I REFRACTIONS

Generally speaking, the relation between the gaze

and what one wishes to see involves a lure.
The subject is presented as other than he is, and
what one shows him is not what he wishes to see.
JACQUES LACAN | The Four Fundamental Concepts of Psychoanalysis
I REFRACTIONS
The first section of this book frames Carpenters work as a process of transformation of the phe-
nomena of transparency and reflectivity. In order to qualify the notion of refraction that emerges
from this process, I will begin with a piece from one of his rare interviews:
On the Labrador coast there are very small communities of Eskimos and Indians,
next to towns of sixty or one hundred people, two hundred miles away from each
other. I was helping a family to keep up their shing, somehow taking the sons
place Once we were on the ocean at night in a small boat. In Labrador they
have huge schools of squid that come in at night. Millions of squid. Underneath
the boat the whole ocean turned into this completely luminescent surface that
went down a hundred yards. Things like that vibrate and are quite inspiring... The
essence or memory of something like that, in a very abstract way, becomes the
inspiration for other things that could heighten peoples awareness of phenomena
that occur around them all the time.
1
In this account, Carpenters nearness to the squids nocturnal vision is not only physical, but also
influenced by his participation in the productive activities of a societal group with which he has for-
med a familial kinship. His position within this cultural field displaces his geometric control over the
object of perception, configuring more complex interactions with the worlds images and realities.
The shimmering of these living entities becomes a source of light, manifesting the relevance of the
environmental dynamics from which they arise, as a lure towards a deeper involvement with the
act of vision. As a viewer seduced to venture into the depth of the elusive confines of their image,
Carpenter establishes a condition of reciprocity between the field, which is perspectivally centered
on himself at its origin, and the complex dynamics of transparency and reflectivity which allow the
object of perception to look back at him.
There is a qualitative difference between the way an observer can idealize an object, and the devel-
opment of a productive knowledge with respect to an objects ideality on the part of a maker. The
idealization of an object by a viewer can embed its perception in a network of resonant memories.
This quantity of memory eventually gives way to an imaginary relation, by substituting one apparent
sense for another.
As a maker, Carpenter recasts the role of the observer through multiple investigations that estab-
lish a relationship between vision and the natural environment, qualified by observing light as part
20 > 21
of a thick vibrating field. The choice of glass as privileged medium for his work has allowed him, since
the period of his artistic education at the Rhode Island School of Design, to explore the interaction
between this materials supposed transparency and the conceptual thickness it can induce in the
perception of various phenomena. In doing so, he has transformed the mysterious lumines cence of
the school of squid seen in Labrador into temporally shifting figures of light.
In the transmission of light there is ltration, reection, refraction. Then there
is the question of what to do with that. It is not only the component of light that
is passing through the material, but also the component of light that is rejected
by the material We are intentionally trying to reveal the phenomenon of
transmission and, simultaneously, making manifest the more complex properties
of refraction and reection.
2
I have chosen two of Carpenters projects in order to introduce the notion of refraction as a key to this
complex field of vision. The first project, Periscope Window (1994 1998), takes the place of a window
within a private residence; the second, Dichroic Light Field (1995 1996), layers a field of mirroring sur-
faces on an urban wall. Both works explore how the use of glass can modify the relationship between
subject and object through effects which are produced within and through the glasss own materiality.
The operations through which glass produces refraction in these two projects transform the
material into a perceptual device that actively participates in the process of image formation. Imag-
es are affected by the technical properties of the device, including the type of glass, the substruc-
ture, and the method of construction, as well as its relation with time of day or night, season,
weather, and its modes of spatial engagement with the human body.
These two works, while manifesting their affinity with the transparency of glass and the reflectivity
of mirrors, also address two established architectural tropes
_
window and wall
_
reconsidering their
conventional roles in delineating boundaries between inside and outside. Carpenters installations
problematize the way in which architecture is organized as a linguistic system of identifiable and
discrete elements. Both Periscope Window and Dichroic Light Field are interventions integrated into
the real space of architecture through partial reconstructions that modify the transparency, opac-
ity, and reflectivity of the buildings to which they are applied. They produce an oscillation within the
perceptual field, which becomes a source of uncertainty, operating
_
so to speak
_
from underneath
its threshold of visibility.
REFRACTI ONS
Ren Descartes, Treatise on Man, 1688
Rather than a direct relationship with objects, these complex dynamics of transfomation introduce
a perceptual delay in the identification of a discrete object, shifting this process towards a sub-
jects imaginary dimensions. As opposed to the fixity of an ideal eye, these perceptual oscillations
promote spatial memories in which a subjects layered experiences allow time to make irruption
into the supposed immediacy of vision. Carpenters work asserts that spatial experiences need to
be re-inscribed in the temporal web of multiple projections of a body in its process of constitution.
The work also makes manifest that these projections are affected by the opaque regions of uncon-
scious interferences.
PERISCOPE WINDOW
Looked at in isolation, the device of Periscope Window displays a level of material and constructive
elegance that alone would generate sufficient focus of attention as an object in a museum. However,
this engineered construction of glass, crystal lenses, and mirrors has been designed to interact with
the mutable environment of a precise place and time. These interactions produce multiple effects
that are layered on the devices visible surface of acid-etched glass, and, at the same time, thwart
the drive towards its reduction to the status of artistic commodity in a private home.
In architectural terms, Periscope Window confronts the conventional idea that a window presents a
framed view from a building interior to its exterior, directly connected with the outside through the
stability of the windows frame and of the horizon line in relation to the floor. In classical terms, a win-
dows vertical axis stabilizes a subjects position through perspectival vision. In its modernist reformula-
tion, a windows horizontal extension promotes instead a cinematic mode of perception of the exterior.
Carpenter subverts the windows direct connection to the outside, presupposed by both classical and
modernist paradigms. Despite being faced by the neighbors adjacent fence, the Periscope Windows
thickness enables it to absorb the view of a tree beyond the fence, endowing the tree with the power
of casting shadows, simulating a solar eclipse, and projecting a picture on the windows inner plane.
The changing quality of these indirect images, compounded by other perceptual variables, intensifies
the relationship bet ween the viewer, the device, and environmental events such as cloud variations
and solar movement.
Operating at multiple scales to produce co-present images through different optical processes,
Periscope Window shifts emphasis away from the accepted notions of a window as an architectural
frame separating the inside from the outside. The glass thus acquires a life of its own as the source
22 > 23
of a dynamic accumulation of perceptions that bring together conceptually incommensurable
images. A geometry of intensive forces connects these images in a network of changing and devel-
oping relations. Light is treated as a potent vector of intensity: the visible comes into existence only
through lights thickening and confrontation with shadows
_
a shifting and unstable chiaroscuro.
Light becomes visible by reaching a sensation of brilliance that is at the same time a source of
pleasure and pain for the eye. Scintillating phenomena of flickers and halos foreground the forces
animating the natural world outside the building.
DICHROIC LIGHT FIELD
Whereas Periscope Window captures and relays convergent aspects of phenomena through mirrors
and lenses, Dichroic Light Field operates as a geometric device that registers environmental ener-
gies in a way that produces a different order of time-related phenomena.
The work consists of planes of specially treated glass that appear to trap light, giving an illusion of
depth. The observer and the perceived objects are in this case on the same side relative to the
protruding components of the device
_
216 dichroic laminated glass fins. Yet the mutual interaction
between elements and the wall that is their supporting plane produces a large and subtle range of
effects, in which each element assumes a crucial role. Meanwhile, the effects of solar movement
and weather conditions are multiplied by the distance, direction, and speed of the movements of
an observer, who shares the urban context of the piece.
In Dichroic Light Field, duration is an effect of the activation of selective reflections of the glistening
context and the highlighting of that process of activation. Nearby buildings become a source of
light by reflecting towards Carpenters device the afternoon sun that shines on their faades. The
resulting effects depend on multiple combinations among perceptual variables. For example, two
individuals observing the work at the same time from the north and the south would see two radi-
cally different images.
The works geometric configuration interacts with multiple factors (lighting, space, angles of sun and
vision, distance, objects, and interrelated movements) which affect, through their own variations, the
transformations of one image into another within a modular field. The aesthetic effect is an image
of movement of a changing whole that is produced through geometric figures co-present to one
another. Light is conceived as a function of movement, correlating an infinite display of successive
moments through the viewers perceptual mobility in front of a regularized field of light figures.
REFRACTI ONS
DIAGRAMS
Three types of diagrams guide the interpretation of Periscope Window and Dichroic Light Field. Since
a key component in both works is time
_
as measured and qualified by the movement of the
sun
_
one set of diagrams depicts the suns hourly and seasonal positions in relation to the orien-
tation of both devices.
A second set of diagrams describes how phenomena engaged by each device in terms of action and
context are perceived. In the case of Periscope Window, images express the dynamic quality of time
through an intensification of effects of light and shadow. In the case of Dichroic Light Field, the
quality of time is instead expressed through images extracted in an almost mathematical way from
the movement of sunlight. Both sets of diagrams could seem to share an affinity with the abstraction
of orthographic projections. Yet the way in which these conventions of representation are used here
undermines their analytical and pictorial temptations, since these two devices precisely investigate
the variability, relativity, and interaction that take place in the act of perception. In other words, the
intent of the diagrams is to show the way in which these two works operate on vision itself.
In the case of Periscope Window, the frontal relation between a viewer in the private residences
stairwell and the tree outside, in the neighbors property, is rendered through axonometric draw-
ings. These static and analytical representations of both the architectural support and its view of
nature also freeze the outline of subject and object, highlighting the fact that the sun is the primary
variable of the perceptual situation.
These axonometric drawings are complemented by a third set of related diagrams. Detailed sections
through the window follow the different trajectories of light
_
modified by the components that con-
struct the window as a device. These sections are paired with the undoing of a single image into
three different parts that correspond to the principal effects of shadow, eclipse, and projection
produced by the device.
The second set of diagrams illustrating the Dichroic Light Field addresses photographys reduction
of the works spatial and temporal depth to a sequence of beautiful images. The purpose of these
lateral perspectives is to investigate the optical illusionism of both constructed perspectival
drawings and photographic images.
They establish a conceptual difference between the disembodied subject of idealized represen-
tations and the process through which the works surface can absorb a subject within its depth
confirming its imaginary presence. Once perspective is understood as a construct, it can redefine
space as an opportunity for a complex dialogue that projects a subject along the vectors of her/
24 > 25
Diagram of Brunelleschis perspective experiment.
his possible desires. These vectors probe the elusive depth of the pictures planar coordinates
through an uneven field of here and there. As a device, the Dichroic Light Field implicates the eye
of a distracted passer-by, transforming the act of viewing it into the specific temporality of a sub-
jects situation.
Brunelleschi conducted an analogous experiment in Florence, when he invited passers-by to slip
behind a device that produced an unprecedented view of urban spaces. Viewers were asked to
hold a mirror in front of a perspectival drawing, so that they could observe this image within the
context of the physical reality of the square in which they were. The final picture required an
observer to move her/his body, in order to adjust the relative size of the images corresponding to
each element. The resulting view through Brunelleschis device was in fact an assemblage of sur-
faces that put into relief simultaneously the drawing of the Baptistery and the square in which it
was, including the cathedral, so as to prevent the Baptisterys reduction to an abstracted urban
object. Within this view, cast shadows and the moving clouds in the sky were potent indexes of
the pictures embodied temporality.
1
See Pia Sarpaneva, Interview with James Carpenter, Presence Symposium, Blacksburg: College of Architecture and Urban Studies
of Virginia Tech, 1998, p.6.
2
Pia Sarpaneva, op. cit, p.8.
REFRACTI ONS
ENGINEERING STRUCTURAL ART ART
WORKI NG WITH JAMES CARPENTER
by Jrg Schlaich
James Carpenter has freed me from a prejudice. As an engineer designing civil engineering projects
(in my case mainly bridges and lightweight shells with wide spans), I formerly forbade myself the
use of design resources for their own sake. In keeping with this conviction, not even the individual
details of a design were to be shaped by a pure desire for aesthetic expression, but were instead
always clearly subordinated to or derived from function: the conceptual formulation program, the
location, the flow of forces, the manufacturing technology. Everything else was regarded as decora-
tion, as wallpaper, and hence as inadmissible, dishonest, insincere.
For me, art and architecture, and likewise art and civil engineering, were never entirely separate,
but my inspiring collaborations with James Carpenter have allowed the boundaries between the two
to become more fluid, thereby opening up new design possibilities for me. Of course, it remains
true for me that not only architecture, but also civil engineering projects such as bridges, should
primarily serve their users. People should feel comfortable with them, and should enjoy identifying
with their designs both as a whole and in detail; they should also be economically feasible. The
current trend to design trendy sculptures solely in order to showcase the architect, and with no
regard for social context, has nothing to do with genuine architecture and architectural culture,
not to mention many over-designed landmark bridges, which will doubtless have very short
lifespans.
The external form of a functional structure serves the noble purpose of addressing the beholder in a
way that goes beyond function, of narrating its own history, of delighting or conveying some artistic
expression. Why then, we ask ourselves with good reason, should we not call for more generous
budgets for them when purely autonomous art is held in such high esteem? In fact, such
demands have been long recognized when it comes to museums, banks, and large office buildings,
and they play an increasing role in the selection of a design. But the more obviously the functional
purpose of a building steps into the foreground, the smaller the role of aesthetic aspects. Such
considerations, hence, rarely come into play with bridges, for example (aside from a few celebrated
exceptions), against which many sins have been committed under the pretense of the imperatives
of permanence and economic efficiency. But anything created by human beings may be a work of
art, even a bridge.
A striking instance of the interplay between construction and art, and one that emerged from a
collaboration with James Carpenter, is the roof and faade of the Lichthof (atrium) of the German
Foreign Ministry in Berlin. For this building, we designed a filigree cable-net faade whose transpar-
ency and lightness strives to dissolve the boundary separating the atrium from the outside.
8 > 9
ENGI NEERI NG STRUCTURAL ART ART
J RG SCHLAI CH
In Berlin, James Carpenter revealed to us the artistic potential of this faade, a dimension he was
able to disclose without
_
and this is the decisive aspect
_
sacrificing any structural aspects. He
designed a flowing transition from a pure construction via civil engineering to art, so that faade
and glass roof not only serve a rational purpose, but bear an expression as well. The construction
becomes a component of a powerful work of art, and the additional expense (coated glass, a few
strips of reflective metal, dichroic glass, together with stainless steel struts between the virtual
vertical and horizontal faade cables) is relatively minor, yet it converts light into an active design
element by means of an interplay of multifaceted chromatic reflections.
Somewhat later, we worked together with the architects of SOM and James Carpenter in planning a
highly transparent cable-net faade for the Time Warner building on Columbus Circle in New York
City, and behind this, a faade that serves as acoustic insulation for the Jazz@Lincoln Center
performance space. Here Carpenter allowed the pure construction and unobstructed views onto
58th Street to speak, absent any additional elements: engineering as art. This reticence, where
pure construction is deemed sufficient, this preparedness and capacity to listen, and to allow
oneself to be stimulated by a profound understanding of construction that is impelled by curiosity
before making ones own proposals: all of this is characteristic of James Carpenters definition of
fruitful collaboration.
Many contemporary architects imagine themselves capable of devising designs precisely in areas
where they lack the requisite competence, only to wind up copying the preexistent, while simulta-
neously underestimating the importance of construction and diminishing the role of the engineer to
mere structural calculations. In contrast, James Carpenter regards the knowledge and ideas of his
design partners as grist for his own mill, fusing them with his own fantasy and artistic gifts
_
in the
knowledge that pure, effective, skillful, and intelligent construction provides fertile ground for art.
What else can I know and do... except measure the
relationship between the secret which is entombed
in the stone and the one which lies in the worker
that transforms it into a building?
MICHEL SERRES | What Thales Saw at the Base of the Pyramids
JAMES CARPENTER
ENVI RONMENTAL REFRACTIONS
To Andrea and Linda, reaches of light and love
SANDRO MARPI LLERO
James Carpenter
ENVI RONMENTAL REFRACTIONS
Preface by Jrg Schlaich
Essay by Kenneth Frampton
BI RKHUSER PUBLI SHERS FOR ARCHITECTURE
Basel | Berlin | Boston
Graphic design: nalbach typografik, Stuttgart
Volker Khn, Silke Nalbach
Project management: Ben Colebrook, JCDA
Assistant to author: Laura Crescimano
Lithography: Repromayer, Reutlingen
Printing: Leibfarth & Schwarz, Dettingen/Erms
Silkscreen cover: Gerscher Druck, Aglasterhausen
Published outside North and South America by
Birkhuser Publishers for Architecture
P.O. Box 133, CH-4010 Basel, Switzerland
www.birkhauser.ch
ISBN-13: 978-3-7643-6249-2
ISBN-10: 3-7643-6249-9
Licence edition published in North and South America by
Princeton Architectural Press
37 E. 7th Street
New York, NY 10003
USA
www.papress.com
ISBN-13: 978-1-56898-608-1
ISBN-10: 1-56898-608-4
A CIP catalogue record for this book is available from the
Library of Congress, Washington D.C., USA
Bibliographic information published by Die Deutsche Bibliothek
Die Deutsche Bibliothek lists this publication in the Deutsche
Nationalbibliografie; detailed bibliographic data is available in the
internet at http://dnb.ddb.de.
This work is subject to copyright. All rights are reserved, whether the
whole or part of the material is concerned, specifically the rights of
translation, reprinting, re-use of illustrations, recitation, broadcasting,
reproduction on microfilms or in other ways, and storage in data banks.
For any kind of use, permission of the copyright owner must be obtained.
2006 Birkhuser Publishers for Architecture, P.O. Box 133, CH-4010
Basel, Switzerland
Part of Springer Science+Business Media
Printed on acid-free paper produced from chlorine-free pulp. TCF '
Printed in Germany
ISBN-13: 978-3-7643-6249-2
ISBN-10: 3-7643-6249-9
www.birkhauser.ch
9 8 7 6 5 4 3 2 1
CONTENTS
ENGI NEERI NG STRUCTURAL ART ART 8
By Jrg Schlaich
I NTRODUCTION 10
I REFRACTIONS 16
PERI SCOPE WI NDOW 26
Minneapolis, Minnesota
DICHROIC LIGHT FI ELD 36
New York, New York
PERI SCOPIC VI EWI NG ROOM 46
AT U.S. COURTHOUSE
Salt Lake City, Utah
STRUCTURAL GLASS PRI SMS
AT CHRI STIAN THEOLOGICAL SEMI NARY 48
Indianapolis, Indiana
LICHTHOF AT GERMAN FOREIGN MI NI STRY 52
Berlin, Germany
MOI R STAI R TOWER 56
Bonn, Germany
LIGHT PORTAL AT CENTRAL ARTERY TUNNEL 58
Boston, Massachusetts
LUMI NOUS GLASS BRI DGE 60
Marin County, California
II CONSTRUCTIONS 62
7 WORLD TRADE CENTER 72
New York, New York
TI ME WARNER BUI LDI NG 92
New York, New York
LENS CEI LI NG AT U.S. COURTHOUSE 96
Phoenix, Arizona
RETRACTI NG SCREEN 100
Dallas, Texas
GLASS TUBE FI ELD AT TOWER PLACE 104
London, United Kingdom

