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Doron Serban
MASTEROFARCHITECTURE2008
SyracuseUniversitySchoolofArchitecture
BACHELOROFARTS;Music2001
MinorofArts;HistoryUniversityofCalifornia,Riverside
CONTACTINFO:
3632TrintelCt.
WalnutCreek,CA94598
925.482.5256
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EDUCATION
MASTEROFARCHITECTURE2008
SyracuseUniversitySchoolofArchitecture
ThesisAwardsJury:COUNTERPOINT:anArchitectureofAir
BACHELOROFARTS;Music2001
MinorofArts;History
UniversityofCalifornia,Riverside
PROFESSIONALEXPERIENCE
ILLUSTRATOR 7.2005-5.2008
Autodesk,Inc. SanRafael,CA
ARCHITECTURALVISUALIZER 6.2006Current
Freelance Syracuse,NY
MUSICPRODUCTIONSERVICES 8.20026.2006
Freelance Oakland,CA
Filmscoring,commercialprojects,livetracking,sounddesign,compositions,visualsincludingcoverdesigns,animations,linergraphics
JAZZPIANIST 3.2000Current
Freelance Northern/SouthernCAExperiencedinsolojazzpiano,smallensembles,bigband
DESIGN/BUILD: GHOSTARCHITECTURALLABORATORY 6.20077.2007
IndependentStudy NovaScotia,Canada
Design/buildofabarnontheMacKay-Lyonsfarm.
VOLUNTEER
HabitatforHumanity 5.20056.2005Laborer Buffalo,NY
Assistedwithconstructionof5single-familyresidences
CURRICULUMVITAE
TechnicalPublishingDepartment:LayoutandgraphicsforNewFeaturescue-cardsforAutoCAD2009,3Darchi-
tecturalcontentfortheBuildingYourWorld(AutoCAD2007);ContentcreationfortheNewFeaturesWorkshop
(AutoCAD2007,AutoCAD2008);SampledrawingsandillustrationsforAutoCAD(2007-2010),samplecontentfor
AutodeskImpression
3Dmodeling,lighting,texturing,rendering(photoreal,npr),animations,compositing,imagingsolutions,portfoliode-
sign,musiccomposition,musictracking;projectsincludevisualizationforinternationalcompetitionentries,renderings
forpublication,renderingsforbuilt-workawardsubmissions,animationsfordesignproposals
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ACADEMICEXPERIENCE
TEACHINGASSISTANT
SyracuseUniversitySchoolofArchitecture 1.2007-Current
DESIGNCRITICSyracuseUniversitySchoolofArchitecture 3.2008
MediaII(Prof.Sprecher)
SyracuseUniversitySchoolofArchitecture 2.2008
ArchitecturalDesignII(Prof.Tirone)
PUBLICATIONSSyracuseUniversitySchoolofArchitecture 1.20065.2006
GradSessionsConversationsWithGregLynn
Flashsitedevelopment,animations,anddiscmasteringofthedesignprocessfortheSLavinHouse(GregLynn)
BuildingYourWorld:ConceptualDesignandVisualizationwithAutoCAD, 2006
Illustrations
Autodesk,Inc.
Intersight:JournaloftheSchoolofArchitectureandPlanningv8.05, 2005
AssociateEditor
BuffaloBook
DesignDocumentationofWoodframeProjectIndexBuildings, 2003
Illustrations
CUREEPub.NOW-29
SKILLS
LANGUAGES
French&Hebrew:fluent
SOFTWARE
FABRICATION
CNCMilling,3DPrinting,LaserCutting
InstructioninAutoCAD(2D/3D),3dsMax8/2009,Renderingconceptsandapplication,parametricmodeling,animation,
Microsoftoffice,lighting,NextLimitRealFlow,AdobeCreativeSuite
3dsMax,MentalRay,AutoCAD(2D/3D),Rhinoceros,RhinoScript,AutodeskImpression,MayaRealFlow,Cinema4D,AdobeIllustrator,
AdobePhotoshop,AdobeInDesign,AdobePremiere,AdobeAfterEffects,SonyVegas,SonySoundForge,CakewalkSonar
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COUNTERPOINT
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COUNTERPOINT
COUNTERPOINTANARCHITECTUREOFAIR|BRUSSELS,BELGIUM
EdgardVaresepositshisPoemeElectronique(forthePhilipsPavilionatthe1958
WorldExpo)asthespatializationofsonicmassesmovingagainsteachother.As
such,ittranscendstheaural.Itisamusicbeyondnotes.Thisresponsivearchitec-
tureisanatmosphericdescriptionbymeansofapassagefromthatsong.Itisthe
expressionofanarchitectureofair;apavilionexploringthespatialpotentialities,
andthetectonicsinvolvedinfabricatingtheseexperiencesatmultiplescales.
