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cornell architecture fall 2011

I T H A C A - M O S C O WM E R G O L D - B R O D S K Y

TH I RD WAY STUDIO

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I N T R O D U C T I O NTHE TH I RD WAY

Admittedly, we did not have a site or program, nor did we aim to fix a problem in the world, or a city, or even a

given building. All we knew was that an architect's education might benefit from opening itself up to a pos-

sibility—that of contamination, confusion, mis-reading and suspended disbelief—in order to shift beyond the now

familiar paradigms of a design studio that is somehow meant to emulate the processes that go on in the “real world.”

Ugly and beautiful can be two sides of the same coin, just as superfluous and useful, critical and aloof, good and bad.

We chose to go to Moscow because in that city the dualities of meaning are extreme—historically, and especially

now, on the eve of the much dreaded election day, when the Russia we know, some say, is turning back to the Russia

our parents (on both sides of the border) used to fear, while others suggest that it is spinning in place. Perhaps it is

moving on somewhere, in its own, strange sideway, that we simply cannot fathom from our own established modes of

what life (or architecture) ought to be.

If on a cage of an elephant you read “ox” – do not believe your eyes

- Kuzma Prutkov*

* Kuzma Prutkov is a mid-19th Century Russian literary phenomenon – an invented character that became the pen name for at least five different writers that wrote short stories, poetry and especially short aphorisms – sometimes collectively, sometime individually.

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We began this studio by calling it the Third Way with its premise outlined below:

Formation of culture is often a non-linear process. Contrary to the dicta of history, it is circumstance, misunderstanding ,

side effect and hearsay, all synthesized via a medium (i.e. architecture) in a particular place and internalized by a local

population that make up a cultural identity. Like the knight’s move in chess, culture develops forward and sideways—and

the established paradigms of “pro” and “con,” “old” and “new,” “right” and “left,” “forward” and “backward,” “A” and

“B” are replaced by an amalgam of all of the above –it is “the third way.” These amalgams are really (mis)interpretations

of history—ancient, old, modern and immediate. In some places in the world this phenomenon has produced exceedingly

interesting design artifacts. This semester we will study the design precedents of the third way, and then will attempt to

generate one of our own.

We chose to deal with pavilions—we called them small buildings with large consequences. The first one—The

Pavilion of Ignorance—speculated on the city and history yet unexplored. We decided to construct it as a short film,

a walk through a place that does not exist that contains an exhibit on a subject one knows little about. Though igno-

rance was embraced as a pre-condition, the films were miraculously able to anticipate the Moscow we encountered.

There, with the help of local architecture students, we worked on the second project—The Pavilion of Impressions—

in Gorky Park. Upon our return, we all agreed that the third pavilion should be the Pavilion of Reflections. The ques-

tion of how to put collective memories into one structure was answered—collectively—after several failed attempts at

a traditional competition, and the grey shipping container that sat in a parking lot of Sibley Hall for nearly a year has

attained a new life as a depositary of many individual reflections.

And now we are asking you, the visitor, to reflect upon this structure, look into the many worlds it contains, read

between its many lines, and, periodically, not to believe your eyes.

Aleksandr Mergold, Ithaca

Alexander Brodsky, Moscow

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r o t u l u s

ASSIGNMENT 1

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13th-16th Century - Peter Levins

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16th-17th century - Austin Beierle

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17th - 18th Century - Daniel Marino

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1453 - Anton Dekom

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1826 - 1900 - Elease Samms

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1901 - 1917 - Rachel Tan

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1917 - Ishita Sitwala

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1918 - 1929 - Andrew Heumann

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1930s - Varvara Larionova

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1940 - 1953 - Eric Johnson

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1953 - 1991 - Lauren Gluck

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1991 - Aditya Ghosh

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1993 - 2000 - Natalie Kwee

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2000 - 2011 - Vinit Nikumbh

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i n t e r p r e t i v e h i s t o r y

