Built Ideas

TheoHARIS david

Curated by

Christoph a. Kumpusch

Prologue

Lebbeus Woods

Theoharis DaviDΔomhmeneΣ iΔeeΣ

Theoharis DaviDBuilT iDeas

Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ

a life of learning, Teaching anD acTion

Curated by


Prologue

Lebbeus Woods

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This is a publication of the Pratt institute school of architecture

The school of architecture at Pratt institute seeks to create a culture of research and innovation in both the faculty and student body. The school of architecture recognizes that in the design world of the 21st cen-tury, important research is being conducted around the world by innovative professionals and educators and traditional academic categories of research are giving way to “research-driven practice”, particularly in the areas of sustainability, digital design, material research, sustainability and community planning.

Theoharis David, faia, is a Professor of architecture at Pratt, a visiting professor university of cyprus and design principal of his firm, with offices in new York city and nicosia, cyprus.

© Theoharis David, faia, 2012

all rights reserved. no part of this publication may be reproduced, stored in a retrieval system, or transmit-ted in any form by or any means, electronic, mechani-cal, photocopying, recording or otherwise, without the prior written permission of the publisher.

The public lecture “Talking about You” on march 1, 2012 will be introduced by the visionary lebbeus Woods, architect and theorist working and living in new York, and will precede the opening reception that reflects on Theo David’s 43 years as a teacher through the work of his former students, many of them hav-ing gone on to become accomplished architects and teachers.

The exhibition, which will travel to cyprus, greeceand elsewhere and is accompanied by a catalogue,is designed and curated by christoph a. Kumpusch, architect and professor at Pratt institute.

This exhibit is made possible by funding from the ministry of education and culture of the republic of cyprus, with additional support from the Pratt insti-tute school of architecture Dean Thomas hanrahan, university of cyprus and the cyprus-us chamber of commerce.

Built ideas: a life of Teaching learning and action The work of Theoharis David, faiacurated by christoph a. KumpuschPrologue by lebbeus WoodsPresented by Pratt institute school of architectureDean Thomas hanrahan

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opening

WiTh conTriBuTions BY:

lebbeus Woods, Prologuechristoph a. Kumpusch, curatorial statementDean Thomas hanrahan, statementacknowledgementsTheoharis David, introduction

etymologies

ayia Trias church Bethelite institutional Baptist church new life Baptist church ayios athanasios elementary schoolstylianos lenas elementary and nursery school laiki residential Training center gsP stadium and athletic center spyros Kyprianou Palais des sportallegra gsP sports center Kaimakli community sports center Thalia David residence gladstonos 22Bleu residential Development Private residence stavrinides residence Phileleftheros head offices cavo greco environmental center st. nicholas church old gsP competition urBan P.a.c.T.

student Projects

closing

creditsBiographiesTimeline

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It was in the winter of 1988. Theoharis David, then the chairman of Pratt Institute’s Graduate Design Program, had hired Michael Webb, of Archigram fame, and me, as adjunct professors in the design studio, where he was also teaching. At the outset of our one-year tenure, the three of us had sat down and discussed the overall direction we wanted to take. Michael and I - architects who had no realized buildings to our credit - suggested that it would be great if we could focus on “science and architecture.” Theo, a gentleman through and through, asked if we meant exploring the relationships between technology and architecture, a topic worn thin over the decades but still, he supposed, always worth another look. No, we answered, it was pure science we thought would open up fresh perspectives and possibilities, its concepts and methodologies. Relativity, thermodynamics, evolution, cybernetics. Theo’s eyes brightened and he smiled in his nuanced way. A great idea, indeed, he said—let’s do it. And so began one of the most memorable teaching years in my experience and, I believe, that of many of our students.

Science and Architecure was a risky direction to take and not only because other faculty were vocally skeptical of how it would lead to buildable architecture, and how it would be taught by two non-building faculty, but also how, or if at all, it would be accepted by our students, many of whom had traveled far and were paying dearly for this conclusion to their professional education. Nevertheless, it was a risk that Theo took, because he believed in its premises and potentials. It was.

then that I realized what kind of man Theo is, and came to value his integrity as a friend and educator.

It was only more recently - I am chagrined to say - that I discovered his architecture. The fault is mine, but was abetted by his innate modesty and the fact that many of his projects are in Cyprus. My fear that many others might share my ignorance is relieved by this exhibition and catalogue. In them, we find projects of a high order of thought and design, informed by a brave and compassionate spirit. Working with the known building types, he has transformed their conventions into inventions animated by new readings of their traditional meanings and purposes. The boldly abstract volumes of the Ayia Trias Church; the contrasts between delicacy and mass in the Bleu Residences; the soaring, sheltering lightness of the GSP Stadium and Athletic Center; the open courtyards of the Stylianos Lenas School, playfully painted with light and shadow - all are unique interpretations of ideas vital to contemporary living that seem at the same time both familiar and, in these works of architecture, wholly original. It is their unforced, unpretentious character that gives them strength and poetry, a naturalness that imparts to us a sense of well – being and enablement.

As it is with the man, so it is with his works. Theo David is deeply committed to his students and his colleagues and to the architecture that embodies ideas celebrating their community, indeed, community itself. In my view and from my experience, he is an architect setting for all of us an example for a better, more affirmative future.

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Like a computer, the human brain processes many thousands of bits of information. Looking at a search engine, raw data can be searched for and a number, typically several thousands, of answers are provided. There is almost an infinite number of possibilities and results and further searching. Eliminating many answers allows us to sharpen the question and specify the searched-for result down to what we are really after.

The approach taken by this exhibition is not to look at possibilities in a free fall—not answers, but limitations, boundaries and restrictions. They were space, typology, phenomenology, inhabitability and the desire of being built. Desire – yes – but never unconditional. In terms of process, the idea was sometimes first, and sometimes the building, but it is always its Architecture that tied it together. To be more precise, answers were provided through Theo’s buildings, but he wanted them to provoke questions instead.

No project can be viewed in its entirety at once. The columns, depending on the viewer’s viewpoint, show two sides – the rest is in question – prompting a series of questions. Projects overlap, block each other, speak to each other.

Questions fuel the exhibited buildings, most of them, indeed, built. The question is never how they were done or with which software, but with what desire. Digital or analog? Nonsense! Can you walk me through?

Architecture, as Theo explained, is a life; it’s not a career, it’s not only a building, not only an idea, not only an image. But then I asked, “What is it?” “It’s life”, he replied.

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a life of learning, Teaching anD acTion9η’

The buildings and projects of Theo David are acts of great ambition. The title of the collection and exhibition of these works – “Built Ideas” – proclaims Theo David’s ambition for architecture to aspire to a more complex order, imbued with the transformational power of ideas. This title also suggests something complementary; that an idea becomes even more powerful if it is realized in the form of a building. This dual desire, where building aspires to the power the idea while the idea aspires to be made real in the world, constitutes Theo David’s unique contribution to the discipline of architecture.

