ABSTRACT Title of Document: Toward an Architecture of Suspension: Promiscuous Collisions of Transient Cartographies Degree Candidate: Farzam Yazdanseta Degree and Year: Master of Architecture, 2008 Thesis directed by: Professor and Dean Garth C. Rockcastle, FAIA Assistant Professor Michael A. Ambrose Professor of the Practice Gary A. Bowden, FAIA Many political experts argue that we have tried too hard to fully resolve international and geopolitical conflicts by trying to negotiate full and lasting resolu- tions. International crises are dangerous episodes that are destabilizing not only to those directly involved but also to the entire international community. Long and exhaustive methods aimed at negotiating conflicts to end crisis have not been ef- fective and have resulted in deaths and human suffering that may not have been necessary. What is evident is that international conflict is increasing and has ren- dered the world as a more dangerous place to live and has exposed future genera- tions to greater peril. A growing number of experts in the United Nations diplomatic community contend that the best and the most expeditious way to end deadly violence in the world is to suspend conflict, to promote and extend a suspension of conflict, rather than seeking to overcome it. This thesis will investigate and explore the ways in which qualities of architecture can assist the suspension of deadly conflict. I am interested in discovering how architecture can help diminish the in- tensity and scale of conflict by creating a place where constructive talks between conflicting parties can be best carried out. How can architecture help to achieve a greater comfort between conflicted parties when searching for a less threat- ening ground? Can architecture foster greater empathy between adversaries? Toward an Architecture of Suspension: Promiscuous Collisions of Transient Cartographies by Farzam Yazdanseta Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Architecture 2008 Advisory Committee: Dean and Professor Garth C. Rockcastle, FAIA, Chair Assitant Professor Michael A. Ambrose Professor of the Practice Gary A. Bowden, FAIA Assistant Professor Sonja Duempelmann II This thesis/work is llicensed under the Creative Commons Attribution-No Deriva- tive Works 3.0 Unported License. To view a copy of the license, please visit http://creativecommons.org/licenses/by-nd/3.0/ or send a letter to Creative Com- mons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. III dedicated to Garth Rockcastle Michael Ambrose IV This thesis would not have been realized without the help of my great friend John W. Bryant V Acknowledgements I am grateful to the following indivduals for their support and enthusiasm: Filippo Caprioglio, KEA Distinguished Professor Sarah Stein Elizabeth ?Libby? Babcock Mercedes Afshar Tannaz Alavi Isaac Williams Peter Noonan Benjamin Callam Nikki Finnemann Carl Lostritto Elizabeth Lacharite-Lostritto Andrew Wade and Assistant Professor Sonja Duempelmann for volunteering her time and her tremendous help throughout my thesis VI Table of Contents 1 8 16 36 51 67 71 136 intoruduction precedents site (de)code | (de)construction b3 thesis meeting b4 thesis meeting b5 thesis meeting b6 thesis meeting bibliography VII List of Figures 14 15 17 18 19 19 20 20 21 21 22 22 23 23 24 24 25 25 26 26 27 27 28 29 30 31 32 33 34 35 37 38 39 40 41 42 43 44 45 46 47 48 49 50 52 53 54 55 57 58 59 Fig 1. Kawamata Project on Roosevelt Island Fig 2. One and Three Chairs Fig 3. East River (de)code | (de)construcion Fig 4-5. East River in Manhattan Context Fig 6. FDR Drive Fig 7. Queensboro Bridge Fig 8. MTA Subway_EV Fig 9. MTA Subway_F Fig 10. MTA Subway_NRW Fig 11. MTA Subway_7 Fig 12. Queens Midtown Tunnel Fig 13. United Nations Fig 14. Manhattan_Long Island City Fig 15. Boundaries, 42nd and 52nd Streets, 1st Avenue Fig 16. Conflicts of the World Fig 17. Conflicts of the World_Manhattan Fig 18. Orientation_Conflict Fig 19.Orientation_Conflict_world_Trade Center Fig 20. World Trade Center Fig 21. U-Thant _Island Fig 22. U-Thant Island (Belmont Island) Fig 23. U-Thant (Burmese UN Secretary General) Fig 24. Anable