ASSIGNMENT 2

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Andrew Heumann

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Natalie Kwee

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Varvara Larionova

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Daniel Marino

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Caption Format

Elease Samms

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Vinit Nikumbh

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Ishita Sitwala

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Lauren Gluck

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Caption Format

Austin Beierle

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Rachel Tan

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Peter Levins

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Aditya Ghosh

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Caption Format

Anton Dekom

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Eric Johnson

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f i l m

PAVILION I

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Caption Format

Allegory - Aditya Ghosh

39Pavillion No. 1 - Austin Beierle

40 Tower of Towers - Andrew Heumann

41Pavillion 1 - Andres Gutierrez

42 Venechka - Dan Marino

43Kernel - Elease Samms

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Caption Format

Haze - Eric Johnson

45One Man’s Dream - Ishita Sitwala

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Caption Format

Emulsion - Lauren Gluck

473 - Natalie Kwee

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Caption Format

Historoscope - Peter Levins

49M - Rachel Tan

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Caption Format

Tsar Nicholas II: Last Autocrat - Anton Dekom

51CBOE: Ones Own - Varya Larionova

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Caption Format

The nth Frame - Vinit Nikumbh

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O c t 1 - 9 , 2 0 1 1

MOSCOW

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Caption Format

“Sunshine and wind” unerground - The uncanny Cisterna by Alexander Brodsky. (Photo credits to Natalie and Ishita)

Loving hosts, Crowded metros and Rocket towers welcomed us. (Photo credits to Natalie and Andres )

57An Ode to Architecture in Moscow

Bureau Brodsky and Museum of Architecture (Photo credit, clockwise from top left, Lauren (3), Varya, Elease and Daniel)

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Art scene in Moscow - in the galleries and on the streets. (Photo credits, clockwise from top left, Lauren, Eric, Daniel and Eric)

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A brief history of Russian architecture, from Classical to Constructivism to De-Con(Photo credits Elease, Eric and Ishita)

Red Square (Photo credits Natalie, Andrew and Lauren)

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Christ the Saviour, Rem Koolhaas and Peter the Great - Churches to statues and bridges to contemporary architecture to a river, framed our views for 3 days at Strelka (Photo credits Elease, Lauren, Ishita(2) and Elease )

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Our Pavilion 2 site in Gorky Park and its memorial ruins (Photo credits Elease and Eric)

It wasn’t all about fun - working hard in the Strelka studios and our review (Photo credits Daniel)

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The many faces of Moscow: The classical, colorful, artistic, rustic, fast and lonely.(Photo credits, clockwise from top left, Lauren, Varya, Alex, Varya, Eric and Ishita)

63Sasha takes our studio out for a farewell dinner

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p o s t c a r d s f r o m m o s c o w

ASSIGNMENT 4

66 Aditya Ghosh

67Andres Gutierrez

68 Andrew Heumann

69Austin Beierle

70 Elease Samms

71Eric Johnson

72 Lauren Gluck

73Ishita Sitwala

74 Natalie Kwee

75Peter Levins

76 Rachel Tan

77Anton Dekom

78 Varvara Larionova

79Vinit Nikumbh

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g o r k y p a r k p a v i l i o n

PAVILION II

82 Andres Gutierrez, Lauren Gluck, Eric Johnson, Inna Tsoraevam, Anton Dekom

BICYCLEPAVILION

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84 Austin Beierle, Andrew Heumann, Peter Levins, Vinit Nikumbh, Ulia Maysova

HOT DOGPAVILION

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86 Dan Marino, Natalie Kwee, Ishita Sitwala, Alina Petrakova

BOAT PAVILION

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88 Rachel Tan, Varya Larionova, Elease Samms, Aditya Ghosh, Mari Kataryan

BATHROOMPAVILION

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Cornell University AAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.0

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PAVILION No.3

Your image here

We have a site, an object (a container – which is not to be modified in any way), a modest budget for materials (we have an arrangement with Hub’s on Rt.79). We have our impressions, memories, and thoughts about what we have done and what we have seen. We were in Moscow, we are now in Ithaca. We are in a new building that references and interprets a history of architecture. We are surrounded by buildings that are history. We have just been in a place where multiple histories exist at the same time. So what should we do? What should Pavilion No.3 be about? Assignment 3.0 is to design Assignment 3.1 Format: 8.5x11 printed document using studio assignment format Due: Monday, October 17

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d e s i g n t h e a s s i g n m e n t

PAVILION III

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Cornell UniversityAAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.0

1

PAVILION No.3

Memory / Reality , Fragments / Whole

Moscow is a composite of pieces that upon initial impression, do not seem to go together. Like the objects created by Nikolai Lyovochkin, your memory of Moscow consists of fragments of these “mismatched” pieces (moments, events, places, people etc.)

Part I: Object The rotuli looked at actual history before constructing new history, and now that you have explored Moscow, construct a memory (or a set of memories) in the form of an object created from the pieces you find at Hub’s. The object should be a reimagination of your experience in Moscow, and may be skewed/edited depending on your point of view.