III APPARATUSES 108
FI LMS 120
CONFI NES 120
CAUSE 122
KOI 124
HOMI NG 126
MIGRATION 128
TULANE UNIVERSITY CENTER ADDITION
AND RECONSTRUCTION 130
New Orleans, Louisiana
LUMI NOUS THRESHOLD 140
Sydney, Australia
SOLAR REFLECTOR SHELL
AT FULTON STREET CENTER 144
New York, New York
SPORTS FACI LITY AT BROOKLYN BRI DGE PARK 150
New York, New York
BETWEEN MEMBRANE AND MICROCLI MATE 154
by Kenneth Frampton
Selected Projects 162
Illustration Credits 175
The appearance of James Carpenters work is serene. It gives the impression, however, that
something new will happen amidst its supposed serenity, and that other forces
_
apart from those
already apparent
_
are about to enter its field. The work produces an inhabited depth, by shifting
emphasis away from the visual registers of perception, towards multiple engagements of a subject,
her/his spatial constructs, and their resulting environment. Carpenter addresses the object of
perception not only by positioning it within cultural and economic contexts, but also by inscribing it
into biological and ecological systems. His work challenges a conventional description of its forms,
which also implicates the techniques through which architecture organizes the disciplinary controls
of that which exceeds its limits.
The interaction between the visual and bodily dimensions of Carpenters work promotes an
approach to architecture that I will call environmental. The production of a vast array of interfer-
ences destabilizes the aesthetic autonomy of its objects of perception
_
an autonomy that has
persisted as one of the enduring myths of architecture. His concerns also highlight the idea that
addressing sustainable resources should not remain narrowly focused on conventional notions of
building technology, nor limit that focus to the performance of some materials. Buildings are
implicated in actively constructing cities and landscapes, and should be made accountable for the
way in which they invest urban contexts beyond historical nostalgia, and its associated longing for
pastoral landscapes. The notion of environment that emerges from these premises points towards
the establishment of new ecological paradigms focused on dynamic transformations, rather than
the preservation of an idealized nature.
This book presents a part of Carpenters vast and heterogeneous production, within this framework
of an environmental approach, by identifying three groups of works that pose significant questions
to architectural as well as art practices.
The first challenge in inscribing Carpenters work within this environmental approach results from
the perverse resistance offered by photography to the power of the works spatial and material
dimensions. Photographs can only offer a limited translation of the properties through which the
work engages and affects its surroundings. They tend to freeze the palpable tension between the
works apparent geometrical necessity and its articulation of multiple experiential registers. They
also flatten the appreciation of models and built pieces to a phenomenological reading of their
materiality.
In each of the books three sections, an introduction addresses one or several selected projects,
which have been chosen as paradigmatic of the challenges raised by specific aspects of Carpen-
INTRODUCTION
Iron filings under the influence of a magnetic field.
12 > 13
ters work. Each introduction includes a short discussion of the analytic diagrams which are part of
that sections interpretive framework. These diagrams serve to shift attention to the works opera-
tional aspects rather than focusing on its physical properties, as photographs and line drawings
would tend to encourage.
SECTION I: REFRACTIONS
Section I focuses on the way in which Carpenters work constructs physical and conceptual
frameworks through which the phenomenon of refraction operates within the perceptual field of
subject/object relationships. Periscope Window (19941998) and Dichroic Light Field (19951996)
are the two projects chosen to bracket this phenomenon, which exceeds in each case its respec-
tive emphasis on an experience of transparency and reflectivity. These two works of Carpenters
represent artistic essays on the way in which glass can heighten dynamic shifts in the temporally
conditioned relationship between subject and object.
Refraction, in literal terms, occurs when a ray of light is deflected from its previous trajectory as it
passes from one medium into another of different density. Conceptually, refraction is a spatial
construct that activates vision as a process media ted by materiality. It affects the constitution of
subjectivity through an oscillation between physical and imaginary registers. With refraction, the
properties of glass transform the role of the observer into that of an active interpreter. Carpenters
investment in the materiality of glass effects this transformation.
Both Periscope Window and Dichroic Light Field explore the tension introduced within their material
frames by internal and external agencies. This exploration acknowledges that the forces at play
within the field of perception belong to different orders of reality, transforming it into a battlefield
between cultural conventions and unconscious impulses.
SECTION II: CONSTRUCTIONS
Section II posits that Carpenters work probes the rhetoric of transparency within architectures
modernist tradition to the point of undermining the association between the relative stability of a
building and its monumental permanence. Carpenters contribution to 7 World Trade Center in
Lower Manhattan introduces conceptual disjunctions in the perception of the buildings envelope
and spatial transitions, which places into crisis the idea of pure transparency
_
from both a visual
and material point of view
_
by introducing tensions and interferences between temporal and
spatial variables.
This project is a window into a context of codified relationships as they relate to the construction
of a high-rise building, revealing how Carpenter has operated through and beyond the typical
configuration of design processes and their conventional protocols of collaboration. The fast-track
schedule of design, development, and implementation of 7 WTC has been accompanied by subtle
variations along lines of conduct as well as dynamic crossovers between architectural, engineering,
and artistic fields of practice.
The role of Carpenters work in glass and steel within this process of multiple collaborations
suggests the possibility of moving away from the nineteenth and early twentieth century notion of
tectonics as a utilitarian function of technology towards its redefinition through the contemporary
questions raised by the preeminence of images and messages. It also posits challenges to the way
in which the discipline of architecture has cultivated design authorship and illusions of control on
building processes, that belong to outmoded artistic and social formations.
SECTION III: APPARATUSES
Following the critique of the rhetoric of transparency in architecture and its related notion of
object, Section III interrogates how Carpenters work might operate as an apparatus within a
complex field of environmental fluxes.
The apparently heterogeneous work chosen to introduce this section focuses on the production of
effects that migrate from visual and imaginary registers towards a physical awareness of bodily
sensations in space. Carpenters early installations of short films, Cause, Confines, Koi, Homing,
and Migration (1975 1980) introduce a cinematic paradigm that is detectable in his more recent
projects. The early films, as projected in art galleries, manipulated the ecological content of the
work in such a way as to viscerally implicate a visitor in the space of the gallery itself. It is through
the environmental register inherent in these installations that Carpenter entered the field of archi-
tecture, eventually collaborating in the design of the Tulane University Student Center (19992006).
For the Tulane University project Carpenter developed aspects of building systems as hybrid
constructs, that could make an observer reconsider her/his spatial conceptions, by focusing on
environmental information and forces observed countless times without noticing. As a working
assemblage of elements, these constructs can operate as apparatuses, by positioning them within
I NTRODUCTI ON
a relational framework that opens architecture to changes over time. The regions of reality engaged
by these apparatuses are conceptually incommensurable to one another, while, at the same time,
affecting the quality of a subjects awareness of her/his surroundings.
NAVIGATION
The books organization is not a linear sequence of projects ordered in accordance with chronologi-
cal, typological, or thematic classification of built and unbuilt structures. Rather than a geometry,
the book attempts a geography of the works possible arrays: a mapping that articulates aspects of
possible interpretation, rather than precisely described formal or functional attributes. Navigation
rather than genealogical classification is the analog for the books approach to Carpenters work,
and as such it suggests a counterpoint to the inevitable linearity of editorial formats. While the
individual texts describe the projects focus on their specific agendas, which are not homogeneous
within any of the three sections, the diagrams that accompany the projects chosen as paradigms
suggest cross references among them.
Stick charts produced by ancient mariners from the Marshall Islands in the Pacific South West offer
an image for this framework of navigation. These nautical aids indicate the reflection and cross
interaction of ocean swells between atolls and other island formations: the sticks are patterns of
swells between particular atolls
_
themselves indicated by small shells. A navigator would work out
from a given swell pattern his probable position among these low and strung-out islands, not visible
above the sea surface for many miles. In the book, paradigmatic projects play this role of naviga-
tional reference; the projects that follow them in each section have been collected by keeping in
mind this conceptual framework, in light of the possibility that other affinities may pull a reader
toward alternative overlapping routes.
The project for a Luminous Glass Bridge (1987) exemplifies the potential for such affinities and
overlaps. The bridges technical aspects
_
cantilevered and offset abutments, cable structure and
post-tensioned deck
_
reflect Carpenters early interest in engineering and relate it to issues
addressed in Section II. At the same time, engineering operates in this project as an apparatus in
the environmental sense: the cable above the platform is not only used to enhance the glass decks
stability and functionality, but also to secure at the top and bottom three pivoting vertical plates of
glass. The panels enable a pedestrians passage while a special coating on their surfaces reflects
fleeting images of the landscape that extends beyond each side of the canyon. The engagement of
14 > 15
Stick chart from the Marshall Islands.
phenomena and flows operating at a scale larger than the one implied by a simple physical crossing
could therefore suggest positioning this project in Section III.
The Luminous Glass Bridge is placed instead in Section I, prioritizing its more obvious intensification
of a pedestrians perceptual awareness of crossing the river. Because of its reflection and projection
of the shimmering of the water below, the bridge joins the other projects exploring refraction, and
ends Section I as an announcement of the engineering and environmental focus of the two follow-
ing sections. Through this provisional placement, the Glass Bridge is cast as a clue of Carpenters
own creative route that, over the past 25 years, has moved away from the self-referential domain of
artistic glass objects towards a broader agenda and a closer integration with the process of
conception and development of architectural design.