Basin Fig 25. A Tree for Anable Basin Fig 26. Totemobile Fig 27. East River (de)code Fig 28. East River (de)code Fig 29. Roosevelt Island Growth Fig 30-33. Roosevelt Island Growth Fig 34-37. Roosevelt Island Growth Fig 38-39. Diagram Fig 40-41. Diagram Fig 42-43. Diagram Fig 44-45. Diagram Fig 46-47. Diagram Fig 48-49. Diagram Fig 50-51. Diagram Fig 52-53. Diagram Fig 54. Diagram Fig 55. Diagram Fig 56. Diagram Fig 57-58. Diagram Fig 59. Diagram Fig 60. Diagram Fig 61. Diagram Fig 62. Diagram Fig 63. Diagram Fig 64-65. Diagram Fig 66-67. Diagram Fig 68-69. Diagram Fig 70-71. Diagram VIII List of Figures 60 61 62 63 64 65 66 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 Fig 72-73. Diagram Fig 74-75. Diagram Fig 76-77. Diagram Fig 78-79. Diagram Fig 80-81. Diagram Fig 82-83. Diagram Fig 84-85. Diagram Fig 86. B6 Thesis Meeting_November 17_2008 Fig 87. B6 Thesis Meeting_November 17_2008 Fig 88. B6 Thesis Meeting_November 17_2008 Fig 89. Farzam Yazdanseta_Assembly Fig 90. Farzam Yazdanseta_November 17_2008 Fig 91-93. Fabrication Process Fig 94-96. Fabrication Process_Professor Ambrose_Mercedes Afshar Fig 97-99. Fabrication Process Fig 100-102. Fabrication Process Fig 103-105. Fabrication Process Fig 106-108. Fabrication Process Fig 109-110. Fabrication Process Fig 111-113. Fabrication Process Fig 114-115. Fabrication Process Fig 116. Fabrication Process Fig 117. Diagram Fig 118. Diagram Fig 119. Diagram Fig 120. Diagram Fig 121. Diagram Fig 122. Diagram Fig 123. Diagram Fig 124. Diagram Fig 125. Diagram Fig 126. Diagram Fig 127. Diagram Fig 128. Diagram Fig 129. Diagram Fig 130. Diagram Fig 131. Diagram Fig 132. Diagram Fig 133. Diagram Fig 134. Diagram Fig 135. Diagram Fig 136. Diagram Fig 137. Diagram Fig 138. Garth Rockcastle, FAIA_Thesis Chair Fig 139. Diagram Fig 140. Diagram Fig 141. Diagram Fig 142. Diagram Fig 143. Diagram Fig 144. Diagram Fig 145. Diagram IX List of Figures 112 113 114 115 116 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 Fig 146. Diagram Fig 147. Diagram Fig 148. Diagram Fig 149. 2008 KEA Disinguished Professor Filippo Caprioglio Fig 150. Peter Eisenman Fig 151. Professor Michael Ambrose Fig 152-153. Diagram Fig 154. Diagram Fig 155. Diagram Fig 156-157. Diagram Fig 158-159. Diagram Fig 160-161. Diagram Fig 162-163. Diagram Fig 164-165. Diagram Fig 166-167. Diagram Fig 168-169. Diagram Fig 170. Video | Animation Frames Fig 171. Video | Animation Frames Fig 172. Video | Animation Frames Fig 173. Video | Animation Frames Fig 174. Video | Animation Frames Fig 175. Video | Animation Frames Fig 176. Video | Animation Frames Fig 177. Video | Animation Frames  introduction ??Peace among men, it is important to note, is not the object of desire, not by any stretch of the historical, political, or sociologi- cal imagination. Nothing unites a community, with all the good fel- lowship and cooperation one can imagine, like the external threat of a common enemy. But the threat is originally internal; it is the violent threat of all against all. It is the annihilating threat of this internal difference, or difference, that we have rematerialized in the postwar, postmodern era; with the world itself at stake all differ- ences would by definition be ?internal? differences?war is a state of order, a classic state of lines and of columns, of maps and of strategies. It is a remedy to the violence of the furious, raging mul- titude?a society makes war to avoid at all costs a return to that state. Peace, then, is not the object of desire, but its by-product, the calm to which the deferred appropriation of the victim gives rise. It is a calm logically-that is, necessarily-attributed to the mi- raculous agency of the victim, thanks to whom for the first time something like a before (war) and after (peace), an outside (sa- cred) and inside (community), is marked-marked-, above all, as re- marked, for its experience is necessarily mimetic and collective?? Andrew J, McKenna Violence and Difference, Girard, Derrida and Deconstruction  Architecture can help suspend conflict. In order to do that it needs to be rarified and move beyond the normative expression employed in our typical