of loneliness and melancholy throughout the play. Some elements like metal fences, ladders and wooden boxes, quite realistically painted trees all performed in variety of gray color, seemed inappropriate for certain scenes -but the actors played really well and the overall feeling of happiness and enjoyment uncovered the advantages of the design- it was made to be neutral throughout the play so that audience would concentrate only on the action on stage and the way actors express themselves.
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The light is also considered an important part of any performance. In this particular case the stage lighting was also neutral, used only in general and to emphasize the importance of certain actions PERFORMANCE happening on stage. Sometimes the designer used CATEGORIES light accents to change the atmosphere on stage, such as the appearance of haystacks in the scene change the action from melancholic statements of CRITICAL Jacques, located in the forest of Arden, to the GROUND cheerful and comical remarks of Rosalind (being a Ganymede) teaching Orlando the complexity of love relations. Celia's costumes introduced some bright colors, that definitely stranded her out against SOCIAL CONTEXT grayish background, and it was also done for purpose. Another interesting aspect of the performance was that the audience could experience the change of lighting- from day lighting to twilight –with more efficient use of artificial lighting. It increased the contrast and gave more visual power to the action happened in last scenes of the performance. I believe that the stage design as well as the performance itself played an important role in my better understanding of the play, revealed some exciting aspects of it and definitely aroused my interest in Shakespeare's creative work.
PERSONAL COMPETENCE
DESIGN COMPOSITION
Shakespeare Sessions Wisconsin 2010 Season
Another assignment for the class was to create a set design for ‘As you like it’ performance. Working on this project helped me to further understand the design process and Skakespeare’s ideas. Throughout the process I was working with structure, form and materials to create a new environment for the Hillside Theater ‘As you like it’ performance.
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
PERSONAL COMPETENCE
DESIGN COMPOSITION
Shakespeare Sessions Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
PERSONAL COMPETENCE
DESIGN COMPOSITION
Shakespeare Sessions Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
PERSONAL COMPETENCE
DESIGN COMPOSITION
Shakespeare Sessions Wisconsin 2010 Season
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
PERSONAL COMPETENCE
DESIGN COMPOSITION
Shakespeare Sessions Wisconsin 2010 Season
In the Social Life of Spaces class Mary Grow introduced us to the social life of informal gathering space. Series of readings and videos helped me to better understand the importance of social space in community. We analyzed a series of case studies and examined how social, political and cultural factors shape the modern environment.
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Pleasant Ridge fieldwork excercise Pleasant Ridge is a bar none one of the best bars you've probably never heard of. It's a 100+ year-old converted general store at the intersection of County Z and ZZ on the way to Dodgeville. The bar is well located and one can easily notice it from
PERFORMANCE CATEGORIES
both roads. The Highway Z is a quite popular touristic route to Madison, so a lot of people, especially bikers, stop on the way to have a beer.
CRITICAL GROUND
The site is occupying the corner lot. Building is moved back from the roads on two sides for about twenty feet, leaving some space for parking. Main entrance is located on the south side of the building and has a small parking which is being
SOCIAL CONTEXT
occupied mostly by motorcycles. There is a small picnic area and a playground in the back used for different social events. The main customer parking is also located on the back of the building and a few cars can also be parked on the east side of the building.
REPRESENTATION
The building was changed many times during its long life. It is a typical onestoried timber frame structure with wood siding walls painted white and slightly sloping roof. The south elevation is raised a couple steps from the ground level providing formal entrance to the bar. It has some applied decorative elements that make it look as old western-style bar. The building is old but not decaying. It is aging well and owners take care of it. Pleasant Ridge bar has a simple rectangular floor plan symmetrically divided in two parts. Left side is public and has a long L-shaped bar along the north side and
PERSONAL COMPETENCE
a sitting area with four bigger tables for 6 person in the center and smaller tables for 2 persons along the eastern and southern walls. The kitchen, storage room and toilets are located in the right side of the building. Ridge has plenty of outdoor space. There is a long terrace attached to the western wall of the structure with a couple of tables and a long comfortable bench. Terrace is view-oriented; one can enjoy gorgeous Wisconsin landscapes while having a beer. Right in front of the south main entrance is a lifted platform with six benches and a picnic table placed in a circle.
The Social Life of Spaces Wisconsin 2010 Season
I also participated in a group fieldwork exercise. We analyzed the Pleasant Ridge bar, its social life and worked on a presentation for the 29 class. Our work included data gathering, informal interviews and social activities mapping. The collaborative fieldwork helped me to realize the importance of informal gathering space and also to learn more about American community life.
The main entrance is used mostly by bikers who park their motorcycles in front of the bar and get inside. Locals and people who come by car use a backdoor entrance on the north side or another door on the west side. If you enter the bar from the back you see the opened kitchen door and toilets and then squeeze
PERFORMANCE CATEGORIES
yourself through the narrow passage to the bar. The main entrance pushes you right to the center of space. You can immediately see the bar and all the people
CRITICAL GROUND
inside the space. The interior walls as well as ceiling and floor are finished with warm-colored wooden planks. Two large windows on south side let enough natural light in so that
SOCIAL CONTEXT
artificial lighting is being used only after sunset. Most of the chairs and tables are different but it works well with the décor. The interior décor of Pleasant Ridge is very interesting. Walls are covered with hundreds of different objects: framed images of Native Americans and cowboys, Beetles and Rolling Stones posters, deer skulls,
REPRESENTATION
beer signs, guitars, rifles and guns and many other amusing items. One can spend hours examining them. Horse shoe is another very popular theme in this bar. Even coat hooks are made of them. Two TV's in the corners of the bar are constantly showing John Wayne western movies. It seems too perfect considering the interior décor. The place leaves a very pleasant home-like feeling. The circulation within the indoor space seems typical for the bar. People get inside from one of the entrances, usually sit at the bar or occupy one of the tables. Stuff circulates around the tables and between kitchen-storage and outdoor terraces.
