These mapping colors can help the complexity of layers. light and pastel color make a clear and depth of the mapping.


Color and hatch:

Depth, density and scale of hatch with color mapping, on top of the plan, bring a bright and clear straight idea of the stories.



Light and colored line, framed,linear line, circle, define a language and relationship within the context.


Color block:

Hierarchy of color block set up a priority of reading the plan.



Those Symbol give a clear mark of location on the map, and show the relationship with the context and other layers,  rather than tell what it is. Each of the shape of the symbol make distinction with others, color, density and size etc.    



The Spectacle of Consumption

Magnitogorsk is identified as having three key elements, namely the living/leisure space which I will interpret as garden, the agricultural zone and the industrial zone, which sit together upon a landscape. Here the garden sits as a plinth within an infinite agricultural landscape. The industry mines the landscape to near breaking point, propping up the garden above to celebrate the wares of the hidden industry as spectacle. The garden looks out onto the landscape that has become consumed by agriculture, detached from it by industry. The ordered garden, celebrating soviet objects of desire, is contrasted to the disorder of industry below. In the distance you see the next plinth celebrating a different industry’s production.





// exploration of grid without “disturbance of grid” //


// AZUAN//

After receiving a several a comments and feedback, another approach applied which is how to treat a plane surface as a void. Means that all the surface became void area and all the column are protruding up to became a new surface. This ideology still using the three of approach by three project up by using of three element which is consistency of grid, disturbance of grid ( void ) and randomly grid.


This drawing shows that combination of three element (above) how to create a a historical monument. Based on this oblique drawing, its clearly shows that consistency grid of column which is have new disjunction to create new experiences, the surface became a void area and randomly space between another columns shows that’s 3 type of monument and collective memory.



// “Frame City” Strip – State of exception within the city walls //


// DEBBIE //

The drawing examines the architectural act of border walls; that is a continuous physical boundary on an urban scale, and explores the state of exception through an opposing urban environment, in this case the skyscraper city of competing standalone buildings. The exception created is a habitable framework city in the strip between the city walls, a concept from Yona Friedman’s Ville Spartialle.


The idea of creating a state of exception within two walls is taken from Exodus by Rem Koolhaas et al. The drawing also explores the city wall and the relationships contrived from the exististence of a wall, and a study of openings within the wall, and what meaning they imbue and perceptions they produce. This is read through movement and positioning of bodies either side of the walls and within them.




This drawing is combination between the element of grid and element of space frame. By using Peter Eiseman approach shows that the excavated space (void) represent the past (void represent remembering the past ) and series of column between consistent of grid and randomly grid was apply at the surface of this drawing.


Space frame by Debbie….



// exploration of grid with “disturbance of grid” //

By using the three of approach by three project, new idealogy of drawing was raised up by using of three element which is consistency of grid, disturbance of grid ( void ) and randomly grid.


This drawing shows that combination of three element (above ) how to create a a historical monument. Based on this oblique drawing, its clearly shows that consistency grid of column, excavation of plane surface and randomly space between another columns shows that’s 3 type of monument and collective memory.


Based on this week, I use a grid as a medium of exploration to create a several of type of monument. Several architect and project was used as references to learn how they use/explore grid to create a certain of space. Example of this project is:

Parc De La Villete by Bernd Tschumi

In this project, grid was used to create a follies which is point of interest and activities for users. Grid was important part and static movement for this project because want to create same/consistent experiences towards users.

Cannaregio Project by Peter Eisenman

Different on this project, Peter Eisenmen create a series of void at Venice to represent of remembering the past of element monument.This is because to create a disturbance of grid in term of verticality ( solid ground and excavated void ) to create series of monument.

Memorial to the Murdered Jews of Europe by Peter Eisenman

On this project, Peter Eisenman create random grid between column to another column because he believes that random grid can create different memory and feelings rather than static grid. Peter Eisenman loves to create disturbance element of grid to create new disjunction / experiences towards users.



Developing from our previous drawings, we progressed to add more spatial richness and meanings. Modularity can be infinitely symmetrical, as repeatable elements. The emphasis for this week is to explore more in depth about directionality, rotation and centralised module.

Spatial configuration in plans

Iteration I

Iteration II

Symmetry, changeability, infinity

Iteration I

Iteration II

Plan oblique
God’s eye view

Combined drawings composed different compositions from plan oblique to multi-perspective views


Our group explored the theme of ‘modularity’ where we looked at 3 projects – Villa Rotunda, Nakagin Capsule Tower and Climat de France. We analysed and abstracted elements that make up this ‘modular’ composition and began to understand symmetry, spatial configuration and the idea of directionality.

Villa Rotonda by Andrea Palladio

Climat de France by Fernand Pouillon

Nakagin Capsule Tower by Kisho Kurokawa

We came up with 3 key points to develop our drawings : –

  • Repetition and pattern
  • Scale variations
  • Elements

Repetition and pattern


Scale variations


Following our exploration during weeks 01 and 02, we have continued our individual research under the umbrella theme of the ‘architectural monster.’ Through the similar construction of that of the Exquisite Corpse, a paradoxical confrontation between the elements of speech, we have sought the unlikely juxtaposition of unlikely objects and their alliance of disparate worlds in creating an architecture that is both hybrid and in manipulation (doppelgänger).