In many respects the balancing of dualities defines the trajectory of Theo David’s entire career. Born to Cypriot parents, educated in the United States at Pratt Institute and Yale University, he established early an international practice in New York and Cyprus before globalism became a commonplace term. His practice in New York included public buildings and housing, while the range of his commissions in Cyprus eventually grew to include the national stadium outside of Nicosia, the capital city. The New York / Cyprus practice has been symbiotic on a number of levels. New York, as the restless symbol of modernity and social transformation has provided the conceptual framework for an experimental practice of constant change and renewal. Cyprus, where the culture of modernity is understood in the Mediterranean terms of space activated by natural light, robust form and structural clarity, has served as David’s arena for an architecture that embeds itself deeply into the social and natural landscapes of city and region. Active building and rigorous conceptual thinking on two continents over a long career has resulted in a new kind of global practice, where experimental ideas are realized in the poetics of space, form and construction.

Theo David has also maintained a dual and ambitious career in practice and in academia. He has been a professor of architecture at Pratt Institute teaching generations of graduate and undergraduate students. He served as chair of graduate architecture from 1979 to 1989, establishing its identity as a progressive program dedicated to ideas and bringing together noted architects such as Lebbeus Woods and Michael Webb. Teaching and practice have constantly renewed each other over the years, as the theoretical concerns of the design studio have always been examined through the lens of making, while practice has offered the opportunity to turn theoretical concerns into completed buildings. For Theo David ideas and buildings are never far apart in either practice or the academy, and this ability to bring these two worlds together has defined his unique contribution to the discipline of architecture. Thinking, making, challenging and serving constitute the framework for this exhibition and catalogue of the extraordinary work of Theo David.

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The idea driving this exhibit and its catalog was developed by the energetic and imaginative curator, architect Christoph a. Kumpusch, who guided its design and visual concept working closely with the excellent graphic designer Won Sok Choi. Also, the extraordinary contribution of a great visionary architect, Lebbeus Woods, through his written thoughts and critical advice, cannot be overstated.

My thanks to those faculty and staff of the School of Architecture of Pratt including Mark Parsons, Eric Wong, and Rodrigo Guajardo, whose cooperation and technical assistance made possible the construction of the exhibit and to Kurt Everhart for the calmness of his administrative coordination.

I also think it important for all to see in print the names of those young Pratt student volunteers who worked countless hours sacrificing time from their own work, building or repairing models, assisting in digital production and constructing the exhibit itself. They are Schuyler Klein, coordinator, Ali Fouladi, Shaked Uzrad, Mike Tingen, Kelly Smolenski, Azeem Khan, Jonathan Jarquin, Richard Miller, Juan Sala, Beijia Gu, Brian Dobrolsky, Jasper Hayes, Chris Fantin, Iting Tsai, Keumbi Noh, Brendan O’Shea, Daniela Kolodesh, Neda Kakhsaz, Ryan Joseph Simons, editor, Indiana Morales, digital coordination, Adam Orlinski, Taylor Sams, Martin Velez, Wan Ling Li, Anna Maria Perez, Joel Kokin, Hudson Sackrider-De Ricco, Chizoma Amadi, Damien Daigle, Alyza Enriquez, Ryan Esparza, Gabriela Fiorentino Cedeno, Yani Gao, Xiaoke He, Yuli Huang, Rebecca Pierson, Neha Sadruddin, Chi Ieong Wong and Philip Zucker.

I must also acknowledge the support of the partners and staff of my practice and in particular the contributions of Emre Bozatli, Yiannis Kythreotis and Melissa David who searched for, compiled and edited numerous texts and hundreds of images.

My thanks to Mr. Pavlos Paraskevas Director of Cultural Services, Ministry of Education and Culture of Cyprus for his support in securing major funding for this effort and my wonderful artist friend Nicos Kouroussis for his guidance from the very beginning. The quiet support of my musician son Alexi must also be noted.

And finally I am grateful to Marios Phocas, chair the Department of Architecture of the University of Cyprus and our outstanding Dean, Thomas Hanrahan, of the School of Architecture of Pratt—my “home”—for their generous support and to the many highly talented young men and women I have been given the privilege to call my students and from whom I have learned and continue to learn.

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a life of learning, Teaching anD acTion11ι’

The work presented in this exhibit, consisting of primarily realized designs, posits the position that architecture is conceived by ideas that are developed through theoretical investigations, inquisitiveness and freedom of thought, and that an act of architecture achieves its full potential once built. The exhibit itself attempts to demonstrate how and to what degree the design process leading to built and proposed works was informed by the reality of the four subjectively chosen and often interwoven themes:

Art Precedent Ground Symbolism

The visitor is challenged to evaluate how well the architect has succeeded in reflecting one or more of the chosen themes in the architecture. One is also asked, looking at the student work represented in the exhibit, to wonder about the transfer of knowledge that took place between student and teacher.

The message this exhibit is meant to send is that it is possible to realize one’s ideas regardless of fame or with limited resources and budgets at your disposal; in other words, a message of optimism at a difficult time for our profession.

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Ground, ground, n.Pronunciation /graʊnd/

Forms: OE–ME (15– Sc.) grund, ME–15 grond, (ME gron-nde), ME–16 grounde, ME grownd(e, (ME grount, growende, 15 growinde, groune, 16 grown), ME– ground.(Show Less)

Etymology: Common Germanic: Old English grund strong masculine = Old Frisian, Old Saxon grund (Middle Dutch gront , inflected grond- , Dutchgrond ), Old High German grunt , krunt (Middle High German grunt , grund- , German gruna ), Gothic *grundus (compare grundu-waddjus ground-wall, foundation, afgrundiþa abyss) < Old Germanic *grundu-z < pre-Germanic *ghrn ̥tú-s ; no cognates outside Germanic are known. The formal equivalent is not found in Old Norse, which has however grund (feminine) (declined like the -i- stems), earth, plain, and a cognate type (Germanic *grunþo- < pre-Germanic ghrn ̥to- ) in grunn-r , gruð-r (masculine), bot-tom, grunn-r adj., shallow, grunn neuter, shoal (Danish grund bottom, shallow, Swedish grundbottom, foundation, ground).

a. The bottom; the lowest part or downward limit of anything. b. Of the sea, a well, ditch, etc., and of hell; rarely of heaven. c. The solid bottom or earth underlying the sea (†or other water). Now only Naut., esp. in reference to soundings, or in phrase to break ground : to heave the anchor clear of the bottom. d. Base, foundation. e. The solid base or foundation on which an edifice or other structure is raised. In early use pl. in the same f. sense (cf. foundations). f. That on which a system, work, institution, art, or condition of things, is founded; the basis, foundation. Now somewhat rare. g. Any material surface, natural or prepared, which is taken as a basis for working upon: esp. in painting or decorative art, a main surface or first coating of colour, serving as a support for other colours or a background for designs; the prevailing or principal colour of any object, picture, etc.; that portion of a surface which is not coloured, decorated, or operated upon. h. The surface of the earth, or a part of it i. The earth regarded as the surface upon which man and his surroundings naturally rest or move; freq. in prepositional phrases, as along, on, to the ground (†formerly also without the article), above orunder ground . j. The portion of the earth's surface on which a person or thing stands or moves; often fig. in phr. to cut the ground from under one or one's feet . k. The earth as contrasted with heaven. Chiefly in phr. on (the) ground . l. Area or distance on the face of the earth. m. The space upon which a person, etc., takes his stand; the position maintained or defended by one; esp.in phrases to hold one's ground , to keep one's ground , to maintain one's ground , to stand one's ground , to shift one's ground ; now usually fig.

