Two architects Questions of interaction Questions of decisionmaking Questions of connection “Flickstelle” For an architectural translation see Volume I and Volume II / Master of Architecture

Master of Architecture

When a child, certain skies sharpened my vision: all their characters were reflected in my face. The Phenomena were roused. —At present, the eternal inflection of moments and the infinity of mathematics drives me through this world where I meet with every civil honor, respected by strange children and prodigious affections. —I dream of a War of right and of might, of unlooked-for logic. It is as simple as a musical phrase. (War by Arthur Rimbaud) / Master of Architecture

Convictions are beliefs developed over time through careful consideration forming a base for one’s life work. Manifestations are applied beliefs forming products of the creative spirit. / Master of Architecture

Each and every material has certain inherent characteristics. When successfully evaluated for these characteristics a material’s true spirit becomes clear. Only when a material is completely understood can it be used properly. It is through the sensitive use of materials that architecture becomes rich. When considering materials, several issues come to bear. What "work" do they do? How do the materials interact most harmoniously? How do the materials touch? Do they need an intermediate material? How do they begin? End? To what level are their details taken? A whole world of consideration becomes apparent. The answers to these questions become an operational language through which design can occur. This language when applied to the built environment then becomes a structural language. / Master of Architecture

Two architects Questions of interaction Questions of decisionmaking Questions of connection “Flickstelle” For an architectural translation see Volume I and Volume II / Master of Architecture

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

no abstract provided by author / Master of Architecture

Successful architecture responds to user function on one level and its environment on another. A design for graduate student housing that operates on both levels is shown. The potential of curved building masses is explored. The structure for housing is the structure for parking, and the whole complex defines and separates vehicular and pedestrian circulation. Existing features of the site are employed and enhanced to create a tie between the old and new. The spaces are as important as the space makers. / Master of Architecture