Part II: Pavilion The pavilion will be a Columbarium Memoria; a site to house your memories. It will serve to connect/combine each individual memory into a new, single experience (as your 2nd rotulus did). Consider siting, placement, scale, chronology, human engagement, material and/or other similarities in order to form some sort of cohesive manner/order to view and experience the objects you have made to create a new memory.

Format: 1 Memory Object ? Additional appendages, props, pedestals, fixtures for experiencing all 15 objects

Cornell University LAUREN GLUCK AAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.0

1

REMEMBERING THE RUINS

Moscow is a city of ruins, presently showing both the ruins of Imperialism and ruins of Communism. From exploring the ruins of Gorky Park, we are inspired by what was. We see the piles of discarded metal and wood. Remnants of dismantled rides. Ghosts of carnival workers and thrill seekers. Memories of laughter and screams of joy. Going into the ruins of Gorky Park allowed us to be transported into a moment of time, where these memories are frozen and chaotically organized in piles of junk. Simply junk- scraps of metal, empty booths, broken lights, lifeless animals, rotting wood. This junk, despite being cast away to forever lay inert and decay, characterizes a part of Moscow that the park planners want to forget. They are working hard to create a new image of Moscow, a picturesque Gorky Park, in hopes to be as iconic, if not rival, green spaces of other cities worldwide. The potential of these hidden objects is infinite. The veiled beauty of these discarded gems should be celebrated as another iconic component of Gorky Park. Over 4,600 miles away in Ithaca, NY, Hub’s Place is a junkyard that works just like the junkyard of Gorky Park, selling items that somehow interprets a history of Ithaca. The company translates the cliché “one man’s trash is another man’s treasure” into a tangible object. Just as the potential of beauty exists in the Gorky Park ruins, one must search high and low to find those objects that give a character to Ithaca. As a result, for Pavilion No. 3, students must hunt in Hub’s Place for found objects that can be arranged into a beautiful walk-through exhibit in the shipping container that lives outside of the new Milstein Hall architecture building. These objects must tell a story, a reorganized history of Ithaca that could be experienced as moving through the container. Due to the shear purpose of the shipping container, there should be a possibility that we could seal up the container and ship it to our friends in Moscow as a way for them to look at the junk in Ithaca and reinterpret our history.

natalie kwee lauren gluck

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Cornell UniversityAAP, Department of ArchitectureFL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.1

PAVILION No.3

Every shipping container has a unique history located in the places it has travelled and the cargo it has carried. But the shipping container, by its nature, leaves absolutely no trace of its specific history other than general signs of wear and usage. It’s standardization and ubiquitous international adoption allow it to be transported in time and location and yet bear no witness to its exploits. In fact, the shipping container, being so culturally neutral and so much a product of global economic forces, is a virtual non-space, existing in no particular social circumstance or political jurisdiction (they are sometimes used as spaces for conducting illegal activities or living off the grid).

The idea of the shipping container as a kind of non-place can provide a contrast to the rich local histories we have already examined. Unaware of our container’s specific history, speculate how it may have in the past served as a vehicle for housing, displaying, protecting, or participating in the history you have developed thus far in previous projects.

andres gutierrez anton dekom

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Cornell University AAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.0  

1

PAVILION  No.3  

We have worked with images, videos, and 3-dimensional spatial design projects. We have read, interpreted, thought, projected, touched, felt, heard, smelled, and tasted Moscow. Construct a re-reading of your work to date: the two rotuli, the film, the postcards, and the Gorky Park pavilion, and try to distill from them a thread of continuity. What concepts unite these collected productions in their understanding of Moscow as a historical accretion and as a modern city? As a group we will be composing a menagerie of physical constructs that represent or reproduce a concept from our individual experiences as a spatial figure. These static constructs will be augmented by a designed media projection. The source for this projection can be any material produced this semester so far, including all assignments and personal photographs or videos from the trip. By virtue of our limited space (and potentially a limited number of projectors,) these constructs and their associated projections will necessarily crowd together and overlap, in harmony and contradiction. Format: 1 continuously looping media projection (images, video, sound) 1 physical construct Due: Wednesday, November 23

Cornell University AAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.1

1

PAVILION No.3

Format: 1 - Pavilion comprised of 15 nested sculptures.