I NTRODUCTI ON
lERl SC0lEwl ND0w
MinneapcIis [ Minnescta [ 1995 -1997
Theler|scopew|noowrevea|sheous|oewor|o|nhe
lormolshaoowscasono|,wh||ehe|ensess|mu|ane
ous|ypro[ecan|magewhoseupenoeohor|zonsuggessa
wor|oapar.Locaeo|nhesa|rwayolapr|vaeres|oence
anolac|ngav|ewobsruceobyalence,on|yleeaway,
anohene|ghbor|ngbu||o|ngbeyono,heler|scopew|noow
creaesar|ch|yexureo"v|ew,"|ayer|ngvar|ous|ysca|eo
represena|onsolheexer|orphenomenon.
Easeoonear||er|enspro[ecs,Carpener`seamoes|gneo
h|ssrucureoac||keaper|scopeoev|ce.Theellec
wasach|eveobyao[us|ngheoperab|epars

wo|ayers
olg|ass`z|nch[304mm}apar,`4suspenoeohor|zona|
m|rrorsang|eo,ano80g|ass|enses

ohespec|l|cs|e
cono||ons.The|ner|org|ass,seenlrom|ns|oehehouse,
|sapro[ec|onscreencons|s|ngolspec|a||yreaeo|ayers
olac|oecheo,|am|naeog|asspane|s.Toavo|ohav|ng
o|ookahenearbylence,m|rrorsareang|eoonhe
exer|ors|oeolhe|enses,v|ewsolheskyanoreesare
|nerpreeobyhe|ensesanohenpro[eceoonohew|n
oow`sp|ane.Eachop|ca||enslocusesan|mageolhe
skyanoreesonohe|ns|oeolhe|am|naeoac|oecheo
g|ass,crea|ngagr|ools||gh|yo|llerenv|ewsolhe
samescene.Thew|noowoperaess|m||ar|yan|gh,
o|sp|ay|ng|magesolhemoonanon|ghsky,|nc|uo|ng
pro[ec|onsolreebranchshaoows.
hshemorn|ngprogresseso|rec||ghreachesmoreanomoreolheac|oecheog|ass,eras|ngany
pro[eceo|mageryoherhanhesunlromhe|ensesbecom|ngabr|ghscreenlorheshaoowscaslrom
heree,pass|ngc|ouos,he|nsa||a|on`ssrucureano|s|enses.
D|agramshow|ngheo|llerencebeweenhephenomenonolransparencyanoheellecolrelrac|on
proouceobyheler|scopew|noow.
zc > 27
SECTl0N
PERI SCOPE WI NDOW
REFRACTI ONS
Thearch|ec,\|ncenlames,responoeoohec||ens`
oes|reloraca|manosec|uoeores|oence|naoense|ypopu
|aeone|ghborhooobys|gn|l|can|yregrao|nghes|e,
herebyesab||sh|ngagrounop|anelorhehouseha
wou|ose|ec|ve|ylramev|ews,espec|a||yolanao[acen
|ake.0new|noowonasa|rcase|eao|ngupohesecono
l|oorprom|seov|ewsol||ghl||er|nghroughhereesbu
wasb|ockeobyhene|ghbor|ngbu||o|nganonearbylence.
lnconlron|ngh|s||m|a|on,lCDhsawanopporun|yo
lurhera|erheexper|enceol"v|ew|ng."
\|ewoller|scopew|noowanone|ghbor|nglence.
Theseo|agramsolheler|scopew|noow`sre|a|onsh|pohes|eano
ohepassageolhesunhroughheskyonhesummeranow|ner
so|s|cesoescr|beherangeanolrequencyol||ghphenomenacapureo
byhew|noow.
z8 > 29
wlNTER
lERl SC0lE wl ND0w
PEFPACTI DNS
\|ewlromhesouhe|eva|onolhehouse.Theler|scopew|noow|s
|ocaeoonheeass|oeolhehouse.
Eeh|noheexer|or|nsu|aeog|assareheens|onroos,hor|zona|
m|rrors,anocasg|ass|enses.
The earliest mock-up established the lenss focal length
and the necessary balance of translucency and
transparency for the laminated acid-etched glass.
The supporting structure for the lenses was developed
from the first mock-up. A layer of float glass custom
laminated to a layer of acid-etched glass transforms the
window into a screen, capturing reflections and
projections.
A blue panel, standing in for the sky, and three white
squares, representing clouds, were mounted above and
behind this working mock-up to examine how the angle of
the mirrors and their distance from the lenses could
transform a conventional view through the window into
views of the nearby tree and the sky.
30 > 31
PERI SCOPE WI NDOW
REFRACTI ONS
This view during installation shows the edge of the property, marked by a large fence, and the
clear view of the neighboring buildings. A stainless steel frame provides the structure for both the
tensioned stainless steel rods that support the 80 lenses and 14 angled mirrors.
On a sunny summer morning the window captures the greatest number of phenomena, thereby generating the most
layered image, including the revelation of some parts of the sculptures structure and lenses. The diagrams isolate
those phenomena and explain how and under what conditions they appear on various parts of the acid-etched glass.
A
B
C
32 > 33
A
B
C
lERl SC0lE wl ND0w
PEFPACTI DNS
( ll NH0LElR0lECTl0N
0ver|app|ngorpuncureo|eavescreae|nyp|nho|eswh|chac
||ke|enses,locus|ngheo|rec|mageolhesunonhe
o|lluseog|asssurlace.w|houheler|scopew|noowh|s
phenomenon|snorma||yon|yobserveoour|nganec||pse.
) Dl RECTSHhD0w
D|recshaoowsarecasonoheac|oecheog|asslrom
obsruc|onssuchasc|ouosor,as|nh|scase,he|eaves
anobranchesolhereesaboveanobeyonohelence.
* LENSlR0lECTl0N
The|ensespro[echem|rrors`rel|eceo|magesolskyano
reesonoheac|oecheog|assscreen,renoer|ngv|oeo
mon|or||ke|magesolhereeopsanoskybeyono.
( ll NH0LElR0lECTl0N
( ll NH0LElR0lECTl0N
Theo|sancebeweenhep|nho|eanohescreenoeerm|neshes|zeol
hapro[ec|on.Thep|nho|epro[ec|onsolhesun`s|magemove|nhe
oppos|eo|rec|onolhesunano,becauseolhe|eaves`movemens,
l||ckeronanooll.The|nerrup|onscasbyhesrucure,m|rrors,ano
|ensesaoolurherexureanomovemen.
) Dl RECTSHhD0w
The||ghrave||nglromhesun|sl||ereobyheree:some||gh|s
comp|ee|yb|ockeoanosomegeshroughcrea|ngashaoowwhose
ou||neolbranchesano|eaves|scasonoheac|oecheoscreen.The
|ensanom|rrorpro[ec|on|s|essv|s|b|e,cas|ngsomeolhesky|mage
onoheshaoowanoreouc|ngheshaoow`sconras.Themovemen
olhe|eavesaoosanac|vesenseolheree`spresence.
* LENSlR0lECTl0N
The|ensespro[echem|rrors`rel|eceo|magesolskyanoreeonohe
ac|oecheoscreen.Thel||ereo||ghcom|nghroughhereeshaoes
parsolheac|oecheog|ass,enab||ng|ocapurehe|magery
pro[eceobyhe|enses.Thereverseo|magesanorepresena|onsol
movemenolhem|rrorsare|nvereoanoreverseobyhe|enses,
crea|ngacorrec|yor|eneobureverseomov|ng|mageonhe
pro[ec|onscreen.
34 > 35
0lTlChLDE\lCESlNCLELENSREFLE`
` LlCHT 8 lMhCE S0URCE
7 MlRR0R [hNCLE \lEw T0 LENS}
3 ChST CLhSS LENS [ChlTURED \lEw}
4 SUll0RTlNC TENSl0N R0D
5 F0ChL LENCTH
c ChlhClTY/REFRECTl0N 0F LENS
7 DlFFUSED CLhSS [TREhTED LhMlNhTED}
8 lR0lECTED lMhCE 0N DlFFUSED CLhSS
) Dl RECTSHhD0w * LENSlR0lECTl0N
lERl SC0lE wl ND0w
PEFPACTI DNS
D|chro|cL|ghF|e|o|san|nsa||a|onolg|assl|nsonhe
eass|oeolheM|||en|umTowera`c0Co|umbushvenue,
NewYork,bu|||n`4`.The|nenolheD|chro|c
L|ghF|e|owasobreakoownhemono||h|canoopaque
characerolab|ock|ongbr|cklaaoebyesab||sh|ng
an|||us|onoloeph.Theoes|gnsoughoo|sso|vehe
wa|||se|lwh||ecrea|ngac|nema|clrameonwh|chhe
phenomenaolpro[eceo|mageryano||ghcou|obe
o|sp|ayeo.
Carpener`seamchosemaer|a|shawou|oracehe
sun`smovemenacrosshec|yanohepeoesr|ans`sh|l
|ngpo|nsolv|ewasheywa|kpas.Thever|ca|oens|yol
hene|ghborhoooolencasshesree|nshaoow,
emphas|z|nghehear|ca|naureolhec|ysreescape.
Eyranslorm|ngheava||ab|e||gh,he|nsa||a|on`s
rel|ec|vesurlacesca||aen|onohephenomenaol
||ghwh||ea|sorel|ec|ngha||gho|||um|naehesree
asmuchasposs|b|e.
DlCHR0lCLlCHTFl ELD
New Ycrk [ New Ycrk [ 1994 -1995
3c > 37
Seconoarybounceo||ghlromanao[acenbu||o|ng
ac|vaesheg|assp|ane.
D|agramshow|ngheo|llerencebeweenhe
phenomenonolrel|ec|onanoheellecolo|llrac|on
proouceobyheD|chro|cL|ghF|e|o.
Dea||olhel|nsphoographeoahesame|me
lromhenorhanolromhesouh|nbr|ghyeovercas
cono||ons.
Dl CHR0l C Ll CHT Fl ELD
PEFPACTI DNS
SECTl0N
lLhN
E0UNDhRY
DE\lCE
E0UNDhRY
DE\lCE
LlCHT S0URCE
0ElECT
0ESER\ER
LlCHT S0URCE
0ElECT
0ESER\ER
LlCHT SHhD0w
lMhClNED DElTH
REFLECTl0N DlCHR0lC LlCHT FlELD
REFLECTED
DlCHR0lC CLhSS
TRhNSMlTTED
S
l
E
C
T
R
U
M

0
F

L
l
C
H
T
SECTl0N
lLhN
hs|nheler|scopew|noow,heD|chro|cL|ghF|e|ores
ponosohespec|l|cnaureolhese|ng.CaryEowaro
Hanoe|hssoc|aes`oes|gnolM|||enn|umTowercreaeo
amonumena|br|cklaaoeonheeass|oeolhebu||o|ng
obeoccup|eobyanarwork.lamesCarpenerDes|gn
hssoc|aespreseneohew|nn|ngenryohecompe||on
organ|zeobyheoeve|oper.
lCDhana|yzeohe|nsa||a|on`sspec|l|c|oca|onano|oen
|l|eohearea`surbanopographyocreaeaoes|gnha
wou|oreg|serhecyc||ca|passageol|meanoa|somap
he|oca|urbanlabr|c.
Thesewo|oen|ca|v|ewslromhesouh,seenear|y|nhemorn|ng
anoc|oseonoon,oemonsraehowhe|nsa||a|ono|sso|veshe
expanseolbr|ck,rel|ecs||ghanoco|or,anoacsasascreenlram|ng
||gh|n|surbanconex.
Theseo|agrams|||usraeherangeolo|rec||ghanoshaoowha
reachesheD|chro|cL|ghF|e|oahew|neranosummerso|s|ce.
38 > 39
Dl CHR0l C Ll CHT Fl ELD
PEFPACTI DNS
The|nsa||a|on|scompr|seoolwoma|ne|emens:al|a
p|aneolg|asspane|sarrangeo|nagr|o,wh|chcanbeoe
scr|beoasag|assscreen,anoz`co|chro|cg|assl|nsha
emergeperpeno|cu|ar|ylromh|sg|assscreen.Thescreen
cons|ssolchem|ca||ysrengheneo|am|naeopane|sha
arebohexureoanosem|rel|ec|ve,secureooas|mp|e
see|subsrucure.Th|sg|assscreenrel|ecsanoo|lluses
he||ghcono||ons|nhesky,lrom|eaoensnowc|ouos
ohebr||||anb|ueolNewYork`sbr|ghesoays,wh||e
a|soac|ngasasem|opaquesurlace,noon|yoh|oehe
srucureanowa||beh|nobua|sooreg|serhe||ghphe
nomenacreaeobyhel|ns.Theo|chro|ccoa|ngonhe
l|ns|svacuumoepos|eoano|am|naeow|h|nhem.The
o|chro|ccoa|ngsp||she||ghspecrum,rel|ec|nga
rangeolco|orslromoneha|lolhespecrumwh||erans
m||ngherema|n|ngha|l.whenseenlromhenorh,
hel|e|orangeslrompa|egreeno|no|go,whenseen
lromhesouh|rangeslromgo|o/greenomagena.
40 > 41
Foreaseol|nsa||a|onanooach|evehel|aesp|aneposs|b|elorheo|lluseog|assscreen,hesubsrucuresuppor|ng
hepane|sanol|nswasoes|gneoobeao[usab|eoaccounlorhe|mperlec|onsolheconcreewa||beh|no.hna|um|num
anosee|squareubesrucure|saacheow|hsrucura|s|||coneoheg|asspane|swh||eabracke|sanchoreoohe
concreewa||w|hepoxybeooeobo|s.hp|naacheshebrackeoheperloraeoubelorao[usab|||y.Thel|nsare
bueoanomechan|ca||yaacheow|hs|||coneoana|um|numprol||el|xeo|nasee|bracke.
Th|ssuoymooe|,maoeolg|asse|emens,wasuseooexam|nehe|nsa||a|on`sellecono|recsun||ghhroughhe
oayanoseasons,herebyoeerm|n|ngheo|llus|onanorel|ec|v|yolheg|assscreen,heg|assl|nsanohecho|ceol
o|chro|ccoa|ng.
Thepane|solheg|assscreenwere|nsa||eoanoao[useobelorehel|nsweres||ppeobeweenhepane|s|nohe
a|um|numgu|oera||.
Dl CHR0l C Ll CHT Fl ELD
PEFPACTI DNS
c:00am
4z > 43
lNDlRECTLlCHT
0ncehesunpasseswesolheax|solCo|umbushvenue,he|nsa||a|on|s|n
|sshaoeocono||onlorherema|noerolheoay.Rel|ec|onslromoherbu||o|ngs
nowcome|nop|ay,par|cu|ar|y|nhesummerwhenhesunarchesabovehe
h|ghr|sebu||o|ngs.Here,arel|ec|onhahasbounceoupCo|umbushvenue
pro[ecsan|mageolhoserel|ec|vebu||o|ngsonoheg|assscreen.The||gh
ac|vaeshel|ns,anoheg|assscreenrel|ecsenough||gho|||um|naehe
sreeshaoows.
Th|ss|ng|eoea||olhe|nsa||a|on|sseena30m|nue|nerva|shroughhe
courseolac|earDecemberoay.
lNDlRECTLlCHT
Thesunh|shesurrouno|ngbu||o|ngsao|llerenang|esoepeno|ngonhe|me
oloayanoseason.Theo|agram|||usraeshebehav|orolhe|no|rec||gh.
DlRECTLlCHT
Thewho|el|e|oacsasahugerel|ecorpro[ec|ngo|recano|no|rec||ghono
hesree,br|ng|ng||gh|noheshaoowcasbyhebu||o|ngacrosshesree.
Thesummerso|s|cel|noshemoso|recsunreach|ngheg|assscreenanoa|so
heoeepesshaoowscasbyhesurrouno|ngbu||o|ngs.Exposeooo|rec||gh
heo|lluseom|rrorolheg|assscreenrel|ecs|smoso|recpro[ec|on|nohose
shaoows.
c:30pm
Dl CHR0l C Ll CHT Fl ELD
PEFPACTI DNS
44 > 45
hc|vaeobyhe|oww|nersunanoon,wh|chaha|me|snear|yob||queohel|ns,anobysun||ghrel|eceooll
oherbu||o|ngs,hesev|ewslromhesouhanonorhpresenhewa||a|smoscomp|ex.

