Every architect’s work is a set of conditions which, through various relations, may add frequently does have a significant influence on all who participate in the built environment. At the same time, both architects and their work are constantly exposed to various changing relations. When one considers the network of those mutual influences of which an architect and his environment are elements, “form” may be seen as the positioning of an object within a network of conditions and their relations. This network includes visual characteristics of an object, imposed by the architect, and those independent of him, which are culturally conditioned. Such a network constitutes what is understood by “form” in this project. Among visual relations, I have chosen to recognize for example rhythm, contrast, balance, proportions and transparency. The culturally implied (given) relations are, for example, ownership, use, tradition, fashion. All these relations, imposed by an architect and implied by a culture, reveal only a small fraction of this relational network, of which I have consciously chosen to consider only a few. Within this framework, the term “function” would describe a momentary suspension of the dynamics of the network of relations. It is called momentary because all of the elements are in contrast change. Consequently, so are their relations with other elements and, therefore, the overall aspect of the form. Function allows the “freezing” of the network in order to make the observation and critique of the object possible. Such observation can be performed only within certain imposed boundaries, since the entire framework, and consequently, both form and function, are limitless in their nature. Those boundaries reveal certain aspects of the object which are constituted from groups of considerations, which in this project are called “conditions”. Some of the “conditions” are later mentioned in the book a plan, elevation, shape. Since all of them resemble each other in their tendency towards balance, different parts of the project perform in a similar way. / Master of Architecture

Master of Architecture

composium = compose + symposium The use of a music/architecture analogy is employed in the design of a place for the study of composition. Four models for examination include Johann Sebastian Bach, Ludwig van Beethoven, Richard Wagner, and Arnold Schoenberg. / Master of Architecture

Work is presented to show one architect's findings, relating process rather than a single project. The book itself is conceived as the final product. Included are pages from the architect's notebook; axonometric studies and perspective sketches; and diagrams of the work. The idea for a chapel is presented; the chapel may be explained, but is not yet defined. Short projects, each contributing to the architect's understanding of his world, follow. / Master of Architecture

The issues from past projects are shown to be used in subsequent projects. By continuing to investigate selected issues they become increasingly articulated. / Master of Architecture

Architecture is a translation of an idea. An ordering idea is vital to make architecture. A building that is symmetrical about two axis, with some necessary exceptions, is an example of such an idea. / Master of Architecture

Development of the intracity, the back and side yards of low density urban and suburban areas, is sketched out as an alternative to urban sprawl. A small public library, which exemplifies some of the concerns of such development, is presented. / Master of Architecture

Master of Architecture

In an education it is necessary to re-evaluate those principles which are the foundation of how one learns. Only by challenging these basic principles is it possible to prevent stagnation and to cultivate discoveries. The discoveries of this work focus on the architectural object/thing and fundamentally how it is conceived, constructed, and thought about. This work challenges the previous education by not relying on a program, building type, human needs or context. The work attempts to apprehend and understand a basic notion about architecture. The premise is that exploration of an architectural element will lead to thoughtfully about concerns which were previously believed to be ‘generators.’ / Master of Architecture

"When we go wandering....it is ourselves we desire to have translated into stones and plants, and it is in ourselves that we wish to walk." -Nietzche What happens when a building speaks to you? The structure makes a simple statement. That statement is reinforced by the light, the space, and the primary materials and how they are connected to the secondary materials and the tertiary materials. Attention is given to the scale of a large group of people, as well as to the scale of a man and to the size of his hand. Unlike the familiar image of a machine, architecture retains the complexities of life and is founded on them. It develops in a variety of episodes, situations, and possible conditions. The relative juxtaposition of structured elements (walls, surfaces, structures, windows) conveys a sense of the whole. It is harmonious because it is related to a purpose. It is beautiful because it is a poetic manifestation of life. Thus, a building is a reasoned fragment, the sign of a presence. Its aesthetic is a condition discovered, not a starting point. / Master of Architecture