n. The particular space or area under consideration, or one used for some special purpose, esp. the scene of any contest, or meeting. off the ground: out of the way. on the ground: engaged in a duel. o. The soil of the earth. Also without article: Soil, earth, mould; now only in Mining (see quot. 1881) except with descriptive adj. Phr. to break ground

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τοπίο το, [topío] O39

1. γεωγραφική ενότητα με κοινά φυσικά χαρακτηριστικά: Eλληνικό / ορεινό / αλπικό / μεσογειακό ~. Aρχιτεκτονική προσαρμοσμένη στο νησιώτικο ~. Tα εργοστάσια κατέστρεψαν το αττικό ~. Σεληνιακό* ~ και ως ΦP. || γραφική τοποθεσία: Eιδυλλιακό / ωραίο ~. 2. ζωγραφικός πίνακας που παριστάνει τοπίο• τοπιογραφία. [λόγ.: 1: μσν. τοπίον < ελνστ. τόπ(ιον) -ίον• 2: σημδ. γαλλ. paysage ή μέσω του ιταλ. paesaggio]

προηγούμενος, -η -ο [proiγúmenos] E5 λόγ. θηλ. και προηγουμένη

1. που προηγήθηκε χρονικά, που έχει υπάρξει ή έχει συμβεί πριν από κπ. ή από κτ. άλλο. ANT επόμενος: O ~ ομιλητής / ιδιοκτήτης / ενοικιαστής. H προηγούμενη περίοδος / κυβέρνηση. O ~ κύριος ξέχασε το καπέλο του. || (ειδικότ.) για τις υποδιαιρέσεις του χρόνου: Tην προηγούμενη εβδομά δα / μέρα. Tο προηγούμενο Σάββατο / καλοκαίρι.

συμβολισμός, ο [simvolizmós] O17

1α.παράσταση ή έκφραση αφηρημένων εννοιών με σύμβολα: Γλωσσικός / επιστημονικός / θρησκευτικός / χριστιανικός ~. O ~ των αριθμών. β. σύμβολο2: Συμβολισμοί της φυσικής / της χημείας. 2. λογοτεχνική κίνηση, που εκδηλώθηκε στη Γαλλία κατά τα τέλη του 19ου αι. ως αντίδραση στο ρομαντισμό και στο νατουραλισμό, και που χρησιμοποίησε παραστάσεις από τον κόσμο των αισθήσεων ως σύμβολα των ιδεών και των συναισθημάτων: O Mαλαρμέ είναι εκπρόσωπος του ποιητικού συμβολισμού. || ανάλογη τεχνοτροπία στη ζωγραφική και στη μουσική. [λόγ. < γαλλ. symbolisme < symbol(e) = σύμβολ(ον)1 -isme = -ισμός]

τέχνη, η [téxni] O30 ανθρώπινη δραστηριότητα που στηρίζεται σε ορισμένες γνώσεις και εμπειρίες και που έχει ως σκοπό τη δημιουργία ενός πνευματικού ή τεχνικού έργου. 1α. δημιουργία έργων που εκφράζουν το αισθητικά καλό και προκαλούν στο θεατή, στον ακροατή ή στον αναγνώστη αισθητική απόλαυση: H ~ για την ~, δόγμα σύμφωνα με το οποίο η τέχνη δεν πρέπει να έχει διδακτικό χαρακτήρα, αλλά ο μοναδικός της σκοπός πρέπει να είναι η αισθητική συγκίνηση. Oι αρχαίες τραγωδίες είναι έργα μεγάλης / απαράμιλλης τέχνης. || (ειδικότ. για έργα αρχιτεκτονικής, ζωγραφικής και πλαστικής): Aντικείμενο / έργο τέχνης. Iστορία της τέχνης. Kριτικός έργων τέχνης. Eκδόσεις τέχνης, βιβλία με φωτογραφίες έργων τέχνης. || H έβδομη* ~. β. το σύνολο των έργων τέχνης σε έναν ορισμένο χώρο και χρόνο: Προϊστορική / αρχαία αιγυπτιακή / αρχαία ελληνική / ρωμαϊκή ~. ~ της Aναγέννησης. Kλασική / σύγχρονη / μοντέρνα / πρωτοποριακή / λαϊκή ~. γ. (πληθ.) Kαλές τέχνες, γενική ονομασία της ζωγραφικής, της γλυπτικής, της χαρακτικής ή και της αρχιτεκτονικής.



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symbolism, n.Pronunciation /ˈsɪmbəlɪz(ə)m/

Etymology: < SYMBOL n.1 + -ISM suffix, partly after French symbolisme , German (modern Latin) symbolismus .

a. The practice of representing things by symbols, or of giving a symbolic character to objects or acts; the systematic use of symbols; hence, symbols collectively or generally. b. A symbolic meaning attributed to natural objects or facts. c. The use of symbols in literature or art; spec. the principles or practice of the Symbolists d. The use, or a set or system, of written symbols.

art, n.1Pronunciation Brit. /ɑːt/ , U.S. /ɑrt/

Forms: ME aart, ME ars, ME ars (plural), ME arse (plural), ME hart, ME harte, ME hert, ME–16 arte, ME– art, 19– awrt (Irish English); Sc. pre-17arit, pre-17 arte, pre-17 hart, pre-17 17– art, pre-17 18– airt, 17 airth. N.E.D. (1885 ) also records a form ME arz. (Show Less)