Due: Wdnesday, November 23rd

The third pavilion - sited - will be a representation of each students memory of Moscow. The container will act as a shelter for 15 individual sculptures (one per student) that can be moved in and out of the container in similar fashion to a Russian Doll. In essence, students will be creating two pavilions, one retracted and one unfolded. Each sculpture is intended to reproduce memo-ries of Moscow through form, sound, movement, or combinations with other sculptures.

Material from Hub’s will serve as the primary source for the sculptures. Where additional material is needed students should consult the studio group. Although the sculptures are individual manifestations of memory, their from and movement will require studio wide coordination to ensure a proper retracted �t. Students will be assigned their nesting position randomly. While the container is not to be modi�ed in any way, the studio is asked to consider a temporary treatment to its exterior that would lend itself to the work throughout the semester.

andrew heumann austin beierle

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PAVILION No.3

As we moved through Moscow, there was a certain aesthetic of change that was present. Moments and pieces of history(and possibly the future) that were left, piled, stored, and/or abandoned along the veins of the city. As we saw, Nikolai Lyovochkin used similar moments, or pieces to create his “wooden architecture”, representing a dreamlike vision of the historical.

For the Third Pavilion, we will study and represent the history of our surroundings, through moments and pieces of its past. Using the “aesthetic of change” to capture views of what is and was around us.

Each student(or pairs of 2) is to represent a certain historical(or future) moment, or “view” from our courtyard using found objects from Hub’s. Each view will then be presented in a cumulative manipulation of the container’s interior that will then serve as a viewport of campus history.

Means and Methods:“Found objects” from Hub’s

Format:Found object model: Physical model, size based on historical view. Not to exceed 2’x2’x2’Container interior: Full scale manipulation of container interior.

Due:Found object models & cumulative pavilion/container design, 11.4.11Constructed pavilion, 12.5.11

Cornell UniversityAAP, Department of ArchitectureFL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.1

Cornell University AAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.0

1

PAVILION No.3

Photograph of a folly in Parc de la Villette, Paris, France, in January 2007

In architecture, a folly is a building constructed primarily for decoration, but either suggesting by its appearance some other purpose, or merely so extravagant that it transcends the normal range of garden ornaments or other class of building to which it belongs. In the original use of the word, these buildings had no other use, but from the 19th to 20th centuries the term was also applied to highly decorative buildings which had secondary practical functions such as housing, sheltering or business use. Very few follies are completely without a practical purpose. Apart from their decorative aspect, many originally had a use which was lost later, such as hunting towers. Follies are misunderstood structures, and there is a need to celebrate the history and splendor of these often neglected buildings. The concept of the folly is highly ambiguous and it has been suggested that the definition of a folly "lies in the eyes of the beholder". Considerations: Follies were copied from landscape paintings by painters such as Claude Lorrain and Hubert Robert. Often, they had symbolic importance, illustrating the virtues of ancient Rome, or the virtues of country life. Keep in mind the erudition that you bear from Russia, both symbolic and circumstantial and apply it to the context of the site.

eric johnson aditya ghosh

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Cornell University AAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.0

1

PAVILION No.3

An example of a composition of Words about our First two days in Moscow. First yet a lasting impression. History is made up of stories, which in turn are made up of words. Words have been the most powerful tools ever used by mankind. The Pavilion 3 needs to tell-a-tale into the future. But it should have its own unique story to convey, which is linked to all of us and to Cornell and to Moscow. Pavilion 3 now needs to move away from imagery, towards a more concrete form to be built. From your first Story to your Moscow trip, try to recall all the words that were the key to your ideas. From your first impression of Moscow to your lasting impression about Milstein and Cornell, think of the Words that can summarize your sentiments about all these diverse places. Select, after brainstorming or just intuitively, 3-5 such words and think how you can translate these into an architectural form. The container must be viewed as a starting point for your form. Your translation could also be in terms of only elements, only structure or only some subtly changes to the container (some additions or subtractions). But the translation needs to be explicit; the manifestation of the Word needs to be strongly put forward towards all visitors. Format: Four 11x17 printed documents of conceptual sketches to be presented.. Or if you agree, the words could be selected as a group of 15 and then each (or group of 3) can translate in their own way. Due: Monday, October 24