PERSONAL COMPETENCE
People get in and out, stand and chat near the bar or outside on the terrace and porch. Some elements like juke-box and air conditioning remote could be located in other places.
The Social Life of Spaces Wisconsin 2010 Season
Contract Lectures with Kim Hurtado introduced us to the world ofl architectural practice in U.S.. We explored the new AIA B102/B201 Agreement between Owner and Architect, AIA A201 General Conditions, AIA C191 IPD contract and new Sustainable Design Contracts (B214 LEED Addendum and Consensus DOCs 310).
30
PERFORMANCE CATEGORIES
INTEGRATED PRACTICE
PERSONAL COMPETENCE
Contract Lectures Wisconsin 2010 Season
This class was a great opportunity for me to compare the legal aspects of profession in the United States and Russia. I learned a lot about 31 risks and special terms while working on my Box project contract documents. Drafting B102/B201 and A201 documents was a worthwhile experience for me.
PERFORMANCE CATEGORIES
INTEGRATED PRACTICE
PERSONAL COMPETENCE
Contract Lectures Wisconsin 2010 Season
In Thin Shell Roof Workshop with Michael P. Johnson we explored the hyperbolic paraboloid structures. Works of Felix Candella, Oscar Niemeyer, Kenzo Tango and other famous architects helped me to understand the structural advantages of thin shell roof forms. I also became familiar with the hyperbolic mathematics. I believe that every architect should now basics of thin shell roof structural systems.
32
PERFORMANCE CATEGORIES
CRITICAL GROUND
REPRESENTATION
MATERIAL FACTS
PERSONAL COMPETENCE
DESIGN COMPOSITION
Thin Shell Roof Workshop Wisconsin 2010 Season
The assignment for the class was to design the roof structure using an existing chapel floor plan. In my designed I created a simple thin shell 33 roof which was formed by four hyperbolic shapes with a skylight for north light. I prepared a set of drawings that included sketches, floor plan, section and elevations of my structure. We were also required to build a model and to produce computer renderings.
PERFORMANCE CATEGORIES
CRITICAL GROUND
REPRESENTATION
MATERIAL FACTS
PERSONAL COMPETENCE
DESIGN COMPOSITION
Thin Shell Roof Workshop Wisconsin 2010 Season
34
PERFORMANCE CATEGORIES
CRITICAL GROUND
REPRESENTATION
MATERIAL FACTS
PERSONAL COMPETENCE
DESIGN COMPOSITION
Thin Shell Roof Workshop Wisconsin 2010 Season
35
PERFORMANCE CATEGORIES
CRITICAL GROUND
REPRESENTATION
MATERIAL FACTS
PERSONAL COMPETENCE
DESIGN COMPOSITION
Thin Shell Roof Workshop Wisconsin 2010 Season
36
PERFORMANCE CATEGORIES
CRITICAL GROUND
REPRESENTATION
MATERIAL FACTS
PERSONAL COMPETENCE
DESIGN COMPOSITION
Thin Shell Roof Workshop Wisconsin 2010 Season
Drawing class with Daniel O’Brien was a great opportunity to further explore the basic concepts of two and three dimensional design through freehand drawing. I learned to express balance, harmony, space and movement throughout additive and subtractive drawing. Daniel used historic, life and architectural references to explain the concepts.
37
PERFORMANCE CATEGORIES
REPRESENTATION
PERSONAL COMPETENCE
DESIGN COMPOSITION
Drawing to Understand Wisconsin 2010 Season
I understood the importance of composition and learned how to use new media. The most important outcome of the class was my ability to use drawing as a tool, a problem solving instrument. Our assignments included figure and object drawing. We also used abstraction as a way to express the essential ideas through simple shapes and simple materials like charcoal.
38
PERFORMANCE CATEGORIES
REPRESENTATION
PERSONAL COMPETENCE
DESIGN COMPOSITION
Drawing to Understand Wisconsin 2010 Season
39
PERFORMANCE CATEGORIES
REPRESENTATION
PERSONAL COMPETENCE
DESIGN COMPOSITION
Drawing to Understand Wisconsin 2010 Season
Reading the Landscape class with Gigi LaBudde was a great opportunity for me to get acquainted with natural communities of southwestern Wisconsin. We had a series of field trips to prairie, savanna, forest and wetlands. They helped me to better understand the ecosystem of these regions, the interaction between native and invasive species, soil and climate of the area. I learned a lot about the natural and human history of landscape. I realized how important it is to consider the ecological and aesthetical aspects of landscape and ecosystem in architectural practice. Reading the Landscape class was a great chance to both explore and appreciate both Nature and Environment. Reading the landscape Childhood memories Maxim Borshchevskiy 1st year M.Arch Most of the summers in my childhood I have spent with my family in a tiny house located on the bank of Volga River in a neighborhood called 'Dachnaia'. It was a time of carefree and happy life for me. We usually settled down there in early June and left only in the late August. Our resort was free of big city's noise and worldly vanity. At that time the only way one could to 'Dachnaia' was by a river boat. My parents were usually working during the weekdays in summer, so my cousin and I were in the charge of our grandparents. Our house was nested on a steep slope of a hill, protected by oaks, maples and a couple of birches from one side and completely opened to scenic views of Volga River from an opposite side. I can remember sitting by the fire on the rocks near the river, chatting with my friends and enjoying gorgeous sunsets. Almost every Friday or Saturday my grandparents took me on a hike. We got up early in the morning, had a quick breakfast, took our stuff and left for our journey. The final destination was in the woods on the top of the hill, where we gathered berries, mushrooms and nuts for a family dinner on Saturday. I remember walking on a really narrow path, holding my grandfathers hand and listening for my grandma talking about different plants, trees and bushes we saw on the way. Now I can hardly remember the names, but once I see one I recognize it at first sight. I know which plants are poisonous or medicinal, which ones I can use for preparing a delicious meal or for keeping insects out of my house. I'm really grateful to my parents for that piece of knowledge that they shared with me. Undoubtedly, these summer days were the most wonderful time in my life, full of unexpected discoveries and breathtaking adventures.