Ininvestigatingthecontrapuntalthroughthepolyphonyofmusicandarchitecture,
mathematicsasaformallogic,acomputation,becamethelanguageoftransla-
tionbetweenthetwo.Architectureandmusicseektomakeconcretedesire.An
abstractionviamathematicallogicprovidesthepossibilityforanewness,manifest
outthesynthesisofa question(thearts),a hypothesis(mathematics),andthe
evaluationoftheexperience(thefeedbackloop).
Thepolytope,constructedoutofareadingofThePhilipsPavilionsarchitect,Ian-
nisXenakis,servesas theframeworkfor thisinvestigation. TheDigitaldomain
propagatesanenvironmentwheremusicismore thansound,wherearchitec-
ture transcends form. If virtualspace shiftsmusic, vis-a-visnotation, from the
representationaltotheanalytical,intelligence,combininglogicalandintuitivedeci-
sion processes,materializes. Apolytopeis composedthrough theinteraction
ofarchitecturalandmusicalthoughtsandmeans.Counterpoint,asapolyphony
ofindividualthreads,investigatesthemorphologyofinvariants(traditionalarchi-
tecturaland musicalconstructs)andanamalgamofmusicalandarchitectural
encounters.
AaronSprecher
ScottRuffADVISORS
MichaelPelken
AlexanderEisenschmidt
JURY
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JuliaCzerniak
PhuDongSTUDIO PROFESSORS
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COUNTERPOINT
Sonic Artifact
software: Sound Forge, Excel
Point cloud in Rhino
Points as Structure
Lofted Cross Sections Voronoi Tesselation
Points as Space
Sonic Mass
Sonic Range
Kill Point
Programme PossibilityAesthetics
PotentialsAleotoric
Map
Map
Map
(x,y,z) = (Time, 0, z)
(x,y,z) = (Time, Mid Point, 0)
determinent for vertical / horizontal shifts
Poeme Electronique stereo
recording
Analysis
Analysis
Application Data Set
Elements
ARCHITECTURALSOUND
EdgardVareseaspiredto createsoundas aspatial
construct,. The first mode of inquiry looked at an
abstraction to mathematical logics, an
investigationcommencedtodevelopsaidworkspatially.
The 480 piece is comprised of four
segments: Exposition (0) , Development (2),
Recapitulation (4) and Coda (6). The protocol for
sonic mass is a means of understanding the
compositionalmeritsofVarese,hisaspirations,anda
wayoftakingadatasetfromoneart,andestablishing
itasthegeneratorforanother.
Sonic mass produces a number that computes
multiple variables that Varese utilizes to attain a
spatialityofsound.Ratherthanavisualizationofthe
piece,itisacarefulanalysisofhowsound,time,and
the analysisof aural phenomenon cangenerate an
equation. It is derived to calculatemaximum sound
protocol
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waves,thefrequencyrangesaidwavesoccupyatanygiventime(totalrange)anda
variablethatusesNfactorialtoaccountfortheaccumulationofsoundsovertime.
Usingthisdataforatestonthefirst20secondsofthepiece,timewasmapped
linearly,allowingforsonicmasstobecreatedintime.
Movinginto3dimensions,thetotalrangewasusedtocreatethespreadofthe
soundsatanygivenpoint.Systemswereinsertedduringtheanalysis.Onesuch
systembecamethekillpoint.Understoodasa bottomlevelforafrequency,it
allowedtoanalyzewheresoundscouldbeminimalenoughtowarrantnon-use.
Thatpoint,relative totheoverallrangeinformedagroundplanemanipulation.
Lastly,thekillpointsrelationtothefollowingpointdeterminedwhetherthecenter
lineforthefollowingpointwouldbeinlineshiftedright(greaterthanprevious)
orshiftedleft(lessthan).
detail of mapping at initial condition (above), mapping across 8 seconds (below right)
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COUNTERPOINT10
PHASE1:EMPIRICALESSAYS
Thefirstseriesofessaystesthowairbehaveswhenconfrontedwithan
interface.UsingRealflow,gustsofairwerepropelledthroughaseriesof
aperturesandanalyzed forshifts indensity,pressure,turbulence,and
emergentform.