Etymology: < Anglo-Norman and Old French, Middle French art (French art ) means, method, or knowledge employed to gain a certain result, technique (c1000), manner of acting or behaving (c1100), skill (12th cent. in Anglo-Norman), craftsmanship (12th cent. in Anglo-Norman), magic art, magic, sorcery (12th cent. in Anglo-Norman), ruse, artifice (12th cent.), trade, craft, profession (c1200), habit (13th cent. or earlier in Anglo-Norman), knowledge, science, learning (13th cent. or earlier in Anglo-Norman), deceit, guile (13th cent. or earlier in Anglo-Norman), talent, ability (for gaining a particular result) (14th cent.), practice (a1383 or earlier in Anglo-Norman), academic discipline (early 15th cent.), treatise which sets out the principles of a discipline (15th cent.), artistry or technique, as opposed to science (15th cent.), that which is the product of human activity, as opposed to nature (1580), (in plural) the liberal arts (late 14th cent. or earlier; 12th cent. in les set arz the seven arts), the liberal and mechanical arts (a1628), the humanities and philosophy (1636) < classical Latin arti- , ars professional, artistic, or technical skill, craftsmanship, artificial methods, human ingenuity, artificiality, crafty action, trick, stratagem, crafti-ness, guile, personal characteristic or quality, systematic body of knowledge and practical techniques, magic, one of the fine or liberal arts, profession, craft, trade, task, pursuit, artistic achievement or performance, artistic design or representa-tion, work of art, device, contrivance, rules or principles of an art, treatise, method, system, procedure, principle of classifi-cation, in post-classical Latin also guild (from 1380 in British sources) < the same Indo-European base as ancient Greek ἀραρίσκειν to fit together + the Indo-European base of classi-cal Latin -ti-, suffix forming nouns (see -TH suffix1). Compare Old Occitan art (11th cent.), Catalan art (12th cent.), Spanish arte (12th cent.; also †art ), Portuguese arte(13th cent.), Ital-ian arte (a1294). Occasional use of the form ars as a singular in Middle English probably shows generalization of the plural form ars (itself after French). Art originally shared many of its meanings with craft (see CRAFT n. II.); however, by the 17th cent. the association of art with creative or imaginative skill (see sense 7) rather than technical ability tended to result in less semantic overlap between the two words. Especially in sense 3a art is often contrasted with science (see note at SCIENCE n. 3b), with art now frequently understood as an ability to adopt a creative or flexible approach, in contrast to the application of more theoretical or scientific principles. From the Middle Ages art has often been contrasted with nature Compare also the

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historical sense development of TECHNIC adj., TECHNICAL adj., TECHNOLOGY n.

a. Skill; its display, application, or expression. b. Skill in doing something, esp. as the result of knowledge or practice. c. Skill in the practical application of the principles of a par-ticular field of knowledge or learning; technical skill. Obs. d. A practical application of knowledge; (hence) something which can be achieved or understood by the employment of skill and knowledge; (in early use also) a body or system of rules serving to facilitate the carrying out of certain principles. e. A practical pursuit or trade of a skilled nature, a craft; an activity that can be achieved or mastered by the application of specialist skills; (also) any one of the useful arts (see sense 4b). f. Skill in an activity regarded as governed by aesthetic as well as organizational principles. Now rare.The range of activities covered include the visual arts such as painting, drawing, and sculpture, and also other creative arts such as music, literature, dance, drama, and oratory. g. The expression or application of creative skill and imagina-tion, typically in a visual form such as painting, drawing, or sculpture, producing works to be appreciated primarily for their beauty or emotional power. Also: such works them-selves considered collectively. Cf. a work of art at WORK n. 14.Although this is the most usual modern sense of art when used without any qualification, it has not been found in English dictionaries until the 19th cent. Before then, it seems to have been used chiefly by painters and writers on painting. h. The theory and practice of the visual arts as a subject of study or examination; (also) a class or lesson in art. i. Senses relating to learning or study. j. In pl. Certain branches of study, esp. at a university, serving as a preparation for more advanced studies or for later life, spec. (a) (in the Middle Ages) the seven subjects forming the trivium (grammar, logic, and rhetoric) and the more advanced quadrivium (arithmetic, geometry, music, and astronomy) (now hist.); (b) (in later use) a broad range of subjects, varying according to time and place but now generally taken as includ-ing languages, literature, philosophy, history, and other areas of study concerned with the processes and products of human culture and thought (cf. HUMANITY n. 2.).

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ground, v.Pronunciation /graʊnd/

Forms: ME grundien, ME north. grund, ME–15 grounde, grownde, ME–15 gronde, (16 grownd), ME– ground. (Show Less)

Etymology: Middle English < GROUND n.; compare Middle Dutch, Dutch gronden , Middle Swedish grunda . For Old English gryndan see GRIND v.2

a.To lay the foundations of (a house, etc.); to found; to fix or establish firmly. Obs.Chiefly in renderings or echoes of bibli-cal passages. b. To set on a firm basis, to establish (an institution, a prin-ciple of action, belief, science, conclusion or argument), on some fact, circumstance, or authority. c. trans. To instruct (a person) in the fundamental or elemen-tary principles of any branch of study. to be grounded in : to be (well or ill) acquainted with (a subject or science). d. To place or set on the ground; to cause to touch the ground; to lay down. †Also, to bring down (a weapon).

Precedent, n.Pronunciation Brit. /ˈprɛsᵻd(ə)nt/ , U.S. /ˈprˈsˈdnt/

Forms: α. lME precedente, lME precydent, lME–17 precident, lME– precedent, 15 preceedent. β. lME preseident, lME–15 presydent, lME–16 presedent, lME–16 presidente, lME–17 president, 15 presdint, 16 pre-sadent, 16 presydentts(plural).

Etymology: < PRECEDENT adj. Compare classical Latin praecēdēns (masculine) person who goes in front, person who ranks before, person who excels, (neuter) thing which precedes, prior event, preceding statement, in post-classical Latin also previous instance taken as an example or rule (1457, 1523 in British sources), uses as noun of masculine and neuter respectively of praecēdēns , adjective; compare also Middle French precedent person who goes before or in front (1392; French précédent (legal) precedent (1824) is < English).

a. A previous instance taken as an example or rule by which to be guided in similar cases or circumstances; an example by which a comparable subsequent act may be justified. Freq. to set a precedent . b. concr. A document recording past proceedings, serving as a guide or rule for subsequent cases. Obs. c. An example to be followed or copied; a model, an exemplar. Obs. d. An event, person, or thing that goes before or in advance of another; a forerunner, a precursor, a predecessor; an antecedent.

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in th

e Tu

rkis

h oc

cupi

ed g

host

tow

n of

fam

agus

ta.

it w

as d

esig

ned

as a

n in

tegr

al

com

pone

nt o

f a m

edite

rran

ean

seas

ide

hote

l com

plex

, a b

uilt

idea

ab

out c

reat

ing

a pl

ace

of c

hris

tian

w

orsh

ip a

nd r

itua

l ins

pire

d by

the

mul

ti la

yere

d by

zant

ine

era

relig

ious

ar

chite

ctur

e of

cyp

rus.

The

abst

ract

ion

of th

ese

prec

eden

ts

was

inco

rpor

ated

into

the

gene

rati

on

of a

con

tem

pora

ry s

ymbo

lic

arch

itect

ural

syn

thes

is.

locaTion BuilT Year

κ’

FamaGusta RePublic oF cyPRus

1972

2021



clienT

κ’

Holy aRcHbisHoPRic oF cyPRus

archiTecT / engineers

J&a PHilliPou, tHeoHaRis DaviD associate aRcHitect



23

The

prec

eden

t loo

ked

at in

an

atte

mpt

to g

ener

ate

an id

ea th

at

wou

ld p

rovi

de a

n ap

prop

riat

e ar

chite

ctur

al la

ngua

ge a

nd

acce

ptab

le c

omm

unit

y im

age

wer

e th

e va

riou

s st

oref

ront

chu

rche

s sc

atte

red

thro

ugho

ut o

ften

poo

rer

urba

n ne

ighb

orho

ods.