40
PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
PERSONAL COMPETENCE
Reading the Landscape Wisconsin 2010 Season
The assignments for the class was to make a series of sketches and to write a reflective essay. Reading the landscape: final paper When I first came to Wisconsin I was impressed by the beauty of this land. The green hills of Taliesin, beautiful lawns and carefully shaped fields of corn and wheat looked so nice and well-groomed. Dense forests and grasslands around Taliesin reminded me of my homeland. Towns like Spring Green and Dodgeville with their tiny handsome houses are buried in verdure. The atmosphere of peace and calmness seemed so obvious. I could not even imagine that this land was and actually is a battlefield. The battle between the native and invasive species. It is the war for resources and land that continues for hundreds of years. Even though we do not really see it, it might be more cruel and merciless than any of our wars. However, we see the result of it. This land changed tremendously after the European settlement. It no longer looks like it looked then. The broad landscape of Indian grass prairies with diffused lines of oaks gave way to fields of corn and wheat. I believe that the way people treat their land pretty much depends on the progress of society. Many developing countries do not have any land ethics at all; pollution and erosion are secondary problems for them. The main problem for them is economy and growing enough crops to feed their citizenry. For example, many countries in Africa lack resources and advanced mechanisms to develop their agriculture and their soils in general are arid. They cannot grow enough food to feed themselves, and depend mostly on imports. Their biological needs are what they worry about. I am sure that even first settlers from Europe who first came to America were not concerned about how harmful their plants and seeds that they brought from Europe might be. They did not realize that it could change the look of a whole continent. They were concerned about keeping their families, giving them shelter and defending them from unknown threats. Similarly, the import of American crops like corn and potato changed the European land pyramid. It seems to me that people and governments begin to think about the land when the country or state reaches some level of economic development. It leads to the better organization of agriculture; the more efficient mechanisms and machines that allow getting more and better quality crops in a smaller gross area. New technologies lead to a biologically modified product, ideally of better quality, less amount of labor and new better-tasting genetically modified fruits and vegetables. However, the growth of population, natural disasters like droughts, floods and hurricanes make hunger one of the major problems of the 21st century. Scientists, as well as architects begin to work collaboratively to find a solution to the problem. They bring new projects like the Vertical Farm, Termite Tower and many others that bring new ideas into the focus, to provide food without wasting so much land and resource, but also introduce new sustainable and alternative energy principles.
41
PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
PERSONAL COMPETENCE
Reading the Landscape Wisconsin 2010 Season
These projects if ever built might become a link between the land and human being. Ideally, without the need for using a vast area of land for agriculture, it can be preserved and restored to its original condition. With alternative energy resources pollution and environmental disasters, theoretically, would no longer be a threat to the land pyramid. But until that economy and industry will rule the world. Organizations like park and wilderness conservation are unable to control the changes that occur in the ecosystem. Governmental conservation cannot do much without the series of changes in the system, soul-searching. One of the fundamental tenets of the Land Ethic, is that Homo Sapiens is a member, not the master, of the land community, it is a system of interdependent parts: best regarded as a "community," not a "commodity." The other is that we can only understand and appreciate our place in nature, and the place of our fellow creatures, in the context of an understanding of the whole. As a result, our duty is to preserve the integrity, stability and beauty of the biotic community. My point of view is that without the reconsideration of the concept of land, from being a source of food and eventually profit, to a respectable member within the ecosystem with its own inhabitants, it is extremely difficult to cultivate the principles of land ethics in people. The understanding of fundamentals of ecology, the basic idea of land ethic, as well as the philosophy of Aldo Leopold is undoubtedly a worthwhile experience for an architecture student. In Leopold's words: "A thing right when it tends to preserve the integrity [and] stability ... of the biotic community." He speaks about "the healthy society" as one in which the institutions, norms and interpersonal relationships are wellintegrated and stable; and ecological health is the integrated and stable interaction of the component parts with each other and with the physical environment. These statements can be directly related to some basic principles of Organic Architecture like treating the building and a site as a whole, using natural, healthy and reusable materials and renewable resources. Both approaches lead to one goal- to build a healthy and sustainable society with respect to ecosystem where the human being is one of important parts of the system rather than its center. Another statement Leopold makes is: "A thing is right when it tends to preserve the ... beauty of the biotic community." I believe that it is an architect's responsibility to be concerned about the nature of the land, and whenever possible preserve natural ecosystems, integrate the beauty of land and its inhabitants in design. Maxim Borshchevskiy 1st year M.Arch
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PERFORMANCE CATEGORIES
CRITICAL GROUND
SOCIAL CONTEXT
ECOLOGY AND ENVIRONMENT
PERSONAL COMPETENCE
Reading the Landscape Wisconsin 2010 Season
In spite of the intensive working schedule in this season I have found some time for relaxation. My friends and I visited Chicago a couple 43 times. It was a great opportunity to learn more about the architecture of the city as well as to taste delicious food. We explored Robby house, Unity Temple, houses in Oak Park and saw a lot of other magnificent buildings. Madison and Milwaukee were two other places we have gone to. Monona Terrace in Madison and Art Museum in Milwaukee were amongst my favorites.