Derivativesbecameamajorelementofthedesignprocess.Carewas
giventonotcreateahegemonyforeitherthequantitativetoolsfound
within RealFlow, nor through the qualitative capabilities embedded
in the resultant animations - as evolving surfaces- when exported to
visualizationtools(3dsMax).
animation of 2 radius aperture conflict (above)axonometric and cross section of 2 radius Conflict (below)
opposite:analysis of a 2 radius aperture resulting in form
derivation
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11
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1
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resultant form from angle derivations of ball oon conflict(above)
animation (bottom)
opposite:density reading of balloon conflict (left)
pressures reading of balloon conflict (center)
initial form generation of conflict (right)
COUNTERPOINT1
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1
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COUNTERPOINT1
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1
PHASE2:SITESPECIFICITY
Thesecondphasefocusedonapplyingsaidconflicts,asalexicon,totheoriginalsiteofthe1958WorldExpo.TheBrusselssitewaslocatedtocreateadidacticrelationshipbetweentheoriginalPhilips
Pavilionandthisarchitecturalresponsetothemusicwhichformedthetripartite.Thepavilionseason(April-
August)wasmappedthroughwindroses,andasiteprioriadjacenttotheoriginalPhilipslocation
wasclaimed.
Thestrongestcurrentonsiteinformedthefirstconflict. Anarchitecturally-appropriateexpres-
sionofthefunnelmorphologyasaninsertionintothelandscapebeginsanewdialogue.Themodel
whenbroughtbackintoRealflow,createsanewreadingwhenactivatedatamuchlargerscale.
September conflict in motion (above)
opposite:(clockwise from left) time-lapse of pressures at October Conflict,
Perspective of September conflict in motion,October wind rose at site.
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COUNTERPOINT1
Whatemergesisafourdimensionalreadingofanambiguousarchitecture.Theevocativenature
ofrenderingsproduceenvironmentswhichblurthedistinctionbetweentherealandthevirtual.
Thearchitecturebecomesboththespatializedmappingofairinterfacingwiththelandscapes,as
wellastheinsituarchitecturesevokingaRichardSerrareadingofobjectsinthelandscape.As
Derivativesforvariousmonthsaregraftedontothefirstconflict,creatinganewcounterpointof
individualconflictswhichworkinharmony.
Theambiguityinthearchitecturesopensup apotential fordestabilizingthedefinitivemoment.
Thearchitecturecanbereadasanimage,anobject,evenananimation.Itceasestoberealor
virtual, butbegstobeboth.Thelackofanyscalarsignifiers,eveninthematerialdelineations
hintsatmanyscales,fromtheminutetothemonumental.Thearchitectureceasestobeanything
otherthanitself.Itisdevelopedthroughahistorical,analytical,andphenomenalsensitivitybuttruly
autonomousasaformalexpression.
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1
June Conflict in motion (above, below),opposite: June Conflict detail
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COUNTERPOINT0
final model, 1/116 (right)
opposite:East Entrance looking into Exhibition Pavilion
PHASE3:PROGRAMMED
The essays were further developed into a
proposal for a programmed space., cel-
ebrating the planned 50th anniversary of
theoriginalPhilipsPavilion. Programmatic,
tectonic, topological and typological re-
quirements were analyzed through mul-
tiple conflicts to create a hybrid conflict.
Toemphasize theephemeralandethereal
nature of air, the skin was developed as
theprimarysystem.Ratherthan createa
mimetic architecture vis-a-vis the second
phaseessays,animpossiblesurfaceispro-
posedwhich requiresan impossible struc-
ture.Thebuiltartifactquestionstherolethe
grotesqueinarchitecture.
Thetraditionalseparationofapavilionfrom
thelandscapeviaaplinthisinterpretedtobe
anautonomoushorizontalcreaturesituated
onacompoundslopedlandscape.Thepavil-
ionsgroundplaneimpregnatesitselfintothe
Eastern opening, but cantilevers on the
Westernfacade,signifyingitsindependence
from the landscape. This is further articu-
latedwith thebrakingdownofthe skin as
acontinuoussurfaceonthenorthernface,
blurringinteriorityandexteriority.