surrounding world. This architecture needs to create a space and represent ideas to help compel us to act otherwise. Architecture of suspension can help critically awakens an otherwise passive and complacent public by stirring our imagina- tions and challenging our assumptions. It can thereby help us awaken empathy in other human beings and their circumstances or plights. It appears that 60 years of United Nations effort and agency has failed to resolve deadly global conflict. Conflict is a necessary byprod- uct of tensions and differences but conflict escalates to destructive levels when parties fail to see or accept dif- ferences in each other and come to abuse or transgress each other?s fundamental rights to exist. The ultimate goal for the new complementary United Nations Conflict Suspension Center on Roosevelt Island is not to try to eliminate conflict but to help suspend it. Architecture of suspension begins with a sharing of a presentation or choreography of the ?others? strife. At first, in Isola- tion, adversaries need to learn more of the other, their pain, their dreams and their needs. They prepare to open themselves to others. My thesis takes the position that this best happens on an Island that even though removed, is not isolated for it exists in close visual and spatial proximity to Manhattan and Queens. This simul- taneous separation and connection will be part of the  architectural language of my thesis, a new United Na- tions Center. I am proposing that by the means of art, theatre and exhibitions prepare adversaries to better understand each other. Divergent cultural values and perspectives along with utilizing more abstract, less con- ventional images and spatial qualities will be embraced in this thesis to help me set alternative design param- eters and discover new ideas for spaces that I believe can help bring the adversaries together. These will be- come spaces of sharing, healing and common ground. Spaces that facilitate building trust and empathy. In ad- dition, housing, another component of the program, will be designed to help brings adversaries closer together.  The si(gh)te, Southpoint Park, with its mythical history is charged for hosting such an event. Southpoint has had a history of shifting. Over its various incarnations, the outline of the islands southern tip has expanded dramatically, mainly as a result of manmade efforts and human impacts on the earth. At the time of its construc- tion, the Smallpox Hospital sat overlooking the edge of the island. 1975, the site had repositioned itself in such a manner that the building laid almost 900 feet from the islands southernmost edge. The island?s original boundaries are is now impossible to discern without a map. Design inspirations could be drawn from forces at work in and around the island, both visible and invis- ible. A fundamental question might be how is this ?new ground? that is being added (and lost?) in the river cor- ridor become an asset to the thesis? And how might the phenomena of that shifting ground become a part of the conceptual thinking about the project in this location? Some of these influences include the subway tunnel which transverses the island, the harsh tides of the East River with their diurnal swing in direction and sight lines to other natural and manmade New York phenomena. 5 ??The traditional sense of space is only produced in the very ges- ture of its subordination. To interfere with that gesture is to produce a very different sense of space, a sense that at once disturbs and produces the tradition. It is to mark this sense that Derrida uses the word ?spacing? a word that carries some of the connotations that the tradition attaches to space in its attempt to dismiss it but also caries senses that cannot be recognized by the tradition. To disturb the tradition involves subverting its attempt to detach itself from space by identifying that attempt as a form of institutional resistance that attempts to conceal the convoluted structure of the tradition that makes it The exclusion and subordination of space produces an or- derly fa?ade, or, rather the fa?ade of order, to mask an internal