Relaxation Wisconsin 2010 Season
44
Relaxation Wisconsin 2010 Season
Taliesin and Spring Green were two other places where I enjoyed spending my time. Formal evenings at Taliesin helped me to meet interesting people and to relax after hard work during the weekdays. Visiting Spring Green and other small towns around Taliesin was a great chance to reflect and to learn more about the American culture and traditions.
Relaxation Wisconsin 2010 Season
45
PERFORMANCE EVALUATION CORE CURRICULUM ‐ M.ARCH
PC 1
Student: Borshchevskiy, Max (10/19/09) Instructor: Aris Georges, M.Arch
Research Design Studio ‐ WI Summer 2010 PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency 1 Critical Ground a Understanding of critical issues of design research (induction, deduction, abduction) b Demonstration of analytical thinking and communication of research data
PC 2
2
PC 3
3
(‐) M‐ M M+ (+)
+ +
Social and Cultural Context a Articulation of sociocultural conditions innate in the research context
+
Ecology and Environment a Articulation of environmental strategies in the design
+
PC 5
PC 4
4
Representation a Ability to represent quantitative and qualitative research data b Ability to use mapping to visualize research information c Full schematic represenation of Box Project 5 Material Facts Articulation of material strategies in the Box Project design. Articulation of structural strategies in the Box Project design
PC 6
6
PC 7
7
PC 8
8
M+
+
+
+
+ + + + +
Integrated Practice Ability to identify limitations and needs that guide informed design choices Programmatic specificity in the Box Project
Combined rating
Instructor Rating
+ +
Personal Competence a Responsible participation, attendance, and communication. b Active contribution to the studio discussions and debate.
+ +
Design Composition a Sustained ability to aim at synthesis of ideas b Effort to explore form qualified by research data
+ +
+
+
+
+
Final Evaluation (pass/fail) PASS Contact hours (actual from attendance):
94.5
INSTRUCTOR SIGNATURE + DATE 10/1/10 INSTRUCTOR NOTES: Max worked with Pranav on this project during the studio and they both represented a very high level of engagement and serious effort. Exemplary work.
46
STUDENT: Max Borshchevskiy; entry date: 10.19.09 EVALUATOR: see below
PC 1
1
PC 2
2
PC 3
3
PC 4
4
PC 7
PC 6
PC 5
5
6 7
PC 8
8
a b c d a b c a b c a b c a b c a b a b a b c
BOX PROJECT EVALUATION M.Arch
Evaluator Rating
BOX PROJECT ‐ TALIESIN WI 2010 (a/b= School defined; c/d= Student defined) (‐) M‐ M M+ (+) PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency Critical Ground Set clear design objectives and critical perspective for the project x Correlate objectives to specific design decisions and make those explicit x Explore ancient and modern Greek architecture x Develop design using historical examples and Wright's work and philosophical principles x Social and Cultural Context Articulate social and cultural context in the design strategy of the project x Make specific reference to how the design challenges or accepts cultural precedents x Explore interrelation between building and occupants, creating dynamic, social spaces x Ecology and Environment Address design strategies for the impact of the design on the environment x Give examples of specific solutions to ecological and environmental needs x Apply sustainable principles to the design x Representation Convey the design with a comprehensive visual strategy according to drawing list (attached) x Correlate the visuals with the verbal communication x Create 3D model and complete presentation in A1 format x Material Facts Discuss choices and reasoning for materiality x Substantiate choices of materials and systems in the design x Develop a structural system exploring different combinations of materials x Integrated Practice Respond to clear limitations and check the design's compliance to them x Treat the project as a realizable proposition to a design problem x Personal Competence Present in a clear and professional manner and keep the audience in mind x Respond to questions and critical reviews with interest and reflection x Design Composition Discuss design choices with substantial reference to composition x Articulate the design decisions with regard to geometry and part/whole relationships x Adapt design to program to create an icon that represents the city of Athens, fitting into the x unique environment of the Historical center Final Evaluation (pass/fail) Aris Georges, M.Arch, 9/26/10 EVALUATOR SIGNATURE + DATE Will it be its own monument someday?
Combined rating
Olympic Museum for the City of Athens Box #2
+
+
+
+
M
+ + +
Pass
47
PERFORMANCE EVALUATION CORE CURRICULUM ‐M.Arch
Student: Max Borshchevskiy, 10/19/09 Instructor: Michael Whaley, MFA
PC 1 PC 2 PC 3 PC 4 PC 5 PC 6
a b c d e f
3
Ecology and Environment a N/A
4
Representation a N/A
5
Material Facts a N/A
6
Integrated Practice a N/A
PC 7 PC 8
Student demonstrates growth or improvement in his/her ability to: communicate ideas clearly, economically, and persuasively in writing; learn appropriate group process for talking about and critiquing the work of colleagues; hone skills in the collection, organization, and sifting and winnowing of information; develop proficiency in the mechanics of writing; demonstrate familiarity with academic writing standards, ethics, and stylebooks; discuss and critique current ideas and events that have relevance to today's students of architecture.