Theproposalisthusbothintrinsictoitscon-
textinthedesignprocess,butissimultane-
ouslyreadasanautonomousfigureonthe
landscape.Itquestionstheroleofprocess
andproduct,ofwhetherthedidacticreading
referstotheaudience,ortoitscomposer.
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1
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COUNTERPOINT
-32
-26
+0
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+0
ExhibitionPhilipsPav
Forum
Projected
sound:PE
Experiential
Wall
ExhibitionTBD
exploded axonometric (above),plan (top right),
interior (bottom right),
opposite:opening of the Western facade
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COUNTERPOINT
ATHOUGHT
Itishardtowriteabeautifulsong.Itishardertowriteseveralindividuallybeautifulsongsthat,whensungsimultaneously,soundasamore
beautifulpolyphonicwhole.Theinternalstructuresthatcreateeachofthevoices,separatelymustcontributetotheemergentstructureof
thepolyphony,whichinturnmustreinforceandcommentonthestructuresoftheindividualvoices.Thewaythatisaccomplishedindetail
is... counterpoint JohnRahm
West elevation with skin removed (top),
opposite:final model on site, 1/16
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saduhfsa diuhf aef iuhfeaf ewafeahfdahufd fdsahfea uhfeafe
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N.PRK
N PRK
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N.PRKTAYLORYARDS_PARK_NOPARK_UNPACK_UNPARK|GRADUATESTUDIO|FALL00
DissonanceisourwayoflifeinAmerica.Wearesomethingapart,yetanintegralpart
-DukeEllington
TaylorYardsisdissonance.Whatwasonceatraindepot;whatwasonceanindustrialsite;what
wasonce.Itis ina constantstateofchange:seasonally,demographically,financially,politically.
75yearsof(ab)usehasleftthesitewithanidentity:thelackofone.LikeLosAngelesitself,n.pRk
organizesthroughsimultaneity.WhereLAsvariousentitiesremainautonomouswhileinforming
thewhole,n.pRkclaimsaseriesofindependentexperiences(entities),indifferenttoeachother,
informingeachother;intrinsicallyformingagreaterwhole:adissonanceofexperience.
DISSONANCE_FREEJAZZ
Theemancipationofdissonanceproclaimsthateachentityachievesitsownstateofconsonance.
Carriedthroughfreejazz,wherestructuralsystemsareimplied,looselyutilizedorabandoned,
dissonanceisusedasapointofdepartureinorganizingthesite.WiththeMilesDavisQuintetas
acasestudy,FlamencoSketchesismappedinrelationto(tonal)formand(rhythmic)structure.
Eachmemberofthequintetsolosoverthesameseriesof fivemodes,whilethedurationeach
soloistplayswithinsaidmodesisdependentonhisownlogic.Thesameformallanguageisused
byeach,butthroughpersonalization,itisexpressedatdifferentscales,Thoughnoformaltonal
norrhythmicmelodyexists,onecanreverseengineeratheme,aseachmemberbuildsuponthe
previoussoloists.
DISSONANCE_SOLO
n.pRkisorganizedthroughaseriesofentitiesorfixedpoints:Thebuiltcomplex;thesportcourtsat
thechannel;thedepressedathleticfield;thedogpark.Alltheseentitiescarrytheirownepicenters.
Theformulationofeachentity,directedviatheprecedenceofthepriorformulation(s)informsan
improvisatorylandscape;autonomousand intrinsicallylinked.Thebuiltcomplexstorquedform
Reflections along the LA River (top, above)Section across pool (below),
opposite:Double Hinge Ideagram
JuliaCzerniak
PhuDong
STUDIO PROFESSORS
connects to Los Angeles and to Taylor Yards specifically. The chaotic
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connects toLosAngelesand toTaylorYards specifically.Thechaotic
rotationsof planesin theverticalandhorizontal-overlapping,ignoring
andinforming-reflectLAsstreetgrids.Thesite,atraindepotatone
pointinitsseventyfiveyearhistoryre-emergesthroughaknucklecondi-
tion.Virtuallyeveryaxialrotationwithintheparksentitiescanbetraced
tothisloci.