The

new

st

eppe

d br

ick

stre

et fa

cade

cro

wne

d by

an

illum

inat

ed g

lass

blo

ck c

ross

is

ext

rude

d in

to th

e se

ctio

n al

ong

the

enti

re le

ngth

of t

he p

lan

to g

ener

ate

both

the

inte

rior

spa

ce a

nd e

xter

ior

form

of t

he c

hurc

h.

κβ’

02

Bethelit

e

Instit

utio

nal

Baptis

t

Church

locaTion BuilT YearbRooKlyN, Ny 1989

2223



κβ’

clienT betHelite iNstitutioNal baPtist cHuRcH iNc.


tHeo. DaviD aRcHitects



25

The

idea

beh

ind

this

nei

ghbo

rhoo

d ch

urch

in th

e ea

st n

ew Y

ork

sect

ion

of B

rook

lyn

was

to a

llow

the

sym

bolis

m o

f the

cro

ss to

org

aniz

e th

e pl

an, s

ecti

on a

nd e

leva

tion

of t

he

chur

ch v

olum

e. T

his

is in

trod

uced

th

roug

h th

e br

ick

clad

min

imal

ism

of

its

stre

et fa

cade

whi

ch c

eleb

rate

s th

e su

spen

ded

whi

te s

teel

cro

ss w

hose

sk

ewed

abs

trac

ted

axia

lity

ente

rs

the

chur

ch,

embe

ddin

g it

self

wit

hin

the

rect

iline

ar p

lan

and

acti

ng a

s a

gene

rato

r of

the

arch

itect

ural

form

of

the

sky

lit ro

of.

κδ

03

New

Lif

e

Baptis

t

Church

locaTion BuilT YearbRooKlyN, Ny 1993

2425



κδ

clienT New liFe baPtist cHuRcH iNc.


tHeo. DaviD aRcHitects



27κστ’

The

idea

for

this

mul

tile

vel

publ

ic s

choo

l was

bor

n th

roug

h un

ders

tand

ing

the

arch

itect

ural

po

tent

ial o

f the

nat

ural

site

. Th

is p

rovo

ked

a si

mul

tane

ous

rede

finit

ion

of th

e te

rm g

roun

d (o

r in

gre

ek to

pio,

as

in to

polo

gy)

at th

e m

acro

and

mic

ro s

cale

. a

t the

mic

ro s

cale

, the

pla

n an

d se

ctio

n id

ea w

as to

imbe

d al

l of t

he

child

ren’

s cl

assr

oom

s in

the

edge

of

a c

liff,

priv

ilegi

ng th

em w

ith

broa

d un

inte

rrup

ted

view

s of

the

med

iterr

anea

n an

d a

land

scap

e of

thei

r ho

mes

that

pre

cede

thes

e di

stan

t vie

ws.

04

Ayio

s

Athanasio

s

Elem

entary

School

locaTion BuilT Yearayios atHaNasios, cyPRus 2002

2627



clienT miNistRy oF eDucatioN aND cultuRe, RePublic oF cyPRus


tHeo. DaviD aRcHitects tDa+Kal



29κη’

The

orga

niza

tion

al id

ea fo

r th

is

com

mun

ity

of e

duca

tion

al s

pace

s,

cons

isti

ng o

f an

elem

enta

ry s

choo

l an

d in

depe

nden

t nur

sery

sch

ool,

was

to

pro

vide

an

arch

itect

ural

iden

tity

to

each

by

the

juxt

apos

itio

n of

an

obtu

se

tria

ngle

ove

r an

ova

l. Th

is s

ever

e fo

rmal

com

posi

tion

— w

hich

reca

lls

the

cons

truc

tivi

st m

ovem

ent i

n

art —

is fu

rthe

r de

velo

ped

by th

e us

e of

con

tras

ting

mat

eria

l fini

shes

and

co

lor,

whi

le re

peat

ing

the

oval

as

an

ocul

us c

ut in

to th

e tr

iang

ular

met

al

cour

tyar

d ca

nopy

as

a ra

ised

exe

dra

and

mus

ic ro

om v

olum

e.

05

Stylia

nos

Lena

Elem

entary

School

locaTion BuilT YearNicosia, cyPRus 2009

2829



clienT miNistRy oF eDucatioN aND cul-tuRe, RePublic oF cyPRus





31λ’

The

prec

eden

t for

this

hyb

rid

finan

cial

ser

vice

s bu

ildin

g is

a

mon

aste

ry. i

t com

bine

s do

rmito

ry

and

dini

ng fa

cilit

ies

that

par

tial

ly

enci

rcle

and

enc

lose

a s

hade

d co

urty

ard

wit

h ad

join

ing

educ

atio

nal

and

mee

ting

spa

ces

and

a ce

ntra

lly

loca

ted

libra

ry.

The

plan

, ele

vate

d on

a c

ylin

dric

al

podi

um, i

s an

asy

mm

etri

cal

asse

mbl

age

of c

ircl

es a

nd re

ctan

gles

or

gani

zed

alon

g an

ext

rude

d (in

se

ctio

n) e

ast -

wes

t axi

s w

hich

rela

tes

to e

arly

20t

h ce

ntur

y ab

stra

ct w

orks

of

art

.

06

Laik

i

Resid

entia

l

Train

ing

Center

locaTion BuilT YearyeRi, cyPRus 1995

3031



clienT laiKi baNKiNG GRouP archiTecT / engineers




33

rec

olle

ctio

ns o

f mod

erni

st a

rt

cont

ribu

ted

subc

onsc

ious

ly to

sha

pe

the

conc

eptu

al id

ea fo

r th

is 3

0,00

0 se

at s

occe

r st

adiu

m s

uppo

rted

by

circ

ulat

ion

elem

ents

and

com

bine

d w

ith

a 6,

000

seat

trac

k an

d fie

ld

stad

ium

. Th

e ar

chite

ctur

al fo

otpr

int

of th

is in

tern

atio

nal c

ompe

titi

on

entr

y w

inne

r co

uld

be a

ttri

bute

d to

a ce

rtai

n vi

sual

and

com

posi

tion

al

orde

r ev

iden

t in

exam

ples

of a

bstr

act

art a

s pr

eced

ent.

Thi

s fo

otpr

int,

extr

uded

into

a s

ecti

on a

nd c

appe

d by

a s

uspe

nded

ste

el c

anop

y, is

ju

xtap

osed

aga

inst

the

dist

ant

grou

nd o

f a m

ount

ain

rang

e an

d

read

as

a sy

mbo

l rea

lized

from

a

synt

hesi

s of

mul

tipl

e th

emes

.