dis- order. The traditional anxiety about space marks a forbidden desire that threatens to collapse the edifice of philosophy from within...? Andrew J, McKenna Violence and Difference, Girard, Derrida and Deconstruction 6 Traditional Modern architecture, the language used to signify the United Nations identity, on the edge of East River in New York, I believe is now showing its limits. A new and more rare architecture could disrupt and the boundaries of this tradition by the means of spacing. Spacing is not about literal space (a noun) but what Der- rida describes as becoming space (a verb) or that which is meant to become without space (presence, speech, spirit, ideas, and so on). It is that which opens up a space, both in the sense of fissuring an established structure, dividing it or complicating its limits, but also in the sense of producing space itself as an opening in the tradition. Spacing is at once splintering and productive. As Der- rida puts it, ?spacing is a concept which also, but not ex- clusively, carries the meaning of a productive, positive, generative, force?it carries along with it a genetic motif: it is not only the interval, the space constituted between two things (which is the usual sense of spacing) but also spacing, the operation, or in any event, the move- ment of setting aside.? As an Iranian American, raised in Iran during the eight-year deadly conflict between Iran and Iraq, I am motivated to bring my personal emotions and recollections into this architectural language of this thesis project. For me architecture is a form of expres- sion that helps me release my personal and emotional feelings about my surrounding world. Iran has been a prime subject of international politics and major party of numerous heightened conflicts since the creation 7 of the United Nations. Architecture of the United Nations Center seeks to foster greater empathy between adver- saries in order to suspend deadly conflict. The success of projects like the Yad Vashem Holocaust Museum Complex in Israel, by Moshie Safdie, the Memorial for Murdered Jews in Berlin, by Peter Eisenman, and the Jewish Museum in Berlin, by Daniel Libeskind lies in the fact that their designs were conceived and realized by ar- chitects sympathetic to the Holocaust issue. Libeskind, Safdie and Peter Eisenman are all Jewish, not to mention that Daniel Libeskind?s mother was a Holocaust survivor. These architects have successfully created build- ings and commemorative sites that have been very strident and evocative about an awakening pro- cess. These commemorative projects make us aware of the past, make us open ourselves to others and open the path for a better and peaceful future.  ?...because of media the body has been cut off from the mind and the eye. In other words we become so accustomed to sitting, watch- ing TV, watching video, watching film, we become a sedentary cul- ture. What this building tries to do is to bring the body back into the mind-eye relationship. Because you are constantly being thrown off our guard. You are brushed up against things. Things are too small, too narrow; they are too wide; you feel a sense of your body in the space. Everybody can see everybody. You see bits of pieces fragments. You see people in ways you have never seen before. The building frames and reframes the body and activity and motion and that?s what is exciting. I did not want to make a static build- ing. I wanted to throw off. The walls tip and curve and move....? Peter Eisenman In Conversation with Charlie Rose about Aronoff Center for Art and Design, Cincinnati, Ohio precedents 9 ?...Architects give shape to the physical world and shape our mental world by choosing how to guide our minds eye. Architecture sets parameters on consciousness by holding the minds eye to certain capabilities of ap- prehension. Architecture both reflects and shapes how perceive ourselves and our communites. 