Social and Cultural Context a N/A
7
8
a b c d e f
(‐) M‐ M M+ (+)
Personal Competence
critically reflects on his/her own learning demonstrates leadership and the ability to collaborate shows maturity and composure in situations where one's own work is being critiqued attends all class and/or tutorial sessions participates in class discussions focusing on quality and character of constructive criticism completes all assignments according to assignment criteria
Design Composition a N/A
Michael Whaley, MFA, 9/29/10 INSTRUCTOR SIGNATURE + DATE INSTRUCTOR NOTES:
Combined rating
Writing Workshop A‐ Wisconsin 2010 PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency Critical Ground
1
2
Instructor Rating
M
X X X
X X
X
X X X X X
M X
Final Evaluation (pass/fail)
P
Contact hours
20
Max fulfilled all of his IWP requirements, including a solid “As You Like It” performance critique that shrewdly considered design elements. (This was Max’s first exposure to Shakespeare!) He also delivered two strong papers for Writing Workshop this summer: a Common Essay, which Max patiently took through several revisions, and a very interesting OpArch on architectural lighting as exemplified in three modern temples. I think this summer’s rigorous writing program was a tremendous but valuable challenge for Max, to whom all other things seem to come almost effortlessly. (Of course they don’t really. I think.) His mistakes are many but minor; they are very typical of native Slavic language speakers. Lots of practice is recommended: writing, reading, speaking. (I don’t like to speak in groups of three or more, either, but one has to. Think of how your peers will benefit!) For those to whom writing does not come easily – and even for those to whom it does – this was a tough summer to be in the Taliesin program. I appreciate Max’s work ethic, positive attitude, and quietly charming personality.
48
PERFORMANCE EVALUATION CORE CURRICULUM ‐ M.Arch
PC 1
Shakespeare Sessions ‐ Wisconsin 2010 PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency 1 Critical Ground a Demonstration of critical thining in discussion and written review.
PC 8
PC 7
PC 6
PC 5
PC 4
PC 3
PC 2
2
Instructor Rating
(‐) M‐ M M+ (+)
Combined rating
Student: Max Borshchevskiy, entry date: 10/19/09 Instructor: Terry Kerr, BA; Michael Whaley, MFA
M
b
Social and Cultural Context a Demonstration of understanding of the context of the play. b c 3 Ecology and Environment a N/A b c 4 Representation a N/A b c 5 Material Facts a N/A b c 6 Integrated Practice a N/A b c 7 Personal Competence a Responsible participation, attendance, and communication b Demonstration of the ability to express ideas through discussion and written review 8 Design Composition a Demonstration of understanding of the design process in the analysis of a theatrical production
M
M +
Final Evaluation (pass/fail) Terry Kerr, Michael Whaley, 9/28/10
Contact hours
Pass 16
Max was a quiet student in class, though he read willingly and well, and appeared attentive at all times. His critique of the APT performance of the play demonstrated excellent critical thinking skills as he sought to express the universal themes of the play. I think these themes were clarified for Max when he saw the performance. Max also provided an excellent analysis of the way the design elements contributed to the interpretation of the story and the impact of the performance. Max made excellent observation of all the design elements. Max’s set design for As You Like It was ingenious! His scheme for changing levels was a bit complicated, but solved many design problems and gave the actors and directors a wide range of levels with which to work. His column elements twisted to become trees; a very clever way to change the texture and dimensionality of the scene and to transform the setting without shifting elements on and offstage. I would love to see these built! Max considered the design needs of the entire play in his design and provided a very thorough and clever design solution. Max’s graphics were also excellent, illustrating his concept very clearly and thoroughly. I was able to envision Max’s exciting interpretation of the play’s settings.
49
PERFORMANCE EVALUATION CORE CURRICULUM ‐ M.Arch
Instructor Rating
PC 8
PC 7
PC 6
PC 5
PC 4
PC 3
PC 2
PC 1
Combined rating
Student: Maxim Borshchevskiy Instructor: Mary L. Grow, PhD
Anthropology: The Social Life of Spaces Summer session 2010 (‐) M‐ M M+ (+) PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency 1 Critical Ground M a Establish research skills that enhance understanding of social life & built environment x b c 2 Social and Cultural Context M a Understand how patterns in social life are established & change over time x b Identify & evaluate the characteristics of informal gathering places x c 3 Ecology and Environment a n/a b c 4 Representation M a Learn how to 'map' the social life of spaces x b c 5 Material Facts a n/a b c 6 Integrated Practice a n/a b c 7 Personal Competence M a Demonstrate responsibility, leadership, & collaboration x b Demonstrate creative spirit & expression x c 8 Design Composition a n/a b c ***Good Luck with your Museum Competition! Final Evaluation (pass/fail) PASS Mary L. Grow, PhD September 9, 2010 INSTRUCTOR SIGNATURE + DATE
Contact hours
16
INSTRUCTOR NOTES: Minimal participation in class discussions - needs work. Fieldwork project and Box social sites plans very strong, demonstrating your solid understanding of key material.
50
PERFORMANCE EVALUATION CORE CURRICULUM ‐ M.Arch
PC 5
PC 4
PC 3
PC 2
PC 1
Student: Max Borshchevskiy; entry date: 10/19/09 Instructor: Kim Hurtado, esq.