Cornell University AAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.1

1

PAVILION No.3

 Zoe  Leonard  –  Niagara  Falls,  Dia  Beacon  2008    

Photography provokes the suspicion that it merely reproduces the world. Roland Barthes once called photography a "language without a code." While photographing, I become aware of the opposite problem: rather than the world, I reproduce the codes of my perception, habitual and more vast than I can imagine. I agree, however, that a photograph does not decisively indicate the reason for its existence. Once an object, the image means nothing in itself, and only context provides hints of causal motivation. Still, the context is ever present, and it is no more possible for the photograph than for the perceived world to mean nothing. The photograph remains a fragment of many false wholes. Impossibly, I seek the photograph that recognizes and reconciles the code with the world. For me, photography's dialectic is the tension of these elements. Barthes calls the discordant and anomalous photographic detail the punctum , the accidental that startles. The punctum reveals the difference between what you were expecting and what, in fact, you received. The punctum is a negative dialectical moment. Yet its infrequent appearance is really a result of extensive visual programming; it reveals jaded expectations, boredom, and the degree to which material reception has been lost. Every grain of every picture is a punctum in waiting. Yet if each grain fulfilled its anomalous potential, the image itself would disappear. Through long stretches of boredom I see only what I expect, for form is strictly anthropomorphic. Habit allows me to see. Surprise on all fronts would remove all context and relational sense. I need at least one lie as my starting point. My will cannot discern the anomalous. It remains available only through shock. Perhaps the punctum is the involuntary recollection of what I have forgotten, a connection with oblivion, a long-lost correspondence. Or perhaps the punctum is merely the glimpse of another level or surface not that far below. From “Notes Toward Desolation” Michael Ashkin 2003 Taking a photograph is a conscious decision to remember. An object, an image, a space, a person, a moment, a feeling. Memories precious and memories required, they make up our personal histories and they also allow us to construct and recall the past into a present thought or daydream, but the true past will slowly become forgotten and estranged. Often this loss of true form will be reconstructed into what we chose it to be, how we choose (or not choose) to remember, for the true memory may become foreign in a land of estranged time and space. We were foreigners thrown into a place we learned to be a sea of mismatched and misplaced memories that have collected into an identity we were sent to understand. What have we collected? ishita sitwala dan marino

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Cornell University AAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.0

1

PAVILIONNo.3

Your image here

Aldous Huxley believed that, “Every man’s memory is his private literature.” While Albert Einstein said, “Memory is deceptive because it is colored by today’s events.” With that in mind, it can be noted that every person’s memory of the same place, situation, person, or thing will be different but similar. Considering your own memories of you’ve done and what you’ve seen in Ithaca and Moscow, what memory is informing Pavilion

No.3? What, now, in today’s events are affecting what you’ve already seen or done? Is there repetition, linearity, discontinuities, or a continuing yet lingering theme in your literature? What can become of Pavilion No.3?

Format: 8.5x11 printed document using studio assignment format

Due: Monday, October 17

Cornell University AAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.1

1

PAVILION No.3

Preamble: The process of cultural mediation is central to the studio’s comprehension [consumption] of Moscow. Preconditioned by history classes, spy-flicks, fur hats, and exaggerated accents; we traveled to Moscow already wearing selective lenses for viewing the city. There, competing guides to the city- further refined our cultural blinders whether Brodsky or Chumakova, Larionova or iWitness travel. Even on our journey home, our memories of Moscow’s urban experience were weighed against the thriving souvenir business, which offers pretty, convenient, and typical representations of the proper architectural sites and experiences we have had. Understanding our own dependence on cultural mediation in forming memories of Moscow, we now turn to the designing of our own visual/tactile/experiential moment in the memory-formation of others through the vehicle of Pavilion no.3. To whom or to what we have a responsibility is negotiable. Format: Travel to Hub’s on Route 79 armed with photographic reproduction device of your preference. Record your ‘trip’ and the sites/objects you have visited. Spend no less than a full day on site touring and documenting. Before you leave, be sure to select a representative souvenir. Bring all photographic prints and souvenirs to our next class, along with ideas of deploying the visual resources in a spatial masque. Due: yes

elease samms peter levins

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With the imported ideas of strangers to Moscow, create a site of construction with the building of multiple instruments, able to perform, and preferably in an audible way. These instruments can of course (and should), lend to the visualization and spatialization of a newly appropriated shipping container, once used for the scraps and remnants of a modern building.

Keep in mind the placement next to the gorge and consider the radius of noise heard outside of the container.