9/11 abruptly changed the conditions of the culture around the world and the conditions of architecture. The September 11 terrorists were about terror and the spectacle. The planes were calibrated half an hour apart precisely so after the first tower was hit everybody would be watch- ing the second tower be hit. Those spectacular images of media have brought an end to postmodernism and also an end to the society of the spectacle. What is eroding the civility and culture of the western world is the fact we are turned into spectators and standing by and gradually watching things rather than participating in things. New Yorkers on September 11th experienced what it meant to be there unlike the world that watched the events unfold on TV. Dust, chaos and massacre at war zone, something United States had not experienced since the civil war, the most American deaths in one day. What this meant for architecture is that suddenly being there became important. Not watching something happen but being where it happened. Can architecture come back to a situation were we are no longer attempt- ing to become media darlings and try to produce images that conflict with media but in fact try to produce spaces 10 that cause people to be somewhere and feel that they are there. Architecture has been the one discipline that combines the mind, the eye, and the body unlike any other because it produces spaces that are important to the mind, eye, and the body and now architecture is experiencing a return to thinking about being there and with thinking about place and being there in relationship to a social constituency. You cannot make place for an individual. You cannot make places of assembly unless it is about a political will. In United States we do not care about public space and spaces of assembly and how these spaces can help in the political and social process of bringing people together because we continue to be a country undermined by the media and spectatorship...? Peter Eisenman Lecture at Vanderbilt University, Nashville, Tennessee The following precedents are of significant importance to this thesis. They heighten the significance of context and historical and physical attributes as a generator of the architectural space and form. Additionally these precedents reinforce the fact that projects with signifi- cant commemorative values have been designed by architects sympathetic to those values. The first three precedents, the Memorial for Murdered Jews of Europe in Berlin, the Yad Vashem Holocaust Museum Complex in Jerusalem and the Jewish Museum in Berlin are used  to demonstrate the importance of the context and the authority of the architect and his or her personal sym- pathy and sensibility towards the subject and program. The next two precedents, The Imperial Museum of War in Manchester, England and the Nunotani office building in Tokyo, Japan are nested well within their context and are site/context driven. The next precedent, Tadashi Kawamata?s installation on Roosevelt Island, uses ar- chitecture as a vehicle for social and political commen- tary. Lastly, I introduce the work of Joesph Kosuth, a New York artist. His work, One and Three Chairs, 1965 has been displayed at the Museum of Modern Art in New York.Four of these projects are examples of the work of architects Peter Eisenman and Daniel Libeskind. The reason I use these two architects is due to the fact of their expertise in deconstructing the core values of the subject matter in a project and their ability to synthesize those findings into architecture. While the Memorial for Murdered Jews of Europe in Berlin, by Peter Eisenman, and Yad Vashem Holocaust Museum Complex in Je- rusalem, by Moshe Safdie, both memorialize the Holo- caust, each approach the problem in different ways. Both engage the topography of the site, leading the visitors through a variety of sensory and kinesthetic experiences. ?...In Berlin?s case, the abstracted, sculptural field is charged by repetition and number, its subliminal language expressed through hundreds of steles, flung at the heart of Berlin like and unspoken indictment. In Jerusalem, the architect directly incised a sculptural form like a gash into the hillside, providing a par- tially buried setting for the reflection and remembrance. Neither looks like the other. In both cases, material and form constitute the means to enriching larger cultural settings, each speaking silently to visitors clearly as if in a known, civilized language...?    