lnheseovercasyebr|ghcono||onshe|nsa||a|on|sa|smossuboueo.Thesquaregr|oolheg|assscreen|s
brokenon|ybyhevary|ng||nearperspec|veolhel|ns.
0nasunnyw|neroay,asseenabovewhenhesun|s
a|mosouesouholhe|nsa||a|on`seaslac|ngp|ane,
heD|chro|cL|ghF|e|o|sa|smoscomp|ex,presen|ng
anumberol||ghphenomenaaone|me,wh|ch,aoo|
|ona||y,areperce|veoo|lleren|ybypeoesr|answa|k|ng
norhorsouhonCo|umbushvenue.Thesun|sa|s|ow
esanomosob||queang|ere|a|veoheg|assscreen,
anoconsequen|ya|moslaceshel|nsheaoon.Sun||gh
bounc|ngollg|assbu||o|ngsohesouha|soreacheshe
|nsa||a|onao|llerenang|esohesun`so|rec||gh,
resu||ng|nal|e|oolcrosshacheorel|ec|ons,ransm|s
s|ons,anocasshaoows.
D|recanorel|eceosun||ghac|vaesheo|chro|ccoa|ng
olhe|am|naeog|assl|nslrommorehanoneang|e.Thus
eachl|nrel|ecsmorehanonebarolye||ow||ghanocor
respono|ng|yransm|smorehanonebarolmagena||gh.
The||nearqua||yolheserel|eceoanoransm|eoco|ors
|sba|anceobyhepaernolsma||ver|ca|oashespro[eceo
byhepo||sheoeogesolhel|nenos.Caegor|z|ngmu||p|e
|eve|solpaernanohe|rre|a|onsh|psohev|ewerooes
noake|noaccounhe|nsa||a|on`s|n|maere|a|onsh|p
o|mepass|ng:h|s|nsa||a|onacsmuch||keasunc|ock,
ye,|nseaoolcas|ngshaoowsorackhearcholhe
sun,|prac|ca||yo|sso|ves|se|lasanob[ec,anoemboo
|eshequa|||esoloa||yanoseasona|||gh.Eeyono|oen|ly
|ngheoa||yanoseasona|responseso||gh,peoesr|ans
wa|k|ngpasarebrough|nohemomenbyheD|chro|c
L|ghF|e|o`sconsanspa|a|muab|||y.
Dl CHR0l C Ll CHT Fl ELD
PEFPACTI DNS
lERl SC0llC \l Ewl NC R00M
SaIt Lake City [ Utah [ 2001-
ln he oes|gn lor an arwork lor he new Frank E. Moss
Feoera| Courhouse organ|zeo by he Cenera| Serv|ces
hom|n|sra|on, lames Carpener Des|gn hssoc|aes locus
eo on he courhouse`s |oca|on a he c|y`s c|v|c core.
Sa| Lake C|y |s s|uaeo w|h|n a bow| creaeo by moun
a|n ranges o he eas, norh, ano souh, w|h he open
p|a|n ol he Crea Sa| Lake o he wes. The c|y`s |mme
o|ae re|a|onsh|p o h|s exraoro|nary naura| se|ng
|s he pr|me mo|va|on lor he |nsa||a|on. Mark|ng he
presence ol he new Courhouse, he arch|ec, Thomas
lh|ler larners, oes|gneo an enry ower ha exenos
h|gh above he ao[acen rool e|eva|ons. Carpener`s
eam saw he enry ower as a s|e lor an expans|ve work
ha wou|o a||ow he s|mu|aneous exper|ence ol he
urban ano naura| env|ronmen.
h he op ol he enry ower, here |s an open room,
access|b|e o he pub||c by g|ass e|evaors, wh|ch run up
lrom he p|aza |eve|. The eas ano wes wa||s ol he ower
exeno upwaros, ano a ser|es ol rel|ec|ve m|cro|ouvers
ha ac as per|scop|c oev|ces br|ng he mouna|n range
ano Crea Sa| Lake |no he v|ewers` ang|e ol v|s|on. The
surrouno|ng |anoscape |s pro[eceo ono ano compresseo
on he wa|| surlaces ol he room, crea|ng a [uxapos||on
ol oppos|ng v|ews.
\|ew ol he mouna|ns.
D|agram show|ng he |oca|on ol he enry ower ano
how he v|s|or `s locus |s o|receo up o ake |n v|ews ol
he surrouno|ng mouna|ns o he eas ano he |ake o
he wes.
4c > 47
The v|ews ol he mouna|ns are per|scop|ca||y compresseo by he
m|cro|ouvers.
Mooe| oemonsra|ng he m|cro|ouvers` ab|||y o se|ec|ve|y capure
o|san v|ews.
Renoer|ng show|ng he m|rage||ke qua||y ol he v|ew ol he
mouna|ns capureo by he m|cro|ouvers.
Cross sec|on ol he enry ower show|ng v|ews brough |n lrom
above he courhouse srucure.
lERl SC0ll C \l Ewl NC R00M
PEFPACTI DNS
:;9<*;<9(3.3(::790 :4:
IndianapcIis [ Indiana [ 1965 -1967
% 49
Structural Glass Prisms, a dichroic window installation, was
designed to bring the outside in, illuminating the Christian
Theological Seminarys Sweeney Chapels large space.
In keeping with the spare rigor of Edward Larrabee Barnes
design, the clients brief for the chapel was to create a
clear glass window encouraging the meditative observa-
tion of nature outside the chapel.
James Carpenter Design Associates simple design unifies
structure and effect. The vertical 32 foot (9.75m) high
glass blades are stabilized with horizontal panels of dichroic
glass, creating an all-glass structure free from any steel
that might obscure the view. JCDA conducted studies of
the suns penetration to ensure the Structural Glass Prisms
ability to project light into the baptistry niche on the oppo-
site wall at around noon every day.
The exterior of the installation is composed of lengths of
monolithic glass identical to the interior vertical lengths.
This design made both the fabrication and installation
more efficient. Using structural silicone, the exterior and
interior vertical lengths were attached, after which the
short horizontal bracing sections were structurally sili-
coned to the interior lengths, leaving a space against the
outer glass to allow warm air to rise up the length of the
glass preventing condensation.
STRUCTURAL GLASS PRI SMS
REFRACTI ONS
The windows manipulations of light phenomena dont interfere with the congregants view out.
This simple structural glass system allows uninterrupted views of the surrounding countryside.
Diagram of the 32 foot (9.75 m) monolithic vertical glass lengths and short horizontal lengths.