07

GSP S

tadiu

m

and A

thletic

Center

locaTion BuilT YearNicosia cyPRus 1998

λβ’

3233



clienT PaNcyPRia GymNastic club archiTecT / engineers




35λδ’

This

mul

tile

vel s

port

s fa

cilit

y w

ith

a m

ain

aren

a ac

com

mod

atin

g 7,

000

spec

tato

rs is

a b

uilt

idea

em

anat

ing

from

the

noti

on o

f gro

und

— o

r in

g

reek

: top

oi —

a p

rim

ary

desi

gn

crite

rion

of t

he a

rchi

tect

ural

co

mpe

titi

on w

on b

y th

is p

roje

ct.

its

sect

iona

l ide

a is

bot

h an

impl

ant

into

and

a c

onti

nuat

ion

of th

e ex

isti

ng s

ite c

onto

urs,

whi

le it

s m

ulti

laye

r un

dula

ting

roof

sur

face

s ar

e m

eant

to v

isua

lly fl

oat j

ust

abov

e th

e su

rrou

ndin

g hi

lls,

thus

de

mon

stra

ting

ano

ther

exp

ress

ion

of g

roun

d.

08

Spyros

Kypria

nou

Athletic

Arena

and S

ports

Com

plex

locaTion BuilT Yearlemesos, cyPRus 2007

3435



clienT cyPRus sPoRts oRGaNizatioN archiTecT / engineers




37λστ’

The

cont

rast

s of

form

evi

dent

in

wor

ks o

f art

of t

he m

oder

n er

a pl

ayed

a s

ublim

inal

role

in s

hapi

ng

the

idea

for

this

mix

ed u

se s

truc

ture

co

nsis

ting

of l

ivin

g, tr

aini

ng a

nd

recr

eati

onal

faci

litie

s fo

r at

hlet

es.

Thes

e fu

ncti

ons

are

inte

grat

ed u

sing

st

ruct

ural

and

func

tion

al c

lari

ty

wit

h ad

diti

onal

sta

dium

sea

ting

for

seve

ral t

hous

and

spec

tato

rs.

Bas

ic g

eom

etri

c fo

rms

or g

estu

res,

su

ch a

s a

cylin

der,

rad

ial a

rc, l

ine

and

a tr

iang

ulat

ed p

rism

, are

ar

chite

ctur

ally

com

pose

d to

gen

erat

e a

dyna

mic

arc

hite

ctur

al p

rese

nce

inte

grat

ed w

ith

the

give

n ge

omet

ries

of

the

adjo

inin

g sp

orts

pitc

hes.

09

Allegra G

SP

Sports

Center


3637



clienT PaNcyPRia GymNastic club archiTecT / engineers




39λη’

The

idea

for

the

desi

gn o

f thi

s su

burb

an n

eigh

borh

ood

athl

etic

ce

nter

was

insp

ired

by

emot

iona

l, as

w

ell a

s ac

tual

, gro

und.

The

3,0

00-

seat

fair

face

s a

conc

rete

and

och

re

bloc

k su

pers

truc

ture

pro

tect

ed b

y a

win

g-sh

aped

ste

el c

anop

y, b

orde

rs

on a

no

man

’s la

nd m

ilita

ry b

uffe

r zo

ne d

ivid

ing

a co

untr

y, a

nd lo

oks

beyo

nd to

the

hist

ory

lade

n Ky

reni

a m

ount

ain

rang

e. T

he a

dapt

ed

mor

phol

ogy

of a

n ai

rcra

ft w

ing

coul

d be

iden

tifie

d as

a p

rece

dent

for

the

defin

ing

arch

itect

ural

com

pone

nt o

f th

is w

ork.

10

Kaim

akli

Com

munit

y

Sports

Center


3839



clienT Nicosia muNiciPality archiTecT / engineers




41μ’

The

idea

for

this

hom

e fo

r a

wid

owed

m

othe

r an

d gr

andm

othe

r liv

ing

alon

e w

as b

orn

out o

f a s

enso

ry d

efini

tion

of

gro

und

as e

xpre

ssed

by

the

scen

t, fe

el a

nd e

arth

of a

n or

ange

gro

ve,

the

dire

ctio

n of

win

d an

d po

ssib

ility

of

vie

w.

all

of t

his

hom

e’s

open

ings

and

pe

netr

atio

ns w

itho

ut e

xcep

tion

ac

quir

e m

eani

ng b

ecau

se o

f the

way

th

ey a

re o

rien

ted

by a

nd c

onne

cted

to

the

conc

ept o

f gro

und

as d

efine

d by

the

natu

ral c

hara

cter

isti

cs o

f the

ex

tend

ed s

ite.

11 Thalia

David

Resid

ence

locaTion BuilT YearmoRPHou, cyPRus 1974

4041



clienT tHalia l. DaviD archiTecT / engineers

tHeoHaRis DaviD



43

This

34

unit

resi

dent

ial c

ompl

ex is

pa

rt o

f the

con

tinu

um o

f the

urb

an

deve

lopm

ent o

f a 1

,100

-yea

r-ol

d ea

ster

n m

edite

rran

ean

city

is a

B

uil

T iD

ea e

volv

ed fr

om a

pre

cede

nt

rela

ted

to re

side

ntia

l arc

hite

ctur

e of

th

e m

oder

n m

ovem

ent w

hich

defi

nes

the

proj

ect’s

site

. its

real

izat

ion

is

offe

red

as a

par

adig

m s

ervi

ng a

s

proo

f tha

t arc

hite

ctur

e ca

n ac

hiev

e a

deve

lope

r / c

ontr

acto

r cl

ient

’s

econ

omic

goa

ls w

hile

sat

isfy

ing

the

inte

rest

s of

div

erse

sta

keho

lder

s,

incl

udin

g th

e re

side

nt o

wne

rs a

nd

appr

oval

bod

ies,

whi

le re

spec

ting

a

land

mar

ked

neig

hbor

hood

an

d th

e di

stin

ct e

nvir

onm

enta

l ch

arac

teri

stic

s of

the

site

.

12

Gladstonos

22

locaTion BuilT YearNicosia, RePublic oF cyPRus 2009

μβ’

4243



clienT J&P ltD. archiTecT / engineers

tHeo. DaviD aRcHitects tDa+Kal iN associatioN witH Nma aRcHitects



45μδ’

a g

roun

d co

ndit

ion

defin

ed b

y th

e no

t too

dis

tant

hor

izon

of t

he

med

iterr

anea

n se

a, th

e in

tens

e bl

ue

of th

e c

ypri

ot s

ky a

nd a

ncie

nt ro

ck

out c

ropp

ing

and

ston

e qu

arri

es th

at

inha

bite

d th

e si

te a

ll c

ombi

ned

to

shap

e an

idea

abo

ut th

is v

acat

ion

resi

dent

ial c

ompl

ex o

f 18

livin

g un

its.

a u

niqu

e re

lati

onsh

ip to

gro

und

is

gene

rate

d no

t onl

y by

the

expe

cted

fr

amin

g of

the

dist

ant g

roun

d, b

ut

by a

llow

ing

a sy

mbi

otic

rela

tion

ship

be

twee

n th

e bu

ilt fo

rm a

nd e

xist

ing

rock

form

atio

ns.