In the third precedent, The Jewish Museum in Berlin, by Daniel Libeskind, the building itself, sits as an ab- stracted object of display in the context of Berlin. This project like the previous two is tasked to commemorate the Holocaust. Designing memorials for the Holocaust is usually fraught with dilemmas peculiar to this unusually sensitive topic. Such philosophical questions as aes- thetics, memory, memorialization, the nature of mourn- ing and the passage of time persistently confront the designer, and if left unresolved can subvert his or her original intention. The next two precedents, The Nuno- tani Headquarters building in Tokyo, by Peter Eisenman and the Imperial Museum of War by Daniel Libeskind are context specific. The Nunotani project is a tribute to victims of earthquakes and natural disasters, while the Imperial Museum of War in Manchester by Daniel Libeskind is about the conflict of the globe and war. Please visit conflictUN.blogspot.com to view images of the precedent studies.  ?...911 Abruptly changed the conditions of the culture around the world and also the conditions of the culture of architecture...? Peter Eisenman Lecture at Vanderbilt University Nashville, Tennessee  One large project, designed by sculptor Tadashi Kawama- ta, was an enormous land sculpture that encompassed the Small Pox hospital. For Tadashi Kawamata, how- ever, this was a private piece as much as a vehicle for social and political commentary. Temporality and the di- alectic of construction and deconstruction are recurrent issues in his work - a response to the rapid changes, the growth and decay that take place in so many cities. Figure 1. Kawamata Project on Roosevelt Island courtesy of Cynthia Gould, Gendaikikakushitsu Publishers, and on the table, Inc.  15 Lastly, I introduce, One and Three Chairs, the work of Joseph Kosuth, known to be the Father of Conceptual Art. In this work of art, a chair sits next to a photograph of a chair and a dictionary definition of the word chair. Maybe all three are chairs, or codes for one: a visual code, a verbal code, and a code in the language of ob- jects, that is, a chair of wood. But isn?t this last chair sim- ply. . a chair? Prodded to ask such questions, the viewer embarks on the basic processes demanded by Concep- tual art. ?The art I call conceptual is such because it is based on an inquiry into the nature of art, Thus, it is . . . a working out, a thinking out, of all the implications of all aspects of the concept ?art,?? Chasing a chair through three different registers, Kosuth asks us to try to decipher the subliminal sentences in which we phrase our expe- rience of art. The work of Joseph Kosuth is of signifi- cance and relevance to me since just like the proceeding examples he attempts to deconstructs the values and meaning within the subject of the design and commu- nicate in literal and abstract languages to the viewers. Figure 2. One and Three Chairs Courtesy of Museum of Modern Art, New York  16 site (de)code | (de)construction The following chapter is a graphical analysis of the thesis site. Please visit www.conflictUN.blogspot.com for more detailed graphics. 17 Figure 3. East River (de)code | (de)construction  Figure 4. East River in Manhattan Context Figure 5. East River in Manhattan Context 19 Figure 6. FDR Drive Figure 7. Queensboro Bridge 20 Figure 8. MTA Subway_EV Figure 9. MTA Subway_F  Figure 10. MTA Subway_NRW Figure 11. MTA Subway_7  Figure 12. I-495, Queens Midtown Tunnel Figure 13. United Nations  Figure 14. Manhattan_Long Island City Figure 15. Boundaries, 42nd and 52nd Streets, 1st Avenue  Figure 16. Conflicts of the World Figure 17. Conflicts of the World_Manhattan 25 Figure 18. Orientation_Conflict Figure 19. Orientation_Conflict_World Trade Center 26 Figure 20. World Trade Center Figure 21. U-Thant Island 27 Figure 22. U-Thant Island (Belmont Island) Figure 23. U-Thant (Burmese UN Secretary General)  Figure 24. Anable Basin 29 Figure 25. A Tree for Anable Basin Courtesy of Amorphic Robot Works_Please visit conflictUN.blogspot.com  