The upward slanting bars of light convey images of clouds and birds while the downward bars convey
the movement of trees and leaves.
The installation is divided into an equal number of squares
consisting of horizontal dichroic glass sections stabilizing
vertical clear monolithic glass lengths. The coatings on
this interstitial grid maintain the transparency of the
glass while generating an array of image reflections pro-
jected onto the wall.
Two reflected and two transmitted bands of color each
project onto the chancel wall, combining to form patterns
of remarkable complexity that constantly change in rela-
tionship to the suns position.
The grid-like arrangement of the glass and the use of dichro-
ic glass affects light much in the way that a prism would.
Some imagery is projected onto the chapel wall and floor:
when direct light from the sun to the dichroic glass is
interrupted by the movement of clouds or birds passing
across the sky, those shadows are transmitted into the
space by the upward slanting bars of light. At the same
time, the leaves of adjacent trees, moving in the wind, are
visible in the downward slanting bars of blue light, thus
creating a superimposition of landscape and sky.
50 > 51
The depth of the window is extended to match that of the buildings walls. The resulting depth is
divided into a grid of cubes.
Mock-up demonstrating the Structural Glass Prisms principles.
Sequence from film showing light projections from morning to afternoon.
The effect of the trees interrupting the light that reaches the window registers as interruptions in the
dichroic reflections and transmissions.
STRUCTURAL GLASS PRI SMS
REFRACTI ONS
LICHTHOF
Berlin | Germany | 1997 1999
For the Lichthof, James Carpenter Design Associates de -
sig ned a curtain wall that would create a layering of imagery
to embody the rich architectural history of the Werderstrae.
The Lichthof is the primary public space for the German
Foreign Office in Berlin. Conceived by the architects, Mller
Reimann Architekten, as a light-filled courtyard with a
glazed roof and faade onto Werderstrae, it serves as an
orientation space for the public that enters the building,
and as a symbolic space through which the public sees into
the workings of the institution and the institution sees out
to the public it is serving. The design of the faade and roof
needed to manage the ecology of such a large volume, pri-
marily light and temperature, and to establish a visual expe-
rience commensurate with the Foreign Offices desire for
safety, transparency, and a bright day-lit space.
The design of the roof and faade exploits the functional
needs of the courtyard to create an almost tangible
experience of space and light. Carpenters team worked
with architects Mller Reimann and with Schlaich, Ber-
germann und Partner to achieve the most minimal yet
blast-resistant structure for the curtain wall design and
with Matthias Schuler of Transsolar to manage the ecology
of the atrium. With an almost pure expanse of colorless
glass, treated with reflective coatings, which selectively
reflect thermal radiation, a subtle play of reflection and
transmission balances the corresponding qualities of mirror
and window.
52 > 53
The faades slight reflectivity is framed by a less reflective border of glass. The reflectivity visually
extends the courtyard into the street.
The Lichthof faces north, and therefore the back of the
space is in shadow throughout the year. The desire to
address this lack of light had to be balanced with a need to
control the temperature of a space whose roof is entirely
covered in glass. To illuminate the back of the courtyard, the
deep roof beams were faced with aluminum specular reflec-
tors angled to be most effective on the darkest days of the
year. A lenticular cable truss roof design spanning the main
beams was chosen to let in the maximum of light. The roof,
angled toward the inside of the faade, has a reflective coa t-
ing that also brightens the darkest part of the courtyard.
The dichroic bands of glass appear to float inside or outside
depending on the light conditions, reflecting blue light
towards that source and transmitting yellow light away from
it. Often, the balance of light inside and outside is so close
that various parts of the dichroic bands are blue while oth-
ers are yellow. When looking at the wall from within, one
sees the reflected image of the sky behind superimposed
on the view of the sky in front.
This early study model was for an open
faade design capable of allowing smoke
extraction in the case of fire. This con cept
was later exchanged in favor of a sealed
design that would allow control over the
courtyards temperature and humidity.
Engineered by Schlaich Bergermann und Partner this detail shows an example of the cast stainless steel arms that are
cantilevered to both support the horizontal cables and the dichroic glass bands that reflect and project light onto the faade.
The study model was built to assess the designs seasonal and daily behavior and to test the ability of the faade and
roof beam design to reflect light into the courtyards shaded areas.
54 > 55
View at dusk showing the effects of the faades
semi-transparent glass.
The maximum balance in light intensity between
the interior courtyard and the outside allows for the
best views through the glass and the subtlest play
of reflections on the faade.
LI CHTHOF
REFRACTI ONS
Located along the Rhine River in Bonn, Germany, the new
Deutsche Post headquarters is divided into two distinct
elements: the 240m (787 foot) high office tower and the
three story base building with a grid shell roof. James Car-
penter Design Associates was asked to design a stair tower
for the vertical circulation volume integrated inside the base
building. Carpenter and his team, led by senior designer
Richard Kress, focused on the relationship of the stair to
the river and adjoining park, to create a stair that would
act as a viewing platform, layering views of the surrounding
landscape with their reflections as well as the optical
effects created by the patterns and their reflections.
The new Deutsche Post headquarters was designed by
Murphy Jahn Architects as a signature building for the
German Post Office, signifying its shift from national
enterprise to global service corporation. Similarly to the
German Foreign Ministry in Berlin, the client wished for a
maximum of transparency to demonstrate the companys
way of doing business and openness to new ideas.
Almost every element of the stair tower is glass, including
the etched laminated glass stairs and landings. The lami-
nated glass wall panels contain the screen pattern. The
rectangular pattern is a 100% mirror facing out and bright
blue facing in. From outside, the effect of a vast field of
small equally spaced mirrors pixelate the landscape and
sky. Positioned on a landing between levels are two view-
ing balconies that present unmediated views out, one
facing the river, the other facing the Deutsche Posts tow-
er. At night, lights illuminate the two platforms and the
stairs translucent glass treads, transforming the tower
into a glowing blue lantern visible from the Rhine and sur-
rounding landscape.
MOI R STAI R TOWER
Bonn | Germany | 1999 2002
56 > 57
The Moir Stair Towers original concept as a scrim-like
tower was further developed, through material studies
and models. Color was explored to clearly identify the
stair towers critical circulation function. JCDA studied the
possibilities of using a mirror pattern facing outwards to
capture the surrounding landscape and intense blue on
the reverse to suggest both the sky and the landscape in
the surface.
Once this concept proved successful, a model was made
to test the types of glass to be used. Then different types of
diffused glass were explored for their ability to create a lumi-
nous volume. In the finished project, the design team
chose transparent glass applying a mirror pattern on the
exterior and blue on the reverse. This allowed the triangu-
lar plans capacity to generate layers of reflection to
achieve the desired luminosity.
Detail showing custom machined point attachment system.
Early study of the screen patterns exterior and interior colors.
Exploded axonometric showing the skylight, roof, curtain wall, glass volume, stair, and glass floor.
View of model looking down from above the volume.
View looking down from the top of the stairs.
Section showing the location of the Moir Glass Tower in the Deutsche Post base building.
MOI R STAI R TOWER
REFRACTI ONS
LIGHT PORTAL
Boston | Massachusetts | 1995 2006
The Light Portal was designed to organize and mark the
pedestrian paths that circumnavigate the rectangle of the
Boston Central Artery site, passing below the highway at
the bridge end and above the highway at the tunnel end,
restoring access to the river.
As part of Bostons Big Dig, the Central Artery Tunnel Au -
thority awarded JCDA with the challenge of producing an
environmental artwork that would make the underpass and
roadway transition at the Charles Rivers edge created by
the new Leonard P. Zakim Bunker Hill Bridge safer, distinct,
and navigable. Instead of designing a single object, the
scale of the infrastructure suggested linking the Frederick
Law Olmstead Storrow Memorial Embankment to the new
Paul Revere Park and other parks along Boston Harbor.
The site also needed an acoustical barrier, a means of
directing pedestrians, access to the river, and illumination.
JCDAs team discovered that delineating the transitions
from bridge to tunnel could define a path for pedestrians
and a threshold for drivers. This threshold could match
the sites significance as an important access point to
the city.
The necessity for a concrete acoustic barrier where the
road dips below grade and the need to visually connect
both sides of the barrier to link the experience of
pe destrian and driver led the team to design a series of
fins such as those mounted between opposing lanes to
avoid glare from oncoming car headlights. Retroreflec-
tive film, a material used in highway applications is
activated by drivers at night and would glow in the low-
light areas under the bridge, guiding pedestrians through
the space. Retroreflective film uses a printed micro-
prism whose cubic or tetrahedral geometry reflects
light back to its source. When seen obliquely, the fins
combine into a continuous illuminated line, framing
the bridge-to-tunnel transition. JCDA remodeled the
acoustic barrier in a set of pyramidal forms that echoed
the bent aluminum forms of the fins themselves, and
found suppliers to anodize the fins using a dye that
matched the film.
The model shows one side of the portal framing the highways transition from bridge to tunnel.
Plan of downtown Boston showing where the highway goes from bridge to tunnel, creating a 200 x 700 foot
(61 x 213 m) rectangular obstruction in the citys fabric. The Light Portal was designed to highlight the pedestrian paths
that circumnavigate the rectangle, passing below the highway at the bridge end and above the highway at the tunnel
end, restoring access to the river.
58 > 59
LI GHT PORTAL
REFRACTI ONS
View at the tunnel of the anodized aluminum fins with
their reflective elements.
Full scale mock-up.
LUMI NOUS GLASS BRI DGE
Marin County | California | 1987
The Luminous Glass Bridge was designed as a conceptual
project for a private client. The idea was to create a structure
that would push the limits of glass and bridge design, dem-
onstrating the potential of glass as a structural material.
Crossing a small river in California, the bridge proposal
aimed to translate the idea of a bridge into an experience
of the river itself, engaging the users with an immediate
connection to their environment. The bridge design guides
the pedestrians along (or against) the rivers current. The
sun hitting the surface of the water reflects the image of
the moving water up onto the underside of the translucent
glass deck, allowing for the observation of the river through
its own projected image.
The glass platform, a series of post-tensioned glass planks,
is supported at each end by two abutments cantilevered
from opposite shores approximately 80 foot (24m) from
each other. Serving as a means of access, these abutments
extend over the river and are spanned by the glass platform.
Proceeding out along the abutment-gangway, the pedestrian
is re-oriented to travel up or down the translucent glass
planks projection of the river surface. Positioned along
the length of the bridge are three slightly reflective panels
of glass that also serve as an integral part of the structure.
These panels pivot as one moves along the walkway, cap-
turing and layering various reflective views of the environs.
Through the use of glass the bridge merges its structural
and optical functions.
The diffused glass bridge deck cap-
tures the images reflected off the rivers
surface.
This cross section of the bridge shows
the minimal profile achieved by the use of
post-tensioned glass planks and thin
trusses inspired by the engineering work
of Robert Le Ricolais.
60 > 61
LUMI NOUS GLASS BRI DGE
REFRACTI ONS
View showing the bridge with its three pivoting glass panels that reflect the landscape.
Plan view of the bridge shows the opposing abutments which are the sole supports of the bridges glass deck.
II CONSTRUCTIONS
You mus reckon w|h he prac|ce ol |anguage,
ano hen you w||| be ab|e o see |s |og|c... you mus
no lorge ha a |anguage game |s, so o speak,
someh|ng unloreseeab|e. l mean ha | |s w|hou
lounoa|ons, | |s no reasonab|e [or unreasonab|e}.
l |s here

||ke our ||le.

LUDWIC WITTCENSTEIN | 0/ 0e/lu//l,
II CDNSTPUCTIDNS
w|h lc//J 7/uJe 0e/le/, Carpener has pusheo he scu|pura| hor|zon ol ar ob[ecs owaros s|g
n|l|can |negra|on |no he comp|ex processes ol |arge bu||o|ng consruc|on. He pos||ve|y allec
eo he oeve|opmen ol qua||y |n h|s bu||o|ng by pay|ng c|ose aen|on o |s process ol proouc|on,
hrough h|s ac|ve co||abora|on w|h oher arch|ecs, eng|neers, ano ar|ss.
l w||| l|rs |ook a h|s pro[ec as a hreeo|mens|ona| oeve|opmen ol he p|anar works o|scusseo |n
Sec|on l, by aooress|ng he |mpac ol Carpener`s work on he |egacy ol arch|ecura| m|n|ma||sm.
Then, l w||| presen l70 as a case suoy ol research ano oeve|opmen app||eo o he see| ano
g|ass componens ol a s|gn|l|can arch|ecura| rea||za|on.
w|h |e//scce l//Jcw ano |/c//c/c |//l F/e/J Carpener aooresseo he arch|ecura| no|ons ol
w|noow ano wa|| by oep|oy|ng h|s know|eoge ol g|ass o ranslorm he percepua| opera|ons ol hese
bu||o|ng componens. The pro[ec lor l70 ra|ses a more rao|ca| cha||enge: ha ol he arch|ecura|
ob[ec`s poss|b|e o|sappearance, now|hsano|ng |s permanen |oca|on |n a s|e. The no|on ol
ob[ec lu|l|||s he cono||ons ol arch|ecure`s cons|sen maer|a||y, cas|ng | as a h|ng ha cou|o
rema|n lorever |n |s p|ace. Carpener`s conr|bu|on cons|ss |n cha||eng|ng arch|ecure`s asp|ra|ons
lor he sab|||y ol |s ob[ecs o ener |no a k|no ol b|ack ho|e ol monumena| consc|ousness.
lnsolar as l70 |s he l|rs ac ol reconsruc|on ol a bu||o|ng comp|ex oesroyeo by a rauma|c
even ha has hao repercuss|ons on a g|oba| sca|e, | |s an arch|ecura| ob[ec laeo o acqu|re he
saus ol monumen. Ye Carpener`s work has exp|oreo h|s cono||on ol apparen |nev|ab|||y by
conlron|ng he mooern|s |egacy ol arch|ecura| m|n|ma||sm, w|h |s var|ous concepua| exc|us|ons
beween a bu||o|ng`s maer|a||y ano |s urban s|ua|on.
M|es van oer Rohe`s work ollers he mos o|rec way o aooress he no|on ol arch|ecura| ob[ec
hrough he ang|b|e r|gor ol |s consruc|ve oroer. The m|n|ma||sm ol h|s work cons|ss |n mak|ng
an en|re eo|l|ce appear as neura| s|gn. M|es |nro[ecs he conrao|cory po|es ol arac|on ano
repu|s|on beween monumen ano c|y hrough h|s arch|ecure`s lorma| s||ence. However, he
spaces ol h|s g|ass bu||o|ngs urn ou o be no as access|b|e as he lreeoom ha he|r ranspar
ency prom|ses.
ln New York C|y`s 3eu/un 3o//J//, M|es moveo arch|ecure`s econ|c express|on owaros he
per|meer ol he eo|l|ce, by mak|ng he bronze poss exerna| o he cura|n wa|| |no caa|yss lor
he rea||y ol he bu||o|ng`s mass. The 'l` co|umns aacheo o he g|ass surlace creae a|erna|ng
percep|ons when v|eweo lrom o|lleren ang|es, osc|||a|ng beween lrona| ransparency ano |aera|
opac|y. 0n|y he symmer|ca| exens|on ol he p|aza`s hor|zona| p|ane |no he ransparen |obby
anchors he bu||o|ng`s h|ck sk|n on he raver|ne s|ab ha reaches lark hvenue.
cc > 67
The ro|e ol h|s bu||o|ng`s oea|||ng |n he esab||shmen ol |s mueo lorm |s macheo by an en|g
ma|c absence ol |mages, man|les|ng M|es`s |ne||ecua| |no|llerence owaros he l|ux ol urban
percep|ons. wh||e he cons|sency ol he 3eu/un 3o//J// res|ues hese percep|ons as per
verse oup||ca|ons, | a|so ob||ges he c|y o |ook a |se|l |n a m|rror ha speaks ol arch|ecure`s
w||| o oom|nae |s own consruc|ve cono||ons, s||enc|ng a|| e|se.
SUPFACES
hs opposeo o M|es`s accomp||shmen ol monumena| s|||ness ano rel|ec|ve s||ence hrough a
oec|ara|on ol ransparency, Carpener`s work exp|ores he supposeo corresponoence beween
arch|ecure`s consruc|ve conen ano he echno|ogy ol |s lorma| express|on. ll he o|sc|p||ne ol
arch|ecure were o conl|ne |s l|e|o ol prac|ce o he compos||on ol v|sua| ob[ecs w|h sab|e
proper|es, | wou|o |so|ae |s |nvo|vemen w|h he consruc|on ol he v|sua| l|e|o belore ack
now|eog|ng |s cono||ons ol urban v|s|b|||y.
Carpener reouces he maer|a||y ol g|ass o an abso|ue m|n|mum, ye he l|na||zes h|s reouc|on
|n suppor ol he percep|on ol |s spa|a| ellecs |n he urban l|e|o. He exp|o|s he arch|ecura|
no|on ol cura|n wa||, couner|ng he repress|on ol |s poen|a| r|chness lormu|aeo by a mooern|s
aeshe|c ol g|ass. H|s use ol see| ano g|ass absorbs he c|y w|h|n he bu||o|ng`s mass by |nroouc|ng
he ro|e ol |me hrough a prec|se conro| ol ellecs proouceo by o|rec ano |nc|oena| ||gh.
For l70, |ow|ron g|ass was se|eceo o creae he mos ransparen enve|ope poss|b|e. The
bu||o|ng`s srucura| co|umns are |nse lrom he acue ver|ca| eoges ol he ower o a||ow |s s||hou
ee o oemaer|a||ze. Ye ransparency |n |se|l |s no he on|y re|evan pursu| ol h|s pro[ec. The
cura|n wa|| oes|gn a|so akes on he concepua| cha||enge ol emana|ng ||gh lrom w|h|n he surlace
ol he bu||o|ng`s sk|n ano merg|ng he bu||o|ng |se|l w|h he sky.
The herma| g|ass un|s par|a||y over|ap he spanore|s ol he oll|ce l|oors, a||ow|ng he spanore| un|s
o capure ||gh ano pro[ec | hrough ano ono he rear ol he over|app|ng g|ass. To lurher he bu||o
|ng`s |um|nos|y, he curv|ng spanore|s are labr|caeo |n a exureo sa|n|ess see|. Hor|zona| cus
|n he cura|n wa|| hus expose g|ows ol co|or l|e|os rel|eceo on he sa|n|ess see|, enhanc|ng he
bu||o|ng`s urban or|ena|on |n re|a|on o o|lleren hours ol he oay ano qua|||es ol amospher|c ||gh.
Th|s monage ol ransparen g|ass ano opaque see| sresses he nonco|nc|oence beween econ|c
means ano he|r arch|ecura| enos. The bu||o|ng`s ver|ca| l|e|o ol g|ass |s crosseo by oynam|c en
s|ons ano o|surbances, escap|ng he percepua| cono||ons ol a conven|ona| arch|ecura| ob[ec.
CDNSTPUCTI DNS
Roger oe l||es, "Focus Del|n||on" `08.
Carpener conro|s he scu|pura| |og|cs ol he bu||o|ng by revea||ng how |ayers ol ||gh ano shaoow
cons|ue |s |gh ano regu|ar enc|osure, wh||e ranslorm|ng boh |s maer|a| cons|sency [heavy/
||gh} ano he oel|n||on ol |s bounoar|es [|ns|oe/ous|oe}.
L|gh ooes no operae |n h|s bu||o|ng |n accoroance w|h pure|y op|ca| parameers, bu becomes
|se|l an ob[ec ol econ|c percep|on, ye one ha |s lreeo lrom he |aws ol grav|y or suppor. Th|s
o|acr||ca| approach o econ|cs pos|s a paraoox|ca| equ|va|ence beween he grav|y ol wo m||
||on square lee ol oll|ce space ano he maer|a||y ol ||gh, by |nroouc|ng a concepua| osc|||a|on
beween hem, hrough he exac proper|es ol |no|v|oua| oea||s.
h l70, a suspenoeo cube ol ||gh |nroouces a consp|cuous ||nk beween he g||sen|ng vo|ume
enc|oseo by he cura|n wa|| ano he re|a|ve opac|y ol he mass a |s base. Th|s ||nk esab||shes
comp|ex re|a|onsh|ps beween he cura|n wa|| whose hor|zona| |ayers exeno | |no he sky ano
oher e|emens such as poo|um ano |obby, hrough conras|ng |mages ha express he empora||y
ol an open who|e, |n ana|ogy w|h c|nema|c monage. C|nema|c monage a|so consrucs a con
currence ol o|lleren ac|ons hrough ||ghs ano shaoows ha unlo|o |no a narra|ve who|e, now|h
sano|ng he l||m`s cus ano sp||ces.
wh||e he cura|n wa|| ol l70 labr|caes naura| ||gh lrom he oeph ol |s surlace, o|lleren k|nos
ol ||gh are a|so rel|eceo by ano sp||| hrough he |gh a|erna|ng rhyhm ol ver|ca| pane|s ha
wraps he bu||o|ng`s poo|um w|h a ooub|e |ayereo gr|||e ol r|angu|ar see| prol||es. The exure ol
hese |ayereo see| pane|s oe||neaes he bu||o|ng`s para||e|ogram per|meer no by mark|ng |s ||m
|s as a sab|e ob[ec, bu as a |um|nescen porous barr|er ha reoel|nes he necess|y ol enc|osure.
Th|s surlace exure cons|ues he sree |eve| arch|ecura| express|on ol l70, recas|ng he
represena|on ol |s suppor sysems |no an |nerp|ay ol sh|mmer|ng relrac|ons.
Dur|ng he oay, he ous|oe screen`s var|ous|y or|eneo rel|ec|ve pr|sma|c w|res, program he con
exua| ||gh wh||e b|ock|ng cona|n|ng huge e|ecr|ca| ranslormers. The screen`s oay|me rel|ec|v|y
ranslorms |no n|gh|me emana|ons lrom w|h|n |s h|ckness, |n wh|ch mo|onsens||ve LED ||gh|ng
a|so racks he pahs ol peoesr|ans. Th|s aspec ol op|ca| surve|||ance |nroouceo by a camera
recogn||on sysem g|ves o he poo|um an unusua| qua||y ol a|erness wh|ch, comp|emeneo by he
breah|ng a|r l|ow emana|ng lrom he ranslormers beh|no he gr|||es, renoers | o|squ|e|ng|y a||ve.
The poo|um`s per|meer, consecraeo o arch|ecura| sense, lo|os |no an |ner|or ha emphas|zes
he emp|ness ol a serene ceremon|a| enrance compr|seo beween wo very o|lleren g|ass wa||s.
The sha||ow ano ang|eo space ol he |obby |s lrameo by wo oher works, resu||ng respec|ve|y lrom
Carpener`s |ongsano|ng co||abora|on w|h he eng|neer lorg Sch|a|ch ano h|s more recen encouner
c8 > 69
w|h he ar|s lenny Ho|zer. h very ransparen cab|e g|ass wa|| on he sree enc|osure ano a rans|u
cen ac|oecheo g|ass wa|| beh|no he recep|on oesk mark a un|que hresho|o |n he enry
sequence ol he bu||o|ng, concepua||y suspeno|ng | beween eng|neer|ng echno|ogy ano ar lorm.
ln he case ol Carpener`s co||abora|on w|h Sch|a|ch, a new|y paeneo |am|na|on echno|ogy
ranslorms he ens||e wa|| |no an ellec|ve proec|on aga|ns bomb b|ass, push|ng he lrag|||y ol
g|ass o he ||m| ol absorb|ng brue lorce. The proouc|ve pa|r|ng ol Sch|a|ch`s pursu| ol m|n|ma|
||ghwe|gh srucures ano Carpener`s |nc|us|on ol oher aspecs ol g|ass has a preceoen. h he
7/ne lu//e/ 3o//J//, a|so |n New York C|y, Carpener ano Sch|a|ch capureo, beween he wo
ang|eo g|ass wa||s ol |s ar|um, he conl||c|ng specac|e ol car rall|c a|ong he ax|s ol
h
Sree
ano he perlormances ak|ng p|ace a "lazz_L|nco|n Cener." They accomp||sheo h|s by ooub||ng
he ellecs ol ransparency ano rel|ec|on wh|ch appear o be|ong o a s|ng|e surlace, when seen
lrom boh he urban ous|oe ano he hear|ca| |ns|oe.
ln he case ol Carpener`s co||abora|on a l70 w|h Ho|zer, he ob||que approach o an echeo,
ooub|e wa||eo g|ass vo|ume beh|no he recep|on oesk o|lluses he |eg|b|||y ol a scro|||ng memor|a|
saemen, push|ng g|ass o proouce o|lleren quan||es ol |nlorma|on |n re|a|on o he o|rec|on
a||y ol |s percep|on. Th|s ||ne ol work has a preceoen |n Ho|zer`s probes abou he sources ano
oes|na|ons ol messages |n our soc|ey ol he specac|e hrough arch|ecura| |ne|||g|b|||y. ln a ce|
ebraeo |nsa||a|on a M|es`s Neoe Nul/c/u/u/e//e |n Eer||n, she brough aen|on o he con
sra|neo lrona||y ol he bu||o|ng`s empy p|aza, by app|y|ng ||nes ol scro|||ng ex unoer he l|oa|ng
ce|||ng s|ab, perpeno|cu|ar|y o he seconoary rhyhm ol he mu|||ons, on he bu||o|ng laaoe.
CDLLADPATIDNS
hs much as l have preseneo l70`s cura|n wa||, poo|um, ano enry sequence as pars |n re|a|ve
|so|a|on, he|r oes|gn oeve|opmen ano |mp|emena|on have aken p|ace w|h|n he empora|
unlo|o|ng ol a comp|ex process. h h|s po|n, l wou|o ||ke o |nscr|be he cons|oera|ons abou he
wo g|ass wa||s