13

Bleu

locaTion BuilT YearPRotaRas, cyPRus 2010

4445



clienT Nice Day DeveloPmeNts archiTecT / engineers




47μστ’

The

idea

for

this

resi

denc

e fo

r a

youn

g fa

mily

, bui

lt o

n a

subu

rban

co

rner

lot,

was

info

rmed

by

thin

king

how

, as

in c

erta

in w

orks

of

art

, an

enti

re m

icro

cosm

can

be

acco

mm

odat

ed a

nd e

xpre

ssed

w

ithi

n th

e re

stri

ctiv

e vo

lum

e of

a

cube

of s

pace

.

The

mic

roco

sm o

f the

act

of d

wel

ling

is e

xpre

ssed

not

onl

y by

spa

tial

fo

ldin

g w

ithi

n th

e gi

ven

volu

me,

but

w

ith

the

juxt

apos

itio

n of

con

tras

ting

m

ater

ials

, inc

ludi

ng w

ater

that

de

fines

hor

izon

tally

and

ver

tica

lly

habi

tabl

e sp

ace.

14

priv

ate

Resid

ence

locaTion BuilT YearaGlaNtzia, cyPRus 2011

4647



clienT aNoNymous archiTecT / engineers




49μη’

sym

bolis

m th

roug

h th

e ch

oice

and

us

e of

a s

peci

fic m

ater

ial,

met

al

clad

ding

, to

defin

e th

e sh

arp

wed

ged

volu

me

whi

ch c

onta

ins

an a

mat

eur

radi

o st

udio

that

is p

art o

f the

iden

tity

of

the

clie

nt, h

elps

des

crib

e th

is

volu

met

rica

lly m

odul

ated

fam

ily

resi

denc

e. T

his

sym

bolic

use

of

mat

eria

l is

repe

ated

at s

igni

fican

t fu

ncti

onal

junc

ture

s of

the

hous

e.

The

inte

grat

ion

of a

cur

vilin

ear

roug

h st

one

reta

inin

g w

all u

nder

scor

es

furt

her

the

sym

bolic

idea

and

m

ater

ial b

ehin

d th

e ar

chite

ctur

e.

15

Spyros a

nd

MaryAnn

Stavrin

ides

Resid

ence

locaTion BuilT YearaGlaNtzia, cyPRus 2010

4849



clienT sPyRos stavRiNiDes archiTecT / engineers




51ν’

16

Phil

eleftheros

Head O

ffic

es

The

grap

hic

sym

bolis

m im

plie

d in

th

e ar

chite

ctur

al m

orph

olog

y of

this

di

gita

l pro

duct

ion

and

adm

inis

trat

ive

cent

er fo

r a

med

ia g

roup

, was

in

spir

ed b

y bu

ildin

g te

chno

logy

ad

opte

d fr

om th

e id

ea o

f fus

elag

e as

pre

cede

nt. T

he fu

sela

ge a

lso

appr

opri

ated

as

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71

ProjecT Team

curator christoph a. Kumpusch

exhibit Design architect christoph a. Kumpusch

Design and curatorial Team schuyler Klein, ali fouladi, ryan joseph simons, indiana morales, adam orlinski, Taylor sams, emre Bozatli

model Team — new York shaked uzrad, mike Tingen, Kelly smolen-ski, azeem Khan, jonathan jarquin, richard miller, juan sala, Beijia gu, Brian Dobrolsky, jasper hayes, richard Tengurian, umit Kuroglu

model Team — cyprus emre Bozatli, maria christofi, robert Di fulvio

coordination schuyler Klein

consTrucTion

installation Team schuyler Klein, ali fouladi, anne marie Pe-rez, jasper hayes, Kelly smolenski, jonath-an jarquin, richard miller, juan sala, Taylor sams, chris fantin, iting Tsai, Keumbi noh, Brendan o’shea, Daniela Kolodesh, neda Kakhsaz, martin velez, Wanling li

column fabrication anne marie Perez, ali fouladi, joel Kokin, alyza enriquez, ryan esparza, Yani gao, Yuli huang, rebecca Pierson, neha sadrud-din, chi ieong Wong, Philip zucker, hudson sackrider-De ricco, chris fantin, iting Tsai, xiaoke he, gabriela fiorentino cedeno

Digital fabrication anne marie Perez, ali fouladi, joel Kokin, alyza enriquez, ryan esparza, Yani gao, Yuli huang, rebecca Pierson, neha sadrud-din, chi ieong Wong, Philip zucker, hudson sackrider-De ricco, chris fantin, iting Tsai, xiaoke he, gabriela fiorentino cedeno

consulTanTs

fabrication rodrigo guajardo

column fabrication anne marie Perez, rick Klein

sPecial ThanKs

Kurt everhart rodrigo guajardo melissa David alexi David eric Wong mark Parsons nicole Katz Kane austin

PhoTograPhY

Projects charalambos artemis, emre Bozatli, Theo-haris David, sean hemmerle, john veltri

exhibition alyza enriquez

caTalogue

graphic Design Won sok choi − wosochburi

editor ryan joseph simons

Printing Paper chase, 7176 W. sunset Blvd. los angeles, ca 90046 (323) 874-2300 www.paperchase.net

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71





73

Theoharis DavidArchitect and Professor, faia

Theoharis David was born in the United States of Cypriot immigrant parents. He holds a B. Arch degree from Pratt institute and went on after serving as a musician in the US Army, to graduate school at Yale University, where he studied directly under the modernist master Paul Rudolph, graduating in 1964 with a Master of Architecture degree. After gaining work experience in New York, he took the advice of Rudolph to “go where you can build” and went in 1967 as a young man to the recently independent Republic of Cyprus.

As assistant architect with the firm of J&A Phillipou, he was entrusted with the design of a number of significant projects including government offices, hotels and radical for its time, 1970, the church of Ayia Trias in Famagusta through which he enjoyed a creative relationship with the legendary President and Archbishop of Cyprus, Makarios III, the client. After the Greek junta coup and Turkish invasion of 1974, Theo refused to abandon Cyprus despite the uncertainty that existed, and return to the security of his teaching position at Pratt. Having secured the safety of his young family he returned and with his then partner headed the team for the design of the first refugee housing estates in the now divided country. Theo. was also a founding director of CAEC a pioneering architect’s collaborative formed to counter the effects of the 1974 war.

In 1979 Theo. was appointed Chair of Graduate Architecture at Pratt Institute where he brought to the faculty significant architects such as Lebbeus Woods, Hani Rashid, John Johansen, Giuliano Fiorenzoli, Teodoro Gonzales de Leon, Nicos Kalogeras and Michael Webb. He also originated and directed for twenty years the “Pratt in Cyprus + Greece” foreign studies program.