30 Figure 26. Totemobile Courtesy of YouTube_Please visit conflictUN.blogspot.com 5  Figure 27. East River (de)code  Figure 28. East River (de)code  Figure 29. Roosevelt Island Growth Courtesy of rooseveltislander.blogspot.com  Figure 30-33. Roosevelt Island Growth 35 Figure 34-37. Roosevelt Island Growth 36 b3 thesis meeting September 10_2008_3pm Dean and Professor Garth Rockcastle, FAIA Assistant Professor Michael Ambrose Assitant Professor Sonja Duempelmann Professor of the Practice, FAIA 37 Figure 39. Diagram Figure 38. Diagram  Figure 41. Diagram Figure 40. Diagram 39 Figure 43. Diagram Figure 42. Diagram 40 Figure 45. Diagram Figure 44. Diagram  Figure 47. Diagram Figure 46. Diagram  Figure 49. Diagram Figure 48. Diagram  Figure 51. Diagram Figure 50. Diagram  Figure 53. Diagram Figure 52. Diagram 45 Figure 54. Diagram 46 Figure 55. Diagram 47 Figure 56. Diagram  Figure 58. Diagram Figure 57. Diagram 49 Figure 59. Diagram 50 Figure 60. Diagram 51 b4 thesis meeting October 7_2008_6pm Dean and Professor Garth Rockcastle, FAIA Assistant Professor Michael Ambrose Assitant Professor Sonja Duempelmann Professor of the Practice, FAIA Thank you Lisa Lacharite-Lostritto for taking notes 52 Figure 61. Diagram 53 Figure 62. Diagram 54 Figure 63. Diagram 55 Figure 65. Diagram Figure 64. Diagram 56 b5 thesis meeting October 27_2008_3pm Dean and Professor Garth Rockcastle, FAIA Assistant Professor Michael Ambrose Assitant Professor Sonja Duempelmann Professor of the Practice, FAIA 57 Figure 67. Diagram Figure 66. Diagram 58 Figure 69. Diagram Figure 68. Diagram 59 Figure 71. Diagram Figure 70. Diagram 60 Figure 73. Diagram Figure 72. Diagram 61 Figure 75. Diagram Figure 74. Diagram 62 Figure 77. Diagram Figure 76. Diagram 63 Figure 79. Diagram Figure 78. Diagram 64 Figure 81. Diagram Figure 80. Diagram 65 Figure 83. Diagram Figure 82. Diagram 66 Figure 85. Diagram Figure 84. Diagram 67 b6 thesis meeting November 17_2008_1pm Thesis Committee Dean and Professor Garth Rockcastle, FAIA Assistant Professor Michael Ambrose Assitant Professor Sonja Duempelmann Professor of the Practice, FAIA Honorable Jury Karla Maria Rothstein_Professor at Columbia University GSAPP Filippo Caprioglio_KEA Distinguished Professor_Caprioglio Associatti_Venice Chris Pfaeffle_Principal_Parameter_Baltimore Shawn Rickenbacker_UPenn_Creative Director_Creative Front_New York Paul Jakob_Chairman_RTKL Elisabetta Terragni_Studio Terragni 68 Figure 86. B6 Thesis Meeting_November 17_2008 69 Figure 87. B6 Thesis Meeting_November 17_2008 70 Figure 88. B6 Thesis Meeting_November 17_2008 71 I embrace DECONSTRUCTION as a means to see and understand the world and its conventions, alternatively. By doing so, possibilities expand and reveal the hidden prejudices of our mind and the places they reside in. This opening and discovery process permits and promotes new insights and experiences. This is the core value of the work I have pursued for this thesis of SUSPENSION. farzam yazdanseta M[Arch] 2008 conflictUN.blogspot.com conclusion Figure 89. Farzam Yazdanseta_Assembly 72 This thesis is a manifestation of an inductive process I chose to pursue, not the traditional deductive pro- cess, not a set of formulas prescribed to me. I was very fortunate to have the support of my committee who agreed with the way I chose to pursue this thesis. I am interested in places that create curiosity and wonder. The alchemy you see here is a result of all these dis- coveries. I am very humbled to have discovered these facts, things I did not know about that would support this architecture of SUSPENSION. The goal is to bring to- gether conflicting parties, conflicting biases in the hope of revealing facts other than the ones we are used to. Figure 90. Farzam Yazdanseta_November 17_2008 B6_Presentation Day 73 Figure 91-93. Fabrication Process 74 Figure 94-96. Fabrication Process 75 Figure 97-99. Fabrication Process 76 Figure 100-102. Fabrication Process 77 Figure 103-105 Fabrication Process 78 Figure 106-108. Fabrication Process 79 Figure 108-110. Fabrication Process 80 Figure 111-113. Fabrication Process  Figure 114-115. Fabrication Process  Figure 