rea||zeo w|h Sch|a|ch ano Ho|zer

|n he conex ol a w|oer se ol co||abora|ons,

raher han lram|ng hem exc|us|ve|y |n erms ol he|r phys|ca| ano spa|a| proper|es.
The arch|ecura| l|rm Sk|omore, 0w|ngs Merr|||, w|h Dav|o Ch||os, who has been |n charge ol he
overa|| oes|gn ano execu|on ol l70, a|so prov|oeo he lramework lor manag|ng |s "las rack" rea||za
|on. The empora| parameers ol h|s scheou|e prov|s|ona||y oel|neo he erms ol co||abora|on beween
he prac|ces ol arch|ecs, eng|neers, ano ar|ss, hrough wh|ch Carpener has nav|gaeo over he
CDNSTPUCTI DNS
course ol he pas lour years. w|h h|s work, he has ac|ve|y par|c|paeo |n he convergence ol o|verse
acors respons|b|e lor he l|n|sheo qua||y ol he hree pars ol he bu||o|ng o|scusseo above. Carpener`s
career has moveo beween he o|sc|p||nary l|e|os ol arch|ecure, eng|neer|ng, ano ar ano he|r commu
n|ca|ve conven|ons. H|s ellec|veness w|h|n he comp|ex web ol re|a|onsh|ps ha oel|ne he bouno
ar|es ol hese l|e|os re||es on a sense ol prec|se |m|ng |n he oep|oymen ol h|s echn|ca| compeence.
The consruc|on ol suoy mooe|s ano lu||sca|e mockups has markeo key momens |n an acce|er
aeo sequence ol ac|ons whose sense has aken shape wh||e hey were happen|ng. h|hough he
resu|s have an apparen all|n|y w|h scu|pures, hey are o|veseo ol he |ong|ng lor masery ano
conro|. They have been enmesheo w|h he evo|u|on ol Carpener`s work ol oes|gn, es|ng, |ner
lace w|h oher acors, labr|ca|on, ano |nsa||a|on. He has |everageo he las rack scheou|e ol he
pro[ec |no a se ol opporun||es lor reassess|ng oes|gn pr|or||es, ano has useo he uneven oura
|on ol o|lleren phases ol he work owaros he ach|evemen ol h|gher sanoaros han hose yp|
ca||y assoc|aeo w|h commerc|a| arch|ecure.
ln h|s conex, raher han prov|o|ng ar work, Carpener`s ro|e has been ha ol |nroouc|ng a coel
l|c|en ol ar |no he bu||o|ng. The o|llerence here |s beween wha was expeceo a he beg|nn|ng ol
he overa|| process, ye o|o no happen, ano wha happeneo w|hou | hav|ng been preoel|neo. Th|s
oescr|p|on ol h|s crea|ve |n||a|ves |nl|uences he no|on ol |me |se|l as a regu|ar sequence ol |ner
va|s: a lasrack consruc|on ooes no [us correspono w|h a mus|ca| "pres|ss|mo." 0n he one
s|oe Carpener`s work has manageo o consruc |s |nerna| cons|sency, on he oher, | has been
repeaeo|y perce|veo lrom he oher members ol he co||abora|ve eam [owner, managers, arch|ecs,
eng|neers, ar|ss, echn|c|ans} |n erms ol |s appropr|aeness lor an |mmeo|ae u|||za|on.
STAVES
ln h|s par ol he book, a mar|x ol |mages becomes he o|agramma|c concep lor he |nerprea|on
ol he pro[ec. The mar|x emphas|zes he re|a|on beween he unlo|o|ng ol |me ano he ava||ab|||y
ol oocumena|on abou he process ha has |eo o he comp|e|on ol l70. T|me |n h|s case |s
no on|y aooresseo as a propery ol an ob[ec`s v|s|b|||y, as |n he pro[ecs ol Sec|on l, bu a|so as
a measure ol re|evan aspecs ol Carpener`s work w|h|n he overa|| process ol consruc|on.
The pro[ec`s oraw|ngs ano phoographs are organ|zeo |n hree hor|zona| banos ha o|spose he
oes|gn oeve|opmen ol he cura|n wa||, poo|um, ano enry sequence ol h|s bu||o|ng a|ong a |me
||ne ha exenos hrough severa| pages. The mar|x presens momens ol maer|a| accumu|a|ons
0 > 71
S||vano Eusso|, ,For Three on he l|ano", `.
a|ong each ol hese para||e| banos, |ayer|ng ono hem an uneven percep|on ol mu||p|e |mes ano
oura|ons. The "beg|nn|ng" ol he o|agram marks Carpener`s |nvo|vemen |n he pro[ec, wh|ch
sars as he bu||o|ng`s lounoa|ons are poureo. The c|users ol |mages ol h|s work are |nersperseo
w|h oher |mages ol he progress ol he bu||o|ng`s concree ano see| srucures.
Through h|s |me||ne, he o|agram ol l70 suggess a rao|ca| reassessmen ol arch|ecure`s
roman|c |||us|ons ol pur|y ano conro|, wh|ch wou|o porray he process ol oes|gn oeve|opmen ol
a bu||o|ng |n ana|ogy w|h he no|on ol mus|ca| compos||on. Th|s ana|ogy |s |naoequae: c|ass|ca|
mus|c can be p|ayeo aga|n ano aga|n, w|h m|nor |nerpre|ve var|a|ons ol accen, speeo, ano co|
oraura lrom |s score, wh||e arch|ecura| execu|on happens on|y once, |n a g|ven s|e ano a a
spec|l|c |me. hrch|ecure`s s|ng|e perlormance |mposes a par|cu|ar |nens|y on he re|a|onsh|p
beween oes|gn echn|ques ano he|r execu|on, s|nce an arch|ec`s ellors w||| rema|n on he
bu||o|ng s|e as a lac, w|h no poss|b|||y lor encores.
Th|s pro[ec suggess ha a beer ana|ogy may be louno |n conemporary mus|c, wh|ch has cha|
|engeo he ||ngu|s|c para||e||sm ol lorm ano conen ol he c|ass|ca| harmon|c oroer. The pursu| ol
mus|ca| |noeerm|nacy by such composers as Sy|vano Eusso| sraeg|ca||y uses noa|on as a c|ue
lor luure aura| mar|ces, expano|ng he concepua| gap beween a score ano |s rea||za|on. Th|s
score`s oralmansh|p opens up mus|c o he |rrup|on ol chance w|h|n |s compos||ona| sysem,
by promo|ng c|rcumsan|a| |nersec|ons |n he course ol |s perlormance.
lnseao ol he |ayou ol a conven|ona| penagram, ||nes ano s|gns orawn a conl||c|ng ang|es se
up an |nerp|ay beween known ano unknown l|gures. Mus|c |s he oucome ol concurren perlor
mances, wh|ch be|ong o o|lleren concep|ons ol |nsrumena| execu|on. Some proper|es ol
luure |nerprea|ons are maoe v|s|b|e, ye he hreeo|mens|ona| aspec ol h|s noa|on may a|so
concea| oher poss|b||||ess, concepua||y |ocaeo |n a oeeper space, beh|no ha wh|ch |s v|s|b|e on
he pr|neo page. The amb|guous spa|a||y ol such a score cha||enges c|ass|ca| noa|on, by esab
||sh|ng new mus|ca| conven|ons hrough he |ayer|ng ol |no|v|oua| perlormances.
Th|s compos||ona| sraegy hrows he p|ayers back on he|r |nerpre|ve resources, ano promoes
he poss|b|||y lor a reo|sr|bu|on ol ro|es beween composers, conoucors, ano members ol an
orchesra. h score`s execu|on becomes more s|m||ar o he un|que occurrence ol arch|ecure. The
par|c|pans o a spec|l|c even may oeve|op new lorms ol prac|ce by choos|ng o|lleren |nsru
mens or ao[us|ng he|r sounos o spec|l|c |oca|ons, or momens. h perlormance |s he oucome ol
unlorseeab|e |nerpre|ve marg|ns esab||sheo among p|ayers, raher han he reenacmen ol an
orchesra`s h|erarch|ca| suboro|na|on o he cu| ol composers ano sar so|o|ss.
CDNSTPUCTI DNS
w0RLDTRhDECENTER
NewYcrk[NewYcrk[22-26
wor|oTraoeCenerwasheh|robu||o|ngoco||apseon
Sepember``,z00`,ano|shel|rsbu||o|ngoberebu||.
Des|gneobyDav|oCh||osolSk|omore,0w|ngsMerr|||,
henewbu||o|ng|scompr|seool4zl|oorsololl|cespace
seabovee|ghl|oorsole|ecr|ca|ranslormers|n|arge
concreevau|sasree|eve|.lamesCarpenerDes|gn
hssoc|aeswasaskeooco||aboraew|hSk|omore
0w|ngsMerr|||onheoes|gnolhebu||o|ng`scura|nwa||,
hebaseolhebu||o|ngcona|n|nghee|ecr|ca|rans
lormers,anohebu||o|ng`s|obby.
Thenewmaserp|anrel|eceoherao|ca||ya|ereocon
exolhes|e.lrev|ous|yaccess|b|eon|ylromhewor|o
TraoeCener`spoo|um,loursor|esabovesree|eve|,he
bu||o|ng,asree|eve|,wasagran|ecubeoom|naeoby
|nousr|a||ouversven|nghee|ecr|ca|ranslormersha
leeo|owerManhaan.w|hhe|ossolhewor|oTraoe
Cener`sra|seopoo|um,henewoes|gnhaooaccommo
oaeheranslormerswh||erespono|ngoapub||cano
urbanpresenceasree|eve|.
Theconceplorhenewoes|gnwasocreaeapara||e|o
gram|np|an,aresu|olS0M`soes|reoexenoCreenw|ch
Sree|nohewor|oTraoeCeners|e,exruo|ng||noa
c0soryh|ghpr|sm.Crouno|nghes|ng|eexruoeopara|
|e|ogram|sheso||oconcreebasevo|umeuponwh|chhe
g|assowers|s.Theoes|gneamproposeooconcepua||y
|ockhebaseanoowerw|hah|ro|ner|orvo|umeol
||gh,a"|ock|ngb|ock"whoselormbecomesmosapparen
an|gh.Th|suseol||ghasaoes|gnra|ona|epos|eohe
|oeahalromhepoo|umohecura|nwa||,||ghshou|o
appearobeemana|nglromhebu||o|ng|se|l.
Renoer|ngshow|ngbaseanoexruoeovo|umew|h|obbyopen|ngonohenewpark.
Sec|onanoaxonomer|coraw|ngsshow|ngwor|oTraoeCener|n|soownownconex.
z > 73
\|ewour|ngconsruc|onw|hhewor|oTraoeCeners|e|nheloregrouno.
The|nersec|nggr|oslounoahes|e|eoohepara||e|ogramshapeolheower.
w0RLD TRhDE CENTER
CDNSTPUCTI DNS
JCDAintrcducticncfshipIapcurtain
waIIandpcdiumdcubIescreen.
lUN0z MhYz00z
7WTCgrcundbreaking
JCDA.1stbriefingbySDM
P
D
D
I
U
M
wTC`scura|nwa||evo|veolromheoeve|oper`soes|re
ocreaeanenergyell|c|enyecosellec|velaaoe.
Ear|y|oeas|nvo|veoaooub|elaaoeanoh|nnerl|oor
p|aesbuoueoc|ycooes,consruc|onraoes,anocos,
h|swasnoposs|b|e.lnseaox`zloo[`.x3.m}
ooub|eg|azeopane|sw|h|ow|ron||esanospec|a|rans
parencoa|ngsach|eveoanell|c|enano|owcosso|u|on.
Fu||sca|ework|ngmooe|olhecura|nwa||oeshe
|appeog|assun|anoherel|ec|ngperlormanceolhe
spanore|oay||ghrel|ecor.
E
N
T
P
Y
C
U
P
T
A
I
N