Construction Contract Preparation & Negotiation WI 2010 PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency 1 Critical Ground a n/a 2
Social and Cultural Context a n/a
3
Ecology and Environment a n/a
4
Representation a n/a
5
Material Facts a n/a
(‐) M‐ M M+ (+)
PC 7
PC 6
6
PC 8
Integrated Practice a Demonstrate understanding of contract negotiation terms and exercising integrity in modifying a contract through class role play of the negotiation of selected contract terms. b Demonstrate understanding of how contract terms are used to assist in equitable dispute avoidance and resolution during construction administration through class role play of disputed contract interpretation and contract enforcement issues. c Demonstrate ability to objectively modify contracts and negotiate them so that the student's client would be fully informed about the contract terms, using the contract to develop a shared vision for a successful project. 7 Personal Competence a Completion of assigned readings prior to each class. b Attendance, active listening, and engaged class participation. c Timely completion of practicum assignment, with custom modifications 8 Design Composition a N/A
Combined rating
Instructor Rating
Kim Hurtado, Esq., 9/29/10 INSTRUCTOR SIGNATURE + DATE
M
x x x
M
x x x
Final Evaluation (pass/fail)
P
Contact hours
24
INSTRUCTOR NOTES: Max has taken on a very complex project and so his contract documents for class were quite a bit more complex than many of the other students. The issues he had to consider about interplay of international and federal law showed a level of sophistication and careful thought that was impressive. Max came to class prepared, having read the material, and contributed regularly. He demonstrated a better than average understanding of complete contract terms and his written work included edits to additional contract documents not required for the course, but quite pertinent to his project needs. Overall he made superior contributions in completing this class.
51
PERFORMANCE EVALUATION M.Arch
2
Social and Cultural Context a N/A
3
Ecology and Environment a N/A
PC 3
(‐) M‐ M M+ (+)
M
x
PC 4
4
PC 5
Representation a Drawings represent the student's understanding of the structural advantages of thin shell roof forms and the use of hyperbolic mathematics. b Model shows understanding of the advantages of thin shell roof forms & hyperbolic math. 5 Material Facts a Demonstrate understanding of structural systems in thin shell roof forms. b Demonstrate understanding of construction methods in thin shell roof forms.
M x x x x
M
PC 7
PC 6
6
PC 8
Integrated Practice a N/A b c 7 Personal Competence a Attendance in all sessions. b Class participation. c Completion of all assignments with creative expression. 8 Design Composition a Demonstrated through the completion of hand drawn concept sketches, and computer drawings including plan, elevations, section, and isometrics of the final design.
Combined rating
Instructor Rating
Thin Shell Roof Forms Workshop WI 2010 PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency 1 Critical Ground a Demonstrate understanding of the history of thin shell roof forms.
PC 2
PC 1
Student: Max Borshchevskiy; entry date: 10.19.09 Instructor: Michael P. Johnson
x x x
INSTRUCTOR NOTES:
M
x
Final Evaluation (pass/fail) Michael P. Johnson, 7/28/10 INSTRUCTOR SIGNATURE + DATE
M
Contact hours
Pass 20
52
PERFORMANCE EVALUATION M.Arch
2
Social and Cultural Context a N/A
3
Ecology and Environment a N/A
PC 3
(‐) M‐ M M+ (+)
Representation a Composition‐ drawing as unity, taking into consideration all four sides of the page; while addressing formal qualities such as balance, shape, form, growth, space, movement, dynamics and expression. 5 Material Facts a N/A 6
Integrated Practice a N/A
7
Personal Competence a Punctual attendance in all studio sessions. b Intent vs. intuition‐ including left and right brain decision making abilities.
PC 7
PC 6
PC 5
PC 4
4
PC 8
8
Design Composition a Process‐ the ability to understand the 8 class concepts and recognize them in art and architecture.
M
x
x
x
x
Final Evaluation (pass/fail) Dan O'Brien, MFA, 9/29/10 INSTRUCTOR SIGNATURE + DATE
Combined rating
Instructor Rating
Drawing to Understand WI 2010 PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency 1 Critical Ground a N/A
PC 2
PC 1
Student: Max Borshchevskiy, entry date: 10.19.09 Instructor: Dan O'Brien, MFA
Contact hours
M
M
Pass 16
INSTRUCTOR NOTES: Perfect attendance, Max came to this class with skills learned from his former studies, with what I would call an "academic" approach. He struggled initially with the more loose format of this class, but gradually came to understand the nature and processes that we were studying. His knowledge of art history helped him to gain a grasp of the intuitive process and this became evident in his work.
53
PERFORMANCE EVALUATION M.Arch
Student: Max Borshchevskiy; entry date: 10.19.09 Instructor: Gigi LaBudde, M.S.
Combined rating
Instructor Rating
1 PC 1
a b c 2 PC 2
a 3
a b
PC 3 PC 6 PC 5 PC 4 PC 7 PC 8
b
Reading the Landscape WI 2010 (‐) M‐ M M+ (+) PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency Critical Ground M x Demonstrate critical thinking in class discussions, presentations, written assignments, and field exercises. x Synthesize and expand considerations of Landscape – as informed by selected environmental thinkers – from a local to a global perspective Develop and articulate a personal template for “Reading the Landscape” informed by x historical, cultural, ecological, and ethical considerations Social and Cultural Context M Articulate “Sense of Place” as a foundational concept for understanding the architect’s role x in the context of Landscape Apply historical & environmental perspective to the interaction of Architecture & Landscape x Ecology and Environment M x Apply basic ecological and environmental concepts at the landscape level x Identify the tools and components required for a holistic ecological assessment
4
Representation a N/A 5 Material Facts a N/A 6 Integrated Practice a N/A 7 Personal Competence a Attendance at ALL sessions (three classes and three field trips) b Thoughtful and thorough preparation for all classes and field sessions, including adequate personal field gear c Timely completion of reading and written assignments, field book notes, and sketches d Active participation in both class discussions and field activities e Willingness to engage in personal reflection, on‐the‐ground observation, cooperative problem‐solving, & to temporarily forgo personal comfort in physically challenging conditions 8 Design Composition a N/A
x
x
M x
x x
Final Evaluation (pass/fail)
Pass
Gigi LaBudde, M.S. 9/5/10 Contact hours 15 INSTRUCTOR SIGNATURE + DATE INSTRUCTOR NOTES: Max‐ you are deserving credit as 'most prepared' for the varying physical challenges of our field trips‐ Bravo! More contribution of your ideas in class discussions would have been welcome. Your final paper demonstrated good integration of course concepts into your thinking. Nice sketches!