His former firm David & Dikaios Associates continued in Cyprus with the realization of for that era technologically advanced buildings such as head offices for Universal Life, industrial buildings, prefabricated housing for Hellenic Mining Ltd. and a major exhibition hall for the Cyprus State Fair. Theo was also active in New York City with the completion of award winning churches and interiors that have been documented as part of the late 20th century architecture legacy of New York City.

In 1988 he formed a joint venture with KAL Engineering, TDA+KAL, which went on to design a number of major projects in Cyprus such as the GSP Stadium and Athletic Center which received the Cyprus State Award for Architecture, and was nominated for the Mies van der Rohe Award and the Spyros Kyprianou Arena both the result of open competitions. Other built projects included a prototypical Residential Training Center for a major financial institution, the Allegra GSP Athletes Center, along with elementary schools which the Ministry of Education considers exemplary. The Gladstonos 22 Housing development in Nicosia, was shortlisted for a 2011 World Architecture Festival Award.In 1993, Theo. achieved tenure and a full professorship at Pratt and in 1996 was elevated to Fellowship in the American Institute of Architects for “notable contributions to the advancement of the profession of architecture”.

In 2005 he was named Chair of the Advisory Committee for architecture of the University of Cyprus and was instrumental in the creation of the Department of Architecture where he continues as visiting professor. In 2006 the Cyprus Government appointed him a founding director of the Cyprus Cultural Foundation where he has been a driving force behind the architectural plans for the Cyprus Cultural Center. At Pratt he negotiated an agreement between the School of Architecture and the University of Cyprus, and has served on the Academic Senate and Board of Trustees.

Theo. has also contributed to design awards programs worldwide iincluding the Aga Khan Awards and has chaired the New York Chapter of the AIA Distinguished Architecture Awards program having also been elected to its Honors Committee. His own awards include the City Club of New York Bard Award for Excellence in Design, a NYSAIA Design Award, an ADPSR Design Citation, Architecture Magazine Design Award, and the Cyprus Architects Prize for 2009.

He has been characterized by his American peers as “a teacher of teachers” and has advocated for architectural excellence by encouraging and supporting the work of younger architects.

Theo. David is currently involved in projects in Cyprus, New York, Romania and the Middle East while continuing to teach full time. He has lectured in Nicosia, New York, Athens, Thessaloniki, Shanghai, Barcelona, London, Paris, Los Angeles, Charleston and elsewhere and has been a guest critic at Yale, CCNY, Cooper Union, Metropolis Program Univ. of Cataluña Barcelona, the AA London, Columbia, Temple, Texas A&M, RPI, University of Syracuse etc. His work as an architect and educator continues to be exhibited and published internationally.

οβ’

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Christoph a. Kumpusch is a New York based architect and PhD candidate inarchitecture at the University of AppliedArts in Vienna. He is a co-director ofForward-slash, an interdisciplinarypractice founded in 2008 and the head oftheir research division Back-slash. He isa Leonardo da Vinci Fellow and a RudolfM. Schindler Scholar, USAA Scholar andNational Collegiate Engineering Awardwinner for outstanding commitment toacademic excellence; was a MAK CenterArchitect in Residence in 2003, the co-author of System Wien with Lebbeus Woods, Anthony Vidler and Manuel DeLanda, the editor of IDEA(u)topsy and consultant to the Architectural Forum and Association for Urban Development and Research in Beijing.He has previously taught at the IrwinS. Chanin School of Architecture atCooper Union, Columbia University’sGraduate School of Architecture,Planning and Preservation, Ohio StateUniversity, Cornell University, SCI-Arcand Guangzhou University in China.

Current projects of his office c.a.k LAB/ +maison de architecture include a community embassy in Kenya, Africa;a social housing tower in Budapest, Hungary and the Light Pavilion in Chengdu, China in collaboration with Lebbeus Woods and Steven Holl Architects.

His dissertation, “Detail-Kultur”, focuseson the complex behavior of details in thebuilt environment.

Lebbeus Woods

Lebbeus Woods is a New York-based architect and theorist whose projects that have thrilled and challenged the architecture profession. He trained at University of Illinois and Purdue University and worked in the offices of Eero Saarinen before devoting himself exclusively to theory and experimental projects. Among Woods’s best known work are provocative proposals for San Francisco, Sarajevo and Havana, each created when those cities were experiencing crises. He is the author of System Wien, The Storm and the Fall, and Pamphlet Architecture 15: War and Architecture.

Woods co-founded the non-profit Research Institute for Experimental Architecture and is a professor at The Cooper Union Irwin S. Chanin School of Architecture in New York City.

Woods is a recipient of the Chrysler Award for Innovation in Design and his works are in public collections, including the Museum of Modern Art, New York; the Cooper-Hewitt National Design Museum; The San Francisco Museum of Modern Art; the Cartier Foundation for Contemporary Art, Paris; the Austrian Museum of Applied Art, Vienna; the Carnegie Museum of Art, and the Getty Research Institute for the Arts and Humanities. His first built work in collaboration with Christoph a. Kumpusch and Steven Holl Architects, the Light Pavilion, is currently under construction in Chengdu, China.

Dean Thomas Hanrahan

Dean Thomas Hanrahan is a New York-based architect and a founding partner of HanrahanMeyers architects (hMa) and the Dean of the School of Architecture at Pratt Institute. He has been the principal architect on numerous award winning projects including the Holley Residence which featured at the Museum of Modern Art in 1999; the Won Dharma Center (2010 Design Award, Faith + Form Magazine) where he has overviewed the development of a 550-acre site into a zero-carbon footprint landscape and is overseeing the construction of hMa’s five buildings on the site; the Pratt Design Center, and the Interpretive Center Museum in Chattanooga, TN, and ‘Light-Arc’, a Platinum LEED-rated community center adjacent to Ground Zero in Lower Manhattan.

He is the author of a monograph on his own work The Four States of Architecture and the main hMa principal overviewing the Battery Park City North Neighborhood Master Plan and has a unique expertise in green master planning and sustainable urban design and has hosted a symposium in New York in collaboration with Metropolis magazine titled: ‘Global Warming’. The symposium addressed issues of green technologies applied to building construction as well as regional urbanism and sustainable development. He is also on the Editorial Advisory Board at The Architect’s Newspaper.



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74 a life of learning, Teaching anD acTion

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07 gsP stadium

06 laiki rTc

03 new life

02 Bethelite

03 06 07 04 08 09 15 10 12 13 05 17 14 16 18 19

04 ayios athanasios

08 spyros Kyprianou Palais

17 cavo greco

09 allegra gsP

16 Phileleft- heros head offices

14 Private residence

10 Kaimakli

05 stylianos lenas

12 gladstonos 22

13 bLEu Protaras 22

15 stavrinides residence

18 st. nicholas

19 old gsP

Built Ideas

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