W
A
L
L
4 > 75
\|ewolconcreeranslormervau|sour|ngconsruc|on.
Ear|ysuo|eslorhespanore|pane|un|oesheellecsolvar|ous
rel|ecorsanospecu|armea|s
hUC0z lUL0z
JCDApresentaticntcSiIversteincfpcdiummcdeIs
andin-hcuseIinearIapmcck-up.
TheConEo|sone|ecr|ca|ranslormersahebaseolhebu||o|ngrequ|re0unobsruceo
accessoheous|oea|robeaoequae|yven||aeo.lCDhsawh|s||m|a|onasan
opporun|yoexp|oreransparency,rel|ec|on,anorelrac|onus|ngsa|n|esssee|w|re.
lCDhproposeoaooub|escreenolwo|ayersolr|angu|arw|re,exper|men|ngw|hhe
ang|eolhesew|resanoheposs|b||||esol|nser|ng||ghbeweenhe|ayers.
Ear|yoea||mockupolhepr|sma|cscreenanosuppor|ngsrucure.
Layousuo|esolscreens,ear|ymooe|,anoana|y|ca|l|u|oo|agramsola|rl|ow
hroughhescreenbylohnsonScreens.
w0RLD TRhDE CENTER
CDNSTPUCTI DNS
SEl0z 0CT0z
JCDAintrcducticncfLEDpcdiumIighting
scenaricswithSDM.
ummer
Thesuccessolheco|oreo||gh|nhe
poo|um|eooprogramm|ng||gh|ng|oeas
lorhe"|ock|ngb|ock"ano|aerohe
|oeaolranslorm|ngheac|v|yol
peoesr|ans|non|gh|meemana|onsol
||gh.hn|gh,he"|ock|ngb|ock"|s
oe||neaeobyhe|||um|naeog|assce|||ng
box|nhe|obbyanoprogrammeoLEDs
w|h|nhepoo|um`ssk|n.housk,he||gh
sh|lslromwh|eoarao|anb|ue,wh||e
hepoo|um`s|nerna|LED||gh|nga|so
oel|nesh|ssamevo|umew|hb|ue||gh.
hlerouskheb|ue|ock|ngvo|ume|s
graoua||yrep|aceobyver|ca|banosol
b|ueonhepoo|umwa||swh|chare
r|ggereobyacamerarecogn||onsysem
harackspass|ngpeoesr|ansano
s|gna|sheLEDbarsolo||owhe|rpah.
hc|vaeoashev|ewerpassesby,hepr|sma|cw|re
screen`sappearancea|ernaesbeweenoarkano||gh.
Ear|ymooe|olhew|re`sn|gh|me|um|nos|yano
oay|me||ghrel|ec|on. Draw|ngsshow|ngsunor
amb|en||ghrel|ec|onang|es.
w|ner
P
D
D
I
U
M
E
N
T
P
Y
C
U
P
T
A
I
N

W
A
L
L
7c > 77
DEC0z N0\0z
CabIe-netentrywaIIreview,bIaststrategies
discussedwithSDM,Dupcnt&SP.
hheenrancehroughhecab|enewa||`sper|meer,
hesa|n|esssee|olhepoo|umlo|oslromheexer|or
|nohe|obby.Thecab|enewa||,measur|ng`05x44
loo[3zx`3.5m},|scompr|seoolh|gh|yransparen[|ow
|ron}g|assw|hnarrowo|ameersa|n|esssee|cab|esano
a`zloo[3.c5m}g|azeocanopyexens|on.
lnkeep|ngw|hhecenra|organ|z|ng|oeaha||ghshou|o
emanaelromhebu||o|ng,lCDhw|hS0Moeve|opeoa
un|que"||near|appeo"g|az|ngoea|||nwh|chhev|s|ong|ass
over|apsanol|oas|nlronolacurveospanore|pane|w|ha
bu|||ns|||rel|ecor.Thecurveospanore|pane||smaoeola
o|lluseo,rel|ec|vesa|n|esssee|oeep|yembosseow|ha
r|bbeospecu|arexurehacapuresbohhe|oca|||gh
cono||onsanohe||ghrel|eceobyheb|uesa|n|esssee|
rel|ecor|ocaeo|nhes|||olhespanore|.Therel|eceoco|or
ano||gholherel|ecoranospanore|pane||scon|nua||y
pro[eceohroughhe|appeosec|onolheg|asslaaoe.
Draw|ngsshow|ngspanore|`sreo|rec|onolsun`srays,
renoer|ngsolcura|nwa||show|ngb|ues|||anospanore|`s
rel|ec|onanooea|||ngacorners.
7 w0RLD TRhDE CENTER
CDNSTPUCTI DNS
gIass paeI

white LED
IiIe cept
Iass paneI


white LED
PcwerIass ccncept
|an ol y|ca| bay
|an ol y|ca| bay
lhNz003 FEE03
1stmeetingwithHcIzercnintericr
IcbbywaIIccIIabcraticn.
JCDA&HcIzerIcbbywaII
presentedtcSiIverstein.
P
D
D
I
U
M
E
N
T
P
Y
C
U
P
T
A
I
N

W
A
L
L
Ear|ysuoylorheransparen|eersexp|oresheang|eresponseolLED||ghrave
||nghroughvar|ous|ayersolg|ass. Draw|ngsolo|lleren|obbywa||LEDconceps.
78 > 79
MhR03 hlR03
1stcfmanymcck-upreviewscfcurtain
waIIandpcdium,Ccnnecticut. JCDAcabIe-netwaIIdccumentsccmpIeted.
lCDhco||aboraeow|hlennyHo|zerooeve|opheconcepoll|oa|ngransparenworos
ravers|nghew|oholhe|obby.Th|sconcep|nvo|veooeve|op|ngLEDssuspenoeo
beweenwo|ayersolo|lluseog|ass.Th|s`4xc5loo[4.3x`9.8m}rans|uceng|ass
wa||wassebeh|noherecep|onoeskpara||e|ohebu||o|ng`senrance.lennyHo|zer
creaeoamemor|a|saemenlromquoeoexs,|eers5loo[`.5m}a||scro|||ngacross
heg|assvo|ume.
Eohhepoo|umanohecura|nwa||presenarhyhm|c|nerp|ayolrel|ec|onwh|ch
cou|obeca||braeo:|nhepoo|um`scasebyheang|e,o|mens|on,lrequencyano
rel|ec|v|yolhepr|sma|cw|re,ano|nhecura|nwa||`scase,byhespac|nganos|zeol
hespanore|`srevea|,heco|oranoang|eolheb|uerel|ecoranoheexureanocurve
olhespanore|rel|ecor.

Cura|nwa||anopoo|ummockupscompareooconl|rm
he|rre|a|onsh|polsca|eanohequa||yol||gh.
7 w0RLD TRhDE CENTER
CDNSTPUCTI DNS
Fo||ow|ngeach|erolsee|,aemporarysee|work|ngoeckwasassemb|eo
|np|aceovercenercoreareaun||heconcreecorecou|obecomp|eeo.
MhY03 lUN03 lUL03 hUC03
Thelu||sca|emockupswereuseoooemonsraehe|rab|||yosurv|vewearaswe||asoexp|oreheexacellecsol
||ghas||neracsw|hheooub|ew|resk|n.The|n||a|mockupeseoheoughnessolhesa|n|esssee|w|re.
P
D
D
I
U
M
E
N
T
P
Y
C
U
P
T
A
I
N

W
A
L
L
80 > 61
Dea||oraw|ngolcab|enewa||l||ngs. C|venpresenoaybombhreas,hecab|eneenrywa||wasoeve|opeo
bylCDh,S0M,anoSch|a|ch,Eergermannunolarnerasabomb
res|san,energyabsorb|ngwa||.Us|ngpropr|eary|am|na|on
echno|og|es,hecab|ene|sl|ex|b|e|nnaurea||ow|nghewa||o
absorbanooampenheellecolab|as.Theg|asse|emensare
mechan|ca||yresra|neobyembeooeocarbonl|beranoKev|aranchors
soasoa||owmovemenyea|waysrema|ncapureo,regaro|essol
helorcesencounereo.
SEl03
CurtainwaIImcck-up,Canada
gIassccatingreview.
0CT03 N0\03
Perfcrmancetestmcck-upcfcurtain
waIIatCPL,Miami,FIcrida.
0ncehev|sua|successolhecura|nwa||oes|gnwasapproveo,a
seconolu||sca|emockupwaslabr|caeo.Th|sperlormancemockup
eseohecura|nwa||`seaseol|nsa||a|on,rep|acemenolpane|sano
ab|||yow|hsanose|sm|canohurr|canelorces. \|ewsol
perlormancemockupeseoheg|az|ngano||near|app|ngolhe
spanore|ano[o|ns. Dea||oloverhang|ngg|asspane|sanospanore|
cav|yseenacura|nwa||`scorner.