DISSONANCE_HARMONY
Sounds from different entitiespermeatethe site. Barkingat thedog
park,tennisballsandbasketballsatthesportcourts,skateboard/inline
wheelsatthepoolandattheconcretespreadingground,swimmersand
diversallhavedifferentrhythmicandauralcadencesbutevokeanurban
harmony.Appropriation isamajorcomponent ofn.pRk. Theconcrete
spreadinggroundsdrawinspirationfromLAsskateboardcultureofthe1970s,andaredesignedtoallowskatersasafehaven.Thedepressed
athleticfieldservesasathreetieredemergencyfloodbasin.Thesteps
alongtheriverbank,repeatedatvariousscalesthroughoutthesitearea
pointofinteraction,andregisterwaterlevels.Theformedamphitheater
istheprimaryspreadinggroundforthesite.
DISSONANCE_COUNTERPOINT
TreesareplantedthroughoutthesitetoreinforcetheCypressstreetdirectionality.Indoingso,theycreateadissonancewiththedominant
N.PRK
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street,SanFernando,whichrunsparallelto thesite.Theentitiesreflecttheimmediateaswell
asthelocal.FollowingthefivemajorgreenspacessurroundingTaylorYards-ElysianPark,Cy-
pressPark,SilverLakeRecreationCenter,ElyriaCanyonParkandErnestDebsRegParkthe
entitiesaredevelopedwithacommonlanguageandpartofthelocalframeworkofthecity,yet
autonomousthroughappropriationandenvironment,propagatingmultipleuser-site&user-user
experiences.
DISSONANCE_TEMPO
The site can be experienced at different speeds. Direct routes between the entities are an
analogue to the mapping of the surrounding parks. Every entity accommodates an autono-
mous interaction, and the user can roam through the park, losing oneself within thismicro-
cosm of LA. Points within these circulation paths delineate speeds. Athletic stations at ev-
eryquartermile throughout amajorityof thepaths (the active segment) balance thehidden
pleasures- paths thatleadtomeditativepoints.On a largerscale, vehicularpaths donot loop
aroundthepark.Thetworoadsonlyserveasaccesspoints.Pedestrianbridgesacrosstheriver
connectthecommunities,butn.pRkservesasabuffer.Reststationsworkatmultiplescales.In
theimmediate,theyformasparkbenches;forover-nighters(LAs80000homelesspeople)they
transformtosleepingplatform.
(from top to bottom):section at public bathroom
section at half pipesection at pool complexSuperimposition Ideagram
opposite:plan (left,)Dissonance mapping of pianist Keith Jarrett (bottom right)
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0
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1
ENVISIONINGPOTENTIALS|FREELANCE
ENVISIONINGPOTENTIALS|FREELANCE
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VISIONS
photos under construction (above top), shading/skinning studies (right, opposite)
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GHOST 09NovaScotiaBrianMacKay-LyonsARCHITECT
skinning/lightingstudies,competitionrenderings
WORKCOMMISSIONED
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VISIONS
LANDESGARTENSCHAU 2010Hemer,Germany
MichaelPelken+MarkusHermann(energydesignlab)
ARCHITECT
competitionrenderings
WORKCOMMISSIONED
JoshCabot(additional3Dmodeling)
PROJECTCOLLABORATOR
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VISIONS
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QUEENS PLAZA BICYCLEAND PEDESTRIAN
IMPROVEMENT PROJECTLongIslandCity,NYMarpilleroPollackArchitectsARCHITECT
animation
WORKCOMMISSIONED
BruceDavison(3Dmodeling)ElizabethTweedale(photoshopcompositing)
PROJECTCOLLABORATORS
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COMMUNICATIONSCHURCHOFTHELIGHT | ANALYTICALCONSTRUCTS
DanielDadoyan
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0
|
PROGRAMUsingacombinationoftwo-andthree-
dimensional paraline views,
assemblea spatial sequencethrough
the precedent. Analysis of spatial
logic is crucial The medium is ink
ona 30 x40 sheetofDuralar.Any
combination of scales ranging from
1/16=1to=1isacceptable.
CONCEPT
Direct light is traced through
the church. Light projections are
orthographically mapped onto walls,
thereafter deconstructed to form
a continuous band of light traveling
through the composition. The resul-
tant form begins to read as a play
betweenanaxonometricandaplanned
shadow.Thefinalrendering,produced
with Rapidograph pens on the front,
incorporatesareverse-sidespraypaint
underlay. The result (detail below)
allowslighttobounceoffthedrawing.