Maria Mavrikou

Progressing from the previous weeks, I tried to move away from void and solid. I considered other ways of commemoration and came upon the theme of the doppelganger.

There are examples of copying/ tracing a building as a way of commemoration such as the Lacaton and Vassal Building in Dunkerque France (Fig. 01). The Halle AP2 is a singular and symbolic object, the concept behind the project was to create a double of the Halle, of the same dimension. The duplication is the attentive response to the identity of the Halle. The Halle (original building) remained a completely available space and therefore, the functioning of each of the buildings is separated, or combined.

Fig. 01

However, it is noticeable that other types of doppelgangers are existent, for example when there is a copy of an original in a different context and time.

A few examples where this happens is:

  • Entire Town of Hallstatt, Austria – Luoyang, China
  • Eiffel Tower, Paris – Hangzhou, China
  • “Thames Town” – Songjiang District
  • Maxi Museum –  Museum of Liverpool
  • The Real Ronchamp Chapel- Chinese copy
  • Collier Hardware Building, California- Cuba
  • Piazza Batumi, Georiga- San Marco piazza, Venice

Piazza Batumi was the one I decided to base my research on since our site is in Georgia.

Before deciding finally on a drawing, I researched in more depth on doppelgangers in architecture and the act of Pastiche. Firstly, the original myth of the doppelganger is when you find your “twin” you must kill them before you they kill you. Therefore, does the myth haunt the discipline? Does its doubling create an evil twin? Or conversely, might architecture find a productive relationship with the culture of the copy?

Secondly, considering the act of Pastiche, which is characterised as a method of imitation of the building styles created by major architects. The term itself is not pejorative (expressing contempt or disapproval), however Alain de Botton describes pastiche as “an unconvincing reproduction of styles of the past”. Hence, when designing a building an element is not just taken and used somewhere else, the act of doubling of the original is taking place.

Through sketches I have started to explore the themes and the best way to present them. Using the generic form of the clock tower and exploding the two facades (Piazza Batumi and San Marco Piazza Clock Towers) from it, the drawing will attempt to demonstrate the differences while keeping them in the same scale, however this has opened up an idea of rejecting the generic form and mapping out the elements that have been copies. Therefore, Elevations have been drawn and an isometric has been started to explore these differences.


Jude Dajani

My main investigation has been into the metamorphosis of the Iveria, my interests focused in on its ability to become ordered by the different elements of its context:
– as a Soviet Hotel
– as a vertical refugee camp
– as Soviet achievement
– as an economic object of privatization

In this sense the Iverias transformation into the Radisson is a transformation from a Soviet production into a Utopian production. Though different machines, they both aim towards the reproduction of the State.

In this reproduction of State, though demolished, the Iveria, as a material object had multiple fates. The carcass of the socialist building remained in place becoming the skeleton of an entirely new and Western-style Radisson Hotel but the stripped away materials of the Iveria gave life to new buildings such as the bazaar stalls of the IDP’s as well as an annex of the Shavnabada Monastery.

Through its multiple lives, the Iveria is a ‘habitable collage’ where human matter and building matter are recombined to create monstrous structures that form a part of a continuum of architectural bricolage.

The Monster

Examining Mark Fisher’s ‘The Weird and Eerie,’ as well as the processes behind ‘the Exquisite Corpse,’ I aimed to create monstrous collages of habitation in representation of the Iveria and its multiple fates. An architectural monster of counterfactual history. In doing so, these collages would become architectural hybrids that much like the Exquisite Corpse, pay little attention to normal contours.

Translating ‘Weirdness’ as existing at the edge between worlds and ‘Eeriness’ as that which radiates from the ruins of lost ones, my monsters were made with sensitivity to the architecture that structures Georgia’s sub-worlds yet remained grotesque in the proper sense, synthesising human and non-human form into an architectural whole. A tissue of allusion.

Group Drawing:

Iveria as a “skeleton” //sub structure in axo (as it comes from Jude’s research) and using as a key technique the exquisite corpse. We designate a façade to each to create a variant of a doppelganger “an evil twin”.

Jude’s façade will create a doppelganger using the original elements of the Iveria and their changing states in a creation of a doppelganger of itself.

Maria’s façade will create a doppelganger using traditional Georgian architectural elements in a creation of a copy of the Iveria as its future self.


Following our exploration of the relationship between utopian conceptual cities and and disurban realities we developed a framework to explore circles of societal perception. Starting with the centre one sees out to ‘the spectacle’ of society, glimpsing the ‘industrial production’ beyond. The industrial production is then facilitated by a ‘manufactured landscape’ with the surrounding ‘political landscape’ driving all before it. These are seen as inescapable ‘rings of society’, exploring the relationship between what is projected and perceived and the reality behind it.

Collage of ‘the spectacle’ and ‘industry’ beyond

Drawing showing an extract of ‘the spectacle’ and ‘industrial’ circles