Dea||olb|uesa|n|esssee|
rel|ecoranohecusomcorrugaeospecu|arpane|rel|ecor.
Ear|yrenoer|ngolower.
7 w0RLD TRhDE CENTER
CDNSTPUCTI DNS
DEC03 lhNz004 FEE04
CabIe-netwaIIbIastanaIysis
ccmpIetedbyDupcnt.
MhR04
Theperlormancemockupeseoheposs|b|||yolrep|ac|ng|no|v|oua|pane|sw|h|nacera|namounol|me[above}
anoheorpeoor|glorhew|noowwash|ngracksysembu|||nohemu|||on[|el}.Th|schanne|v|sua||yseparaeshe
|nsu|aeow|noowpane|slromhemu|||onanoaoosohereao|ngolhecura|nwa||`soe||caeaachmenoheower.
Thesa|n|esssee|screenpane|saremaoeolco|oorawnequ||aera|
pr|sma|cw|resor|enaeover|ca||yanores|sancewe|oeo|naspec|l|eo
paernanoang|eolroa|on.we|oeooa5x`4loox`0|nch[`,5z4x
4,zc7xz54mm}sa|n|esssee|sublrame,helronscreenpr|sma|c
w|reshave`z|nch[`3mm}crosssec|ona|laceshaareh|gh|ypo||sheo,
wh||ehe|nnerscreen`spr|sma|cw|reshave`4|nch[cmm}cross
sec|ona|laceshaareg|assbeaob|aseooo|lluseanoscaer||gh.
Thewow|res|zespossesscomp|emenary||ghrel|ec|ngproper|esano
reoucehemo|re[b|lurca|ng}ellecgenera||ycreaeobywo|ayersol
para||e|||nes.
P
D
D
I
U
M
E
N
T
P
Y
C
U
P
T
A
I
N

W
A
L
L
8z > 63
wh|eLEDmouneoong|assw|hlo||conouc|ngape.
Ear|ymockupolLED,RCELEDsuspenoeoonver|ca|w|resrano.
hlR04 MhY04 lUN04
CurtainwaIIinstaIIaticnbegins.
lUL04
LcbbywaIIdesignandbIastanaIysis
ccmpIeted.
CURThl N whLL l NSThLLhTl 0N: `.hsonel|oor|scomp|eeohesack[o|nslorhe
succeeo|ngpane|sareprepareo.
hn|gh,herel|ec|onsolhescro|||ng|eersw|||bev|s|b|eonheao[acen|ner|orwa||,l|oor,anoce|||ng
surlaces.hsa|obbywa||,h|sarwork|sa|sooes|gneooprov|oehee|evaorcorew|hb|asproec|on.
7 w0RLD TRhDE CENTER
CDNSTPUCTI DNS
Renoereov|oeoexp|oreshesca|eolexanoqua||yolmo|on|nhe
|obbyenv|ronmen.
Dea||olp|anshow|ngheLEDl|xure|ocaeobeween
hewo|ayersolhescreen.
hUC04 SEl04
CabIe-netwaIIandcancpyreviewat
CartnerinCermany.
3.Thepane|sarew|ncheoupanoou,spunarouno,anohens|oeo
|nohesack[o|ns.
0CT04
LEDpcdiummcck-upreview,
Ccnnecticut.
z.Thepane|sare|a|oouonoo|||eslaceupw|hhe|rsack[o|nslorhenexl|oor
lac|ngouwaro.
P
D
D
I
U
M
E
N
T
P
Y
C
U
P
T
A
I
N

W
A
L
L
84 > 65
4.Las|y,hepane|sarebo|eo|np|ace.
N0\04
LED||gh|ngwasaooeoohe|n||a|mockupoeshe
perlormanceolhe||gh|ngan|gh.Dur|ngoay||ghhours
heouer|ayerolr|angu|arw|rerel|ecso|recano
amb|en||ghlromhebu||o|ng`s|mmeo|aesurrouno|ngs
|naoynam|cway.hn|ghheouer|ayerolw|rebecomes
ascr|mhroughwh|chhe|nner|ayerbecomesv|s|b|e.
TheLEDsl|xeoohebackolheouer|ayerahepane|s`
|nersec|onspro[ec||ghonohe|nner|ayerolw|re.The
|nner|ayerolw|re|sa|soseaa|erna|ngang|es.These
ang|escausehe||ghoberel|eceow|h|nhecav|yano
pro[eceobackouhroughheouerw|re,amp||ly|nghe
g|ow|ngqua||yolhe||ghv|s|b|eonhe|nnerw|re`s
g|assbeaob|aseosurlaceanoaga|nv|sua||ysuperceo|ng
anyv|ew|noanohroughheranslormervau|s.
\|ewolcab|eneanchoragesoheconcreevau|
srucure.
7 w0RLD TRhDE CENTER
CDNSTPUCTI DNS
wh|eLED||gh[above}waseseolor
heregu|arn|ghcono||onswh||eb|ue
LED||gh[be|ow}waseseolorheb|ue
"|ock|ngb|ock".
DEC04
lhNz005 FEE05 MhR05 hlR05 MhY05 lUN05
CurtainwaIIinstaIIaticn
ccmpIeted.
huomaeowe|o|ngolsa|n|esssee|pr|sma|cw|reoa|aooersub
lramealohnsonScreens.

F|n|sheoun|ssackeoalohnsonScreens.
Theroaeolaceoleachgroupolpr|smsrel|ecsoppos|ngsourcesol
||gh,olenresu||ng|naoarkano||ghpaern. lnsa||a|onolg|ass
pane|slorhe|obbywa||.
Cura|nwa||our|ng|nsa||a|on.
P
D
D
I
U
M
E
N
T
P
Y
C
U
P
T
A
I
N

W
A
L
L
8c > 67
lUL05 hUC05
LcbbywaII
instaIIaticn.
CabIe-netentrywaII
instaIIaticn.
SEl05 0CT05
CancpyinstaIIaticn.
\|ewol|obbywa||lromrear,belorerear
g|ass|s|nsa||eo. Tes|ngLED|eer|ng
on|obbywa||.
loo|umour|ng|nsa|
|a|onolsee|screens.
7 w0RLD TRhDE CENTER
CDNSTPUCTI DNS
N0\05 DEC05
lhNz00c
7WTCnearccmpIeticn.
88 > 69
\|ewolcanopyanocab|enelromous|oe.
\|ewolhecab|eneano|ner|or|||um|naeovo|umeha|sac|vaeoocreaehe
"|ock|ngb|ock".
Fromhee|evaorcore,heLEDex|sseen|nreverse.
\|ewshow|ngheLED||ghas|srel|ec|onsscro||acrosshe|obby`ssurlaces.
Tl MEwhRNEREUl LDl NC
New Ycrk [ New Ycrk [ 1999 - 2004
lamesCarpenerDes|gnhssoc|aes,work|ngw|hS0M,
oeve|opeoacomp|eeschemelorhear|umenc|osurea
heT|mewarnerbu||o|ngonCo|umbusC|rc|e|nNewYork.
Thecomp|ex|scompr|seoolwoowersseparaeobyan
easlac|ngar|um,measur|ngapprox|mae|y`0looh|gh
by8loow|oeby0loooeep,anosubo|v|oeohor|zon
a||y|nohema|npub||cenryanorea||ahe|ower|eve|s
anoheperlormance|obbylorlazz_L|nco|nCenerahe
upper|eve|.
Tomachhesca|eolhevo|umeanoheurbansree
gr|o,lCDhconce|veohe|argescab|enewa||everbu||:
hew|oholhewa||macheshew|ohol
h
Sree,
v|sua||yexeno|ng||nohebu||o|ng.Themosrao|ca|
e|emenwashehang|ngolwocab|enewa||slroma
s|ng|e|nc||neoruss.Theouer`0loo[4.m}h|ghcab|e
newa|||sanchoreooheopchoroolh|s|nc||neoruss
wh||ehe|nnercab|enewa|||sanchoreoohe|ower
choroolheruss.Theexer|orcab|enewa||presensa
un|l|eoh|gh|yransparenp|aneolg|ass,wh||ehe|ne
r|or|nc||neocab|eneacous|ca||y|so|aeslazz_L|nco|n
Cenerlromunwaneosouno,wh||ema|na|n|ngcom
p|eeransparencyohesreebe|ow,prov|o|ngheauo|
encew|ho|recv|ewsolCenra|larkano
h
Sree.
The|ow|rong|assa|soa||owsun|nerrupeov|ews|no
herea||spaceaswe||as|nolazz_L|nco|nCener`s
|obbyperlormancespace.The|n||a|proposa||ncorpo
raeoag|assrooloes|gnw|han|negraeoshao|ngsysem
hawou|oa||owv|ewsolheskyan|ghbuh|se|emen
wasnoaoopeo.
\|ewoown
h
Sreeasunr|se.
lazz_L|nco|nCener`sh||enRoomusesheooub|ecab|enewa||`sransparencyasabackorop.
z > 93
lCDh,work|ngw|hSch|a|ch,Eergermannunolarner,
laceopar|cu|archa||engesoueoheoes|relorhemos
un|mpeoeop|aneolg|assposs|b|e,hesheersca|eano
massolg|ass,he|nc||neolhe|nnerwa||,anohe
resu||nglorceshecab|eswou|ohaveosuppor.The
resu||ngoes|gnlorhe|nnerwa||useoon|yver|ca|
cab|esanchoreoohe|nnerchoroolhe|argeruss.The
g|asswasuseosrucura||yohano|ehor|zona||oaos.
Theouercab|enewa||`scab|esareens|oneoano
secureolromhebasemen,hroughherea||space`s
enrancesrucure,oheruss,wh||ehe|nnercab|ene
wa||`scab|esareaacheooherussanooescenoo
spr|ngsaacheoohelazz_L|nco|nCener`sl|oor
beams.Thespr|ngsa||owlorheoel|ec|onanoaoo||ona|
||ve|oaolorcesapp||eoohecab|escauseobycrowos|n
lazz_L|nco|nCener.
SST \erl|ca| Cab|e
SST Hor|zonla| Cab|e
SST Eack Rece|v|ng C|amp
3/4" Lam|naleo C|ass
waler[elCul S|||cone lao
waler[elCul
S|||cone lao
SST Fronl C|amp
SST Eo|l
SST Eo
SST Eack
C|amp
SST Eo|l
SST Eack C|amp
SST \erl|ca| Cab|e
SST Eack Rece|v|ng C|amp
`" Lam|naleo C|ass
waler[elCul S|||cone lao
waler
S|||con
SST Fronl
C|amp
SST Eo|l
SST Eo|l
SST Eack C|amp
waler[elCul
S|||cone lao
Exp|ooeoaxonomer|colouercab|ene.
Exp|ooeoaxonomer|col|nnercab|ene.
hxonomer|colooub|ecab|enewa||.
\|ewolhecab|enewa||agrouno|eve|.
4 > 95
Rccl Truss
lnc||neo Cab|eNel wa||
w|lh \erl|ca| Nel Cab|e
Exler|cr Cab|eNel wa|| w|lh
Hcr|zcnla| 8 \erl|ca| Cab|es
Enlry Frcm Cc|umbus C|rc|e
hccusl|c Eall|es
C|ass Rccl
\|ewlrom|ns|oehe|obbyenrance|ook|ngupbeweenhewocab|enewa||s.
\|ewolheen|rewa||an|ghw|haperlormanceunoerway|nhelazzspace.
Tl ME whRNER EUl LDl NC
CDNSTPUCTI DNS
LENS CEl Ll NC
Phcenix [ Arizcna [ 1996 - 2000
Comm|ss|oneo o oes|gn he ce|||ng lor he Spec|a| lrocee
o|ngs Courroom ol he new Sanora Day 0`Connor Feoera|
Courhouse |n lhoen|x, lCDh proposeo he Lens Ce|||ng
as no on|y a pub||c arwork, bu a|so a par ol he arch|
ecure, a bu||o|ng a|mos en|re|y bu|| ol g|ass oes|gneo by
R|charo Me|er ano larners. The p|ece sough o enhance
he hear|ca| naure ol he space wh||e ac|ng as a mu||
lunc|ona| bu||o|ng componen: an acous|c barr|er, a oay
ano ar|l|c|a| ||gh|ng sysem, ano suppor lor he l|re ano
||le saley sysem. The oe||cae, suspenoeo cab|e sruc
ure oescr|bes a spher|ca| lorm |nersec|ng a hor|zona|
p|ane, as |l a bubb|e ol a|r were res|ng gen|y on a surlace
ol waer. The spher|ca| area ol g|ass |s o|lluseo, crea|ng a
|um|nous scu|pura| e|emen ha capures he sky ano he
sh|l|ng shaoows ol he bu||o|ng`s srucure w|hou o|s
rac|ng aen|on lrom he proceeo|ngs |n he courroom.
Dea||s ol he l|na| |nsa||a|on.
lnsa||a|on near comp|e|on.
c > 97
LENS CEl Ll NC
CDNSTPUCTI DNS
The Lens Ce|||ng maoe ol var|ous |am|naeo g|ass pane|s
prov|oes a herma|, acous|c, ano ous barr|er lor he cour
room space. The cenra| |ens area acs as a prec|se o|lluser
lor he ar|l|c|a| ||gh|ng mouneo a he op ol he orum,
wh||e he c|ear hor|zona| per|meer r|ng ol g|ass v|sua||y
lrames he |ens ano a||ows v|ews ol he sky lrom he pub
||c v|ew|ng ga||ery. lCDh a|so oes|gneo an |nnova|ve so|u
|on lor he manoaeo spr|nk|er sysem, labr|ca|ng he
spr|nk|ers ou ol sa|n|ess see| ano |negra|ng hem as
work|ng members ol he cab|ene ens|on srucure.
The srucure was eng|neereo by he New York oll|ce ol
0ve hrup larners. Se|sm|c evens were cons|oereo
ano a comp|ee hreeo|mens|ona| l|n|e e|emen mooe|
ol he srucure was bu|| o ass|s |n ana|ys|s. Movemens
w|h|n he srucure oue o changes |n emperaure are
accommooaeo a each g|ass pane|, ano even aler an
acc|oena| pane| breakage, noh|ng can la|| because he
|am|naeo