BUILDING VIEWS
Communications exploressystems of architectural representation as
intellectualand analyticaltools,by introducing (precedent) analysisas
aspeculativeandcreativemodeofinquiryinarchitecture.UsingTadao
AndosChurchwiththeLight(ChurchoftheLight)aaseriesofseven
Exercises-DrawingBuilding,BuildingViews,BuildingPerspectives,Build-
ingProjections,BuildingSections,BuildingDrawings,andPortfolio-aims
toproduceabodyofanalyticalworkthatnotonlyexploresusesofdigital
toolsintheproductionoftwo-dimensionalandthree-dimensional,physi-
calconstructions,butfamiliarizeskeyexamplesof20thcenturyarchi-
tecture.
PROFESSOR
COMMUNICATIONS
BUILDING SECTIONS
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1
PROGRAM
Sectioninghasbeenusedasatoolto
analyzeandtostudybuildingsandbuild-
ing details. With the introduction ofMagnetic Resonance Imaging, repeti-
tive virtual sections through thebody
havebeenutilized to reconstruct the
entirehumananatomy.Inthisexercise,
exploration equivalent to the MRI in
architecturewill be explored.Digitally
reconstruct theentire building as an
assemblyofsections,each1/8thick,whichwillbelasercutin1/8acrylic,
and assembled together. Consider-
ationforthemethodofassemblyisof
utmostimportance.
CONCEPT
The role of mathematics and the
universal has an important con-
sideration in the church. Andos
sketches reveal three cubes,
representingtheTrinity,astheorganiz-
ingprinciple.Ifoneunderstandsperfec-
tiontoexistinboththecubeandsphere
(visavispuregeometries),thesphere
isrealizedthroughthesectioningofthis
diagrammaticrealizationofthebuild-
ing.Duetoacombinationofthe15de-
greecuttingwallandthestepswithin
thechurch,eachspherehasaunique
relationship to the building. The first
sphere is ingrained within thecutting
wall.Thesecondsphere,ispartiallycut
viathecuttingwall,witha loose base
andtop,andthelastsphere,closestto
thecross,iscompletelyremovable.
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BUILDING PROJECTIONS
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PROGRAM
Toconstructtheperspectiveviews,the
rules of two-dimensional perspective
construction were applied. The con-struction lines of perspective projec-
tion define nonetheless a three-di-
mensional space from which a flat
perspective image is derived. Using
fine wire and solder, construct the
projection lines emanating from the
stationpointsdefinedintheprevious
drawing,choosingthreeofthesevenperspective projections. Propose an
alternative picture plane(s) that will
literally intersect the projection sys-
tems.
CONCEPT
Lightthroughthegridcreatedoutof
solderedpointsinformsanewarchi-
tecturevis-a-vistheBuildingPerspec-
tives exercise, creating a multi-level
form which interacts with the shad-
owedprojections,Thefoam-coresur-
face references the churchs glass
likeconcretefinish,diffusingthelight
evenly.Photographyintroducesanoth-
erlayerofcomplexity(throughsimplic-
ity).Theshootinganglecreatesspatial
hierarchies,furtherreferencedinthe
documentation.
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TYPOLOGY
TYPOLOGYCONSTRUCTINGTHEIMAGE|PHOTOESSAY
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Thestudyapproachestheroleofsubjectandobject.Thefacesareaskedtoposeinfrontofthecamera,andtoactnaturally.Perversionofowner-
ship canbe readas asocialexperiment,wherebyinitial resistance to
being includedin thephoto-essayis replacedwithaninnatedesireto
controloneownsfacepresentedtotheworld.Inevitably,eachsubject
requiredphotoapprovalandbecamebothsubjectandphotographer/
director,refusingtosettleonanythinglessthanhisorheridealizedself.
Thatidealizedselfreflectsthesubjectsassumedpersonality.Howeach
subjectdefinestheidealizedself,ispresentedinasterile,decontextual-
izedcollage,wheregestures,textures,orabstractionsrevealsanintensi-
ficationoftheroleofrepresentation.
MarissaTirone
PROFESSOR
FOUNDATIONS
focuses on foundations, or earth-
works, as both form and con-
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,
cept, and on the process and
spatialramificationsofcastingthroughthe
useofhydrocal.Craftandaneconomyof
meansareofextremeimportance.