54
Student: Maxim Borshchevskiy, entry date: 10.19.09 Advisor: Aris Georges
PERFORMANCE CATEGORIES
STUDIOS
1 Foundation Design Studio (Trzebiatowski) Waived 2 Advanced Design Studio (Georges) AZ 3 Research Design Studio (Georges) WI
PROJECTS
6 BOX PROJECT 2 (Georges) WI
Integrated Studies (general education)
Architectural Practice
Pass/Fail
0
M + + +
M + + +
+ +
+ +
95
+
+ +
+ +
+ +
+ + M +
M +
+ +
60
4 Preservation/Construction (Robinson/Erickson) WI 2011 5 BOX PROJECT 1 ADS (Georges) AZ
Subtotals (Hours)
M=Mastery, +=Excellence, ‐=Deficiency
Material Facts
M.Arch Year 1 ‐ Foundation AZ 09/10: Exploration WI 10 CORE CURRICULUM
CONTACT HOURS (Based on Attendance)
Design Composition
Personal Competence
Integrated Practice
Representation
Ecology and Environment
Social and Cultural Context
Instructor Ratings
Critical Ground
MASTERY: The level of achievement required for successful completion of the Master of Architecture program is described as “mastery” of the Performance Categories. Mastery is determined by faculty review of student work that concludes not only presence, but integration of the Categories into a successful whole. Showing how the Performance Categories are interrelated in the work, not just cited, is evidence of mastery. EXCELLENCE: Presence of evidence that the student accomplished considerably more work qualified by the Performance Category as guided by faculty, on the student's initiative. DEFICIENCY: Absence of evidence that the student accomplished work qualified by the Performance Category, without reason or reasonable explanation.
55
Review Date: October 6, 2010
M.Arch PERFORMANCE ASSESSMENT MAPPING
P P
95 0 190
+ +
+ +
28.36%
P P
60
7 ARCHITECTURAL PRACTICE
0
8 DESIGN BUILD PROJECT
0 120
9 HISTORY OF ARCHITECTURE I & 2 (Robinson) fulfilled in undergrad
0
17.91%
10 TALIESIN AS TEXT (Robinson/Erickson) WI 2011 11 TALIESIN WEST AS TEXT (Robinson/Erickson) AZ
CLASSES / SEMINARS
12 CONSTRUCTION CONTRACTS (Hurtado) WI 13 SHAKESPEARE SESSIONS (Whaley/Kerr) WI 14 SUSTAINABILITY I‐ AP (Aitken/Harwood) AZ 15 SUSTAINABILITY II ‐AP (Aitken/Harwood) AZ 16 CULTURAL ANTHROPOLOGY‐ Social Life of Spaces (Grow) WI 17 WRITING WORKSHOP (Whaley) WI 18 CULTURAL ANTHROPOLOGY‐ Landscape & Home (Grow) AZ 19 PERSPECTIVE DRAWING (Henry) AZ 20 NATURE PATTERNS (Georges) AZ 21 HAND RENDERING (Henry/Casey) AZ 22 GRAPHIC DESIGN (Georges) AZ
ELECTIVES + INDEPENDENT STUDIES 23 ABD Wood Workshop (Natof) AZ 24 Landscape Evaluation (Winters) AP, AZ 25 Sketching (Henry) AZ 26 Drawing to Understand (O'Brien) WI 27 Thin Shell Roof Workshop (M. Johnson) WI 28 Reading the Landscape (LaBudde) WI
M M M M M
M M M M M M M M + + + M + M M M M M M M M M M M M M M M M M M M M + + + M M M + M + +
8 24
+
16 20
M
12 16 20 16
M + M +
16
M M M M M M M M M M M M M M M M M M M M M M
60
M M M
14 16 10 188
REVIEW COMMITTEE SIGNATURES: Tour Hours: 8 Required: 45 Integrated Studies Hours: 99 Total Hours Required: 135 Architectural Practice Hours: 564 Total Hours Required: 700
P P P P P P
51 10 16 20 15
AP‐ Russia‐457 hours
PC BALANCE RATING (committee/student) (1‐5) OVERALL BALANCE RATING (committee)(1‐5)
28.06%
1=unbalanced; 5=very balanced
P P x P x P x P x P x P x P x P P P P
172
25.67%
670
100%
x x
Anderson, Stanford. Eladio Dieste: Innovation in Structural Art. 1 ed. New York: Princeton Architectural Press, 2004. Ball, Phillip. "Building on the Fly." Conservation , September 15, 2010. Billington, David P., and Maria E. Moreyra Garlock. Felix Candela: Engineer, Builder, Structural Artist (Princeton University Art Museum Series). New Haven: Yale University Press, 2008. Carls, Kenneth, and James Schmiechen. "Inventing the Market Hall." In The British Market Hall: A Social and Architectural History. New Haven: Yale University Press, 1999. 21-34. Carls, Kenneth, and James Schmiechen. "The Traditional Market." In The British Market Hall: A Social and Architectural History. New Haven: Yale University Press, 1999. 3-19. Clark, Scott. "Bathing in Ideas." In Japan, a View from the Bath. Honolulu: University of Hawaii Press, 1994. 117-148. Clark, Scott. "Bathing in the Modern Era." In Japan, a View from the Bath. Honolulu: University of Hawaii Press, 1994. 42-65. Cox, Stan, and David Van Tassel. "Wrong on So many Levels." Land Report, August 13, 2010. Cronon, William . "The Trouble with Wilderness; or, Getting Back to the Wrong Nature." In Uncommon Ground: Rethinking the Human Place in Nature. New York: W. W. Norton & Company, 1996. 