116. Fabrication Process  Figure 117. Diagram  Figure 118. Diagram 85 Figure 119. Diagram 86 Figure 120. Diagram 87 Figure 121. Diagram  Figure 122. Diagram 89 Figure 123. Diagram 90 Figure 124. Diagram 91 Figure 125. Diagram 92 Figure 126. Diagram 93 Figure 127. Diagram 94 Figure 128. Diagram 95 Figure 129. Diagram 96 Figure 130. Diagram 97 Figure 131. Diagram 98 Figure 132. Diagram 99 Figure 133. Diagram 100 Figure 134. Diagram 101 Figure 135. Diagram 102 Figure 136. Diagram 103 Figure 137. Diagram 104 Figure 138. Garth C. Rockcastle, FAIA_Thesis Chair Concluding Comments November 17_2008_1pm 105 Figure 139. Diagram 106 Figure 140. diagram 107 Figure 141. Diagram 108 Figure 142. Diagram 109 Figure 143. diagram 110 Figure 144. Diagram  Figure 145. Diagram  Figure 146. Diagram  Figure 147. Diagram  Figure 148. Diagram 115 Figure 149. 2008 KEA Distinguisged Professor Filippo Caprioglio 116 Figure 150. [top] Peter Eisenman Figure 151. [above] Professor Michael A. Ambrose 117 Figure 152. [top] Diagram Figure 153. [above] Diagram  Figure 154. Diagram 119 Figure 155. Diagram 120 Figure 156. Diagram Figure 157. Diagram  Figure 158. Diagram Figure 159. Diagram  Figure 160. Diagram Figure 161. Diagram  Figure 162. Diagram Figure 163. Diagram  Figure 164. Diagram Figure 165. Diagram 125 Figure 166. Diagram Figure 167. Diagram 126 Figure 168. Diagram Figure 169. Diagram 127 Figure 170. Video | Animation Frames  Figure 171. Video | Animation Frames 129 Figure 172. Video | Animation Frames 130 Figure 173. Video | Animation Frames  Figure 174. Video | Animation Frames  Figure 175. Video | Animation Frames  Figure 176. Video | Animation Frames  Figure 177. Video | Animation Frames 135 notes: 1. ?Powerful Abstraction Defines Eisenman?s Berlin Holocaust Memorial? Archi- tectural Record, July 2005, Also Available at http://archrecord.construction.com/ projects/portfolio/archives/0507memorial.asp 2. ?Powerful Abstraction Defines Eisenman?s Berlin Holocaust Memorial? Archi- tectural Record, July 2005, Also Available at http://archrecord.construction.com/ projects/portfolio/archives/0507memorial.asp 3. Gould, Claudia. Kawamata Project on Roosevelt Island. Gendaikikakushitsu Pub- lishes, Tokyo, Japan, 1993. 4. available at Amorphic Robot Works, http://www.amorphicrobotworks.org/ works/floatingtree/index.htm 5. availabe at YouTube, http://www.youtube.com/watch?v=n-l1gOzxxEM 136 bibliography: Davidson, Cynthia. Tracing Eisenman: Peter Eisenman Complete Works. Thames & Hudson Ltd, London, 2006. Eisenman, Peter. Codex The Monacelli Press, New York, 2005. Eisenman, Peter. Investigations of the Interstitial: Eisenman Architects 1988-1998 The Monacelli Press, New York, 2003. Galofaro, Luca. An Office of the Electronic era (The Information Technology Revolution in Architecture) Birkhauser - Publishers for Architecture, Basel, 1999. Godfrey, Mark. Abstraction and the Holocasut Yale University Press, New Haven, 2007. Gould, Claudia. Kawamata Project on Roosevelt Island. Gendaikikakushitsu Publishes, Tokyo, Japan, 1993. on the table, inc. New York, 1993. Gregory, Paola. New Scapes: Territories of Complexity. Birkhauser - Publishers for Architecture, Basel, 2003. Hendrix, John Shannon. Architecture and Psychoanalysis: Peter Eisenman and Jacques Lacan Peter Lang Publishing, New York, 2006. Kaplan, Brett Ashley. Unwanted Beauty: Aesthetic Pleasure in Holocaust Representation. University of Illinois Press, Urbana and Chicago, 2007. Koolhaas, Rem. Delirious New York: A Retroactive Manifesto for Manhattan The Monacelli Press, New York, 1997. Kurlansky, Mark. Non-Violence: The History of a Dangerous Idea The Random House Publishing Group, New York, 2006. 137 McKenna, Andrew J. Violence and Difference: Girard, Derrida and Deconstruction. University of Illinois Press, Urbana and Chicago, 1992. Tschumi, Bernard. Architecture and Disjunction MIT Press, Cambridge, Massachusetts, 1996. Tschumi, Bernard. Event-Cities 2 MIT Press, Cambridge, Massachusetts, 2001. Tschumi, Bernard. Manhattan Transcripts. St. Martin?s Press, New York, 1981. Wigley, Mark. The Architecture of Deconstruction: Derrida?s Haunt. MIT Press, Cambridge, Massachusetts, 1993.