FRAMEWORK
continues the investigation into
space making through tectonic
frameworks. Concentrating on
interpretationsoflightframeconstructiontechniqueasameansoftranslatingspa-
tial logic of the foundation into framed
spaces.
SKIN
sheathes basswood frameworks with
acrylic/plasticmaterials,once again ex-
tendingand refiningthespatial logic es-
tablishedonsite.Theprojectmustutilize
3 skins: transparent, translucent, and
opaque.
BUILDING | THINKING | MAKINGANALYTICALCONSTRUCTS
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BasedonSemperstheory,astudyofKenneth
FramptonsStudiesinTectonicCulture, sepa-
ratesbuildingintostereotomic(foundation),tec-
tonic(framework),andskin..Thisstudyfocuses
on casting/mold making (hydrocal), tectonic
construction (basswood), and skin/sheathing
(plastics/acrylics).FramptonarguesthatSem-
perstheoriesprecedemodernismandwerea
harbingeroflaterargumentsaboutstructural
expression, the separation of structure and
cladding/skin,andeconomyofmeans.Through
theintroductionofasimpleprogram,theproj-
ectcallstomindpotentialsfortherelationships
betweenspatialandmaterialsystems.
-JeanlaMarche
JeanLaMarche
STUDIO PROFESSOR
Architecture/Music
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Posing of a question
Intuitive reapplication
Subsequent repetition
Testing possible hypotheses
Abstraction to systems (Sn)
Mathematics Abstraction
EmergenceComplexity
S1 S2 S3 S4 Sn
Organism
POLYTOPES
POLYTOPESTHESISPREP|SOFTWAREEXPLORATION
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Polytopesaretheresultantsofamethodbywhichdisparateelementscancometogether.The
fusionofnumerous(polys)spacesorlocations(topos)isawaytocombinetheauralandvisualinto
anewart,aimedatdiscoveringa(nother)universal.Withinavirtualenvironment,spacecanbe
dynamic,fluid;opportunitiesfordiscoveringnewtruths.
Theprotocol fordeveloping these polytopesbeginswitha question.Whatmight provoke this
questioncanbeintrinsic.Itcanbeextrinsic.Itframesthecontextinwhichthequestionisasked.
Abstractionthroughmathematicsandcomputationarearationalwaytoinvestigatehypotheses,
resultinginbothlogicalandemergentpossibilities.Thelogicalframework,usuallyinstigatedasa
complexentityshouldbebrokendown.Thebreakingdownofcomplexityintocellularstructures
isnecessary to gaina controloverthe processes.Without this control,chaoticbehavior,as
uncheckedintuitionandemotion,reignsupreme.Itisinthebreakdownofcomplexitythatanewor-
ganism,separateinfunction,butmutuallydependent,mightform,givingbirthtoanewart-system.
Thisinturn,shouldinciteanewseriesofquestionsoremotions,startingthecycleanew.
AaronSprecher
ScottRuff
THESIS PREP ADVISORS
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0 POLYTOPES
FOOTLOOSE
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1
A direct dialog between architecture
andmusic is dangerous. Theobvious
correlations-scale, colors of sound,
timbre-are coincidences at best, and
promote a superficial layering of the
two disciplines. To test whether this
is in fact fallacy, an experiment was
derivedinwhichanaudiosignalcould
effect a system, without becoming
self-evident. It functions inthe same
way a wind system might act on
particles,derivedwithitsownlogic,butnot
necessarilyapplicabletoitshost.
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POLYTOPES
What is the best way to control nature?
CHASING AMY
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Should it be controlled, or is the goal to
record,orobservenature asan emergent
process?Thisexperimentaimedtorecreate
thenatural,abetwithinanorderedsystem.
LebbeusWoods argues that architecture
arises as a creative engagement with
conflict. The exception, however, is when
architecturemustbe introduced tocreate
conflictwherenoneexists.Aparticlesystem
becomesthe concretization of thissystem.
Particlesemitfromarandompointwithinaplane(randomseed
generator). A gravitational vortex conflicts
the expulsion of the particles, creating a
dialoguebetween attraction and repulsion.
Loftingsaiddialoguecreatesanemergence
condition, whereby minute (and not so
minute) changes among any of a number
of variables creates an immediate formanalysis.
emmiter
vortex min
vortex max
particle destructor
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