69-90. "Eduardo Torroja - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. http://en.wikipedia.org/wiki/Eduardo_Torroja (accessed July 6, 2010). Goldberger, Paul. "Wheelhouse." The New Yorker, August 9, 2010. Hattox, Ralph S.. "Taverns Without Wine: The Rise of the Coffeehouse." In Coffee and Coffeehouses: The Origins of a Social Beverage in the Medieval Near East (Near Eastern Studies, No 3). University of Washington Press Ed ed. Seattle & London: University of Washington Press, 1985. 72-91. Hattox, Ralph S.. "The Coffeehouse: Social Norms, Social Symbols." In Coffee and Coffeehouses: The Origins of a Social Beverage in the Medieval Near East (Near Eastern Studies, No 3). University of Washington Press Ed. Seattle & London: University of Washington Press, 1985. 112-130. "Kenzo Tange - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. http://en.wikipedia.org/wiki/Kenzo_Tange (accessed July 5, 2010). Konnak, Sally . "Ode to Bakken's pond." Voice of the River Valley, June 1, 2009.
Leopold, Aldo. "The Land Ethic." In A Sand County Almanac with Essays on 56 Conservation from Round River. First Ballantine ed. New York: Ballantine, 1981. 201-226. Meine, Curt. "Seeking Sauk Prairie." In A Place to Which We Belong: Wisconsin Writers on Wisconsin Landscapes. illustrated edition ed. Madison: One Thousand Friends Of Wisconsin Land Use In, 1998. 49-52. Meine, Curt. "Inherit the Grid." In Correction Lines: Essays on Land, Leopold, and Conservation. 1 ed. Washington, DC: Island Press, 2004. 187209. Oldenburg, Ray. "The Character of Third Places." In The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community. 3 ed. Berlin: Marlowe &Amp; Company, 1999. 20-42. Oldenburg, Ray. "The Problem of Place in America." In The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community. 3 ed. Berlin: Marlowe &Amp; Company, 1999. 3-19. "Oscar Niemeyer - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. http://en.wikipedia.org/wiki/Oscar_Niemeyer (accessed July 5, 2010). "Paraboloid - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. http://en.wikipedia.org/wiki/Paraboloid (accessed July 5, 2010). "Pier Luigi Nervi - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. http://en.wikipedia.org/wiki/Pier_Luigi_Nervi (accessed July 5, 2010). "Robert Maillart - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. http://en.wikipedia.org/wiki/Robert_Maillart (accessed July 5, 2010). SeguĂƒ. Felix Candela, arquitecto. Santander: Inst. Juan Herrera, 2008. Shearin, Faith. "Fields." In Owl Question: Poems (Swenson Poetry Award). 1 ed. Logan: Utah State University Press, 2004. Snyder, Gary. "The Place, the Region and the Commons." In The Practice of the Wild: Essays. San Francisco: North Point Press, 1990. 25-44. Williams, Terry Tempest.. "The Architecture of a soul." In An Unspoken Hunger: Stories from the Field.. First edition, Uncorrected Galley ed. New York: Pantheon Books, 1994. 13-15.
Bibliography Wisconsin 2010 Season
57
Looking forward In the upcoming season I would like to focus on architectural practice, carry out the tasks of practicing architecture- learn more about code compliance, economics, legal context of architecture and construction documents. I still want to work the Hook Shelter reconstruction as it can significantly improve my construction and building skills. But it will be my secondary task as I want to take all required courses and some electives too. Construction Documents Technology, Structures 1,2; Codes, Technical Drawing, Architectural Practice Studio and Contract Lectures are the Core offerings I want to take in Arizona Season. As for Electives- I am interested in Proportions and Scale, Intensified Atmospheres and Writing Workshop.
Thank you for your attention Sincerely,
Maxim Borshchevskiy Credits: Graphic Design by Maxim Borshchevskiy Photos by Pranav Naik, Maxim Borshchevskiy Special thanks to: Pranav Naik, Aris Georges, Fil, Michael Whaley and all of Taliesin. C 2010 MAXIMBORSHCHEVSKIY ALL RIGHTS RESERVED
Looking Forward Wisconsin 2010 Season
PORTFOLIO CHECKLIST- EXPLORATION PHASE
1. Introductory letter addressed to the Review Committee 2. Table of contents (this means the pages in the portfolio will be numbered) 3. Portfolio selections- what did you do? What did you learn? To include: -All courses and studios selected in the Learning Path, Box project documentation architectural practice, and independent study projects (if applicable), sketches, drawings, musings, journal excerpts, photographs -All instructor evaluations -Reflective self-assessment included with each entry -Current reading list and bibliography (properly cited- use Chicago Manual of Style) -Timesheet documenting Tour, Architectural Practice, and Independent Study hours as applicable 4. Performance Category map- provided by Education Office 5. Disk with copy of current portfolio and timesheets 6. Include this checklist
9/1/09
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