Sound can often surface....within Moscow

hallucinations / miragethe endless landscapecult of the geniussurveillanceunborn memoriesunderbelliesvirgin figures / loss of innocencegrottoesinfrastructuremystical anarchismverbal trickerynostalghia

References:

Velimir Khlebnikov (poet)Pavel Filonov (artist)“Enter the Void” Gaspar Noe (film)“Solaris” Andrei Tarkovsky (film)Bill Viola (video artist) http://vimeo.com/5351870

Cornell UniversityAAP: Department of ArchitectureFL11 / Arch4101, 4102, 5101

Instructors Alexandr Mergold & Alexander BrodskyTA Ksenia Chumakova

PAVILION No.3

Cornell University AAP, Department of Architecture FL11 / Arch 4101, 4102, 5101

Instructors Aleksandr Mergold & Alexander Brodsky

TA Ksenia Chumakova

3.0

1

PAVILION No.3

DOMOVOJ / / HOUSE-SPIRIT

The pavilion is a space, particularly a space within a site, which is a manifestation of a peculiar condition of Moscow’s subjective image. Hopefully, through this investigation genius loci of Moscow will appear in the final result. In this case, genius loci will come in a form of a traditional Russian house-spirit (domovoj) who needs a place to live.

The clash of cultures, spaces, languages, buildings, understandings, and ideologies that we have been experiencing will inform his new home on the move from Moscow to Ithaca. He is used to Moscow, a place where natural urban processes, like growth and decay, are subject to unique peculiarities. They are realized in contrasts. What is normative and what is the exception? What is the order and that is chaos? What is the logic within the processes of change in the city, which he is from? How is it different from our experience in Ithaca?

Ultimately, he would like a new home where the conflicts what we have seen in Moscow are reconciled into a holistic composition and his reality meets with our perceptions.

Format:A house for a house-spirit

Due: ???

rachel tan vinit nikumbh

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c o m p e t i t i o n l a y o u t s

PAVILION III

102 Austin Beierle, Anton Dekom, Andrew Heumann

lens

site plan 1/16” = 1’ plan 1/4” = 1’

short section 1/2” = 1’ south elevation 1/4” = 1’ construction details 1 1/2” = 1’

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lens cap wide angle telephoto 35mm panorama

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Caption Format

Andres Gutierrez, Nat Kwee, Peter Levins, Rachel Tan

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110 Aditya Ghosh, Eric Johnson, Vinit Nikumbh, Ishita Sitwala

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116 Lauren Gluck, Varya Larionova, Dan Marino, Elease Samms

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c o n s t r u c t i o n d o c u m e n t s

PAVILION III

120exploded axon

9 3/4" 1/2" 9 3/4"

1'-8"

2'-4

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3"2'

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1/4"

3'-11 3/4"

2'-4

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.05

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.01 dioarama

.02 peep hole

.03 outer ply-face

.04 light underscreen

.05 steel plate

01. diorama02. peep hole03. outer ply-face04. light underscreen05. steel plate

121diorama “kernel” details

9 3/4" 1/2" 9 3/4"

1'-8"

2'-4

"

3"2'

-3"

1/4"

3'-11 3/4"

2'-4

"

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.05

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.01 dioarama

.02 peep hole

.03 outer ply-face

.04 light underscreen

.05 steel plate

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178° 171° 165° 159° 153°148°

144°

141° 137° 133° 128° 123° 117° 110°

14°

4.7160

3.0854

3.9950 4.7623

3.0966

3.9950

14° 16°

3.1225

4.8610 3.9950 4.9142 3.9900

3.1989

4.9708

3.1547

3.99505.0313

3.1756

3.99005.0966

3.1959

3.9950

5.1674

3.2209

3.99505.2448

3.9950

3.3077

5.3300

3.2836

3.9950

17° 18° 19° 20°

21° 23°

5.4245

3.3232

3.9950

3.3145

3.99505.4984 5.6498

3.4261

3.9950

5.9428

3.5769

3.9950

24° 25° 27° 29°

33°

3.6797

4.04606.3424

3.8092

3.9950

3.9751

6.6030

3.9950

3.9965

6.7862

3.9950

3.9963

6.9638

3.9950

3.9956

4.0247

3.9954

7.6764

3.9950

3.9952

7.8165

3.9950

3.9951

7.9205

3.9950

3.9950

7.9792

3.9996

4.0000

7.9867

3.9900

7.9426

4.0000

35° 38° 41° 44° 48°

62°67° 73° 79° 86°

92°

99°3.9900

7.8519

4.0167 4.0000

7.7235

4.0411

7.5683

3.9900

4.0331

7.3967

3.9166

4.0025

3.9963

4.0000

6.9219

3.9966

4.0000

3.0348

4.4536 3.9950 4.4975

3.0418

3.9950 4.5407

3.0501

3.9900 4.5838

3.0582

3.9900 4.6271

3.0659

3.9950 4.6710

3.0752

3.9950

105° 111° 117° 122°

9° 10° 10° 11° 12° 13°

129° 132°

137°142°

147°153°

142°

160°

7.1371

4.0024

3.9938

7.3580

3.9946

4.0023

7.5728

3.9955

4.0020

7.7641

3.9966

4.0016

3.9961 3.9993

4.0043

3.9950 3.9950

3.0000

4.0726 3.9950 4.1423 3.9900 4.2044 3.9950 4.2608 3.9950

3.0000 3.0039 3.0073 3.01173.0168

4.3129 3.9950 4.3619 3.9950

3.0224

4.4086

3.0284

3.9950

5.7859

3.4939

3.9950

7.3321

3.9958

3.9950

6.5027 6.7193

3.9317 3.9342

7.1473 7.9897

7.1473

3.9961

3.9950

7.5114

1° 3° 4° 5° 6° 7°

8°

52°

57°

31°

176°

57-5 56-5 55-5 54-6 53-4 52-5 51-4

50-4 49-5 48-4 47-4 46-4 44-445-4

43-4 42-4 41-4 40-4 39-4 38-4 37-4

36-6 35-4 34-5 33-6 32-6 30-531-5

31-5 30-6 29-5 28-5 27-4 25-5

24-4 23-4 22-5 21-6 20-6 18-419-5

17-4 16-6 15-4 14-6 13-5 12-6 11-6

10-5 9-5 8-5 7-5 6-5 4-65-6

26-6

57-5

54-6

4-66-510-5

51-4

44-4

11-6

26-6

23-4

123

5.0000 5.0000 5.0000 6.0000 4.0000 5.0000

4.0000

6.00004.0000

94°

4.0000

4.0000

99°

5.0000 4.0000 4.0000 4.0000 4.0000 4.0000

4.0000 4.0000 4.0000 4.0000 4.0000 4.0000

5.0000 6.0000 6.0000 5.0000 5.0000

5.00006.0000

5.0000 5.0000 4.0000 6.0000 5.0000

4.0000 4.0000 5.0000 6.0000 6.0000 5.0000 4.0000

4.0000 6.0000 4.0000 6.0000 5.00006.0000

6.0000

5.0000 5.0000 5.0000 5.0000 5.0000 6.0000 6.0000

90° 92° 93° 95° 96° 97°

100° 100° 100° 100° 100° 100°

100° 100° 100° 100° 100° 100° 109°

110°111° 113° 114° 116° 117° 119°

121° 123° 125° 128° 131° 134° 138°

142° 147° 152° 157° 163° 169° 176°

178° 171° 165° 159° 153°148°

144°

141° 137° 133° 128° 123° 117° 110°

14°

4.7160

3.0854

3.9950 4.7623

3.0966

3.9950

14° 16°

3.1225

4.8610 3.9950 4.9142 3.9900

3.1989

4.9708

3.1547

3.99505.0313

3.1756

3.99005.0966

3.1959

3.9950

5.1674

3.2209

3.99505.2448

3.9950

3.3077

5.3300

3.2836

3.9950

17° 18° 19° 20°

21° 23°

5.4245

3.3232

3.9950

3.3145

3.99505.4984 5.6498

3.4261

3.9950

5.9428

3.5769

3.9950

24° 25° 27° 29°

33°

3.6797

4.04606.3424

3.8092

3.9950

3.9751

6.6030

3.9950

3.9965

6.7862

3.9950

3.9963

6.9638

3.9950

3.9956

4.0247

3.9954

7.6764

3.9950

3.9952

7.8165

3.9950

3.9951

7.9205

3.9950

3.9950

7.9792

3.9996

4.0000

7.9867

3.9900

7.9426

4.0000

35° 38° 41° 44° 48°

62°67° 73° 79° 86°

92°

99°3.9900

7.8519

4.0167 4.0000

7.7235

4.0411

7.5683

3.9900

4.0331

7.3967

3.9166

4.0025

3.9963

4.0000

6.9219

3.9966

4.0000

3.0348

4.4536 3.9950 4.4975

3.0418

3.9950 4.5407

3.0501

3.9900 4.5838

3.0582

3.9900 4.6271

3.0659

3.9950 4.6710

3.0752

3.9950

105° 111° 117° 122°

9° 10° 10° 11° 12° 13°

129° 132°

137°142°

147°153°

142°

160°

7.1371

4.0024

3.9938

7.3580

3.9946

4.0023

7.5728

3.9955

4.0020

7.7641

3.9966

4.0016

3.9961 3.9993

4.0043

3.9950 3.9950

3.0000

4.0726 3.9950 4.1423 3.9900 4.2044 3.9950 4.2608 3.9950

3.0000 3.0039 3.0073 3.01173.0168

4.3129 3.9950 4.3619 3.9950

3.0224

4.4086

3.0284

3.9950

5.7859

3.4939

3.9950

7.3321

3.9958

3.9950

6.5027 6.7193

3.9317 3.9342

7.1473 7.9897

7.1473

3.9961

3.9950

7.5114

1° 3° 4° 5° 6° 7°

8°

52°

57°

31°

176°

57-5 56-5 55-5 54-6 53-4 52-5 51-4

50-4 49-5 48-4 47-4 46-4 44-445-4

43-4 42-4 41-4 40-4 39-4 38-4 37-4

36-6 35-4 34-5 33-6 32-6 30-531-5

31-5 30-6 29-5 28-5 27-4 25-5

24-4 23-4 22-5 21-6 20-6 18-419-5

17-4 16-6 15-4 14-6 13-5 12-6 11-6

10-5 9-5 8-5 7-5 6-5 4-65-6

26-6

57-5

54-6

4-66-510-5

51-4

44-4

11-6

26-6

23-4

slat spacing

5.0000

128°

6.3424

3.8092

3.9950

38°

124

plan

125

section

126

127

d i o r a m a s

PAVILION III

128 Aleksandr MergoldAleksandr Mergold

129Lauren GluckLauren Gluck

130 Varvara Larionova

131Andres Gutierrez

132 Anton Dekom

133Andrew Heumann

134 Peter Levins

135Rachel Tan

136 Austin Beierle

137Varvara Larionova

138 Peter Levins

139Ksenia Chumakova

140 Elease Samms

141Natalie Kwee

142 Vinit Nikumbh

143Lauren Gluck

144 Vinit Nikumbh

145Daniel Marino

146 Natalie Kwee

147Ishita Sitwala

148 Eric Johnshon

149Rachel Tan

150 Aditya Ghosh

151Alexander Brodsky

152

153

p h o t o s + i m a g e s

PAVILION III

154

Fabrication of parts

155

156

Caption Format

157

158

Constructing and installing the core

159

160

161

162

163

164

Promotional Material

165

166

Promotional Material

167

168

169

170

171

172

173

174

Exhibition of the book

175

176

177

178

179

180

C O N C L U S I O NTHE TH I RD WAY

This semester coincided with the opening of Milstein Hall, a new facility for

the Department of Architecture. In a more pronounced way than in our prior

facilities, this new building places all studios on a single continuous plane, with a

minimum of division between studio spaces. Across this seemingly unified plate,

however, the endeavors of our group of fifteen were easily distinguishable from

those of the neighboring studios.

Amid a sea of students hard at work on advanced digital scripting and compu-

tational models, material experimentation, site analyses, or rigorous political re-

search, there was an air of mystery about our studio, where the answer to "What

exactly are you doing?" wasn't always straightforward. And that was only one of

many questions posed by curious (or incredulous) passers-by—

181

T h e T h i r d Wa y S t u d i o P a r t i c i p a n t s

"You're making scrolls about Russian History?"

"Don't you have to do plans or sections?"

"What is that thing you're building outside?"

"What do you mean, you're having a party instead of a final review?"

Though viewed individually, many of our semester's efforts seem like disparate ex-

periments, which beg more questions than they answer, seen together, our collages,

reinterpretations, films, postcards, and pavilions take on a certain coherence. Espe-

cially when seen through the lens (or the many peepholes) of our final construction,

it is possible to read a collective effort at cultural production, in all of its non-

linearity, non-literalism, and confusion. Pavilion III, our Peep Show, is the means

by which our memories, learnings, misunderstandings, projections, and fantasies

coalesce into the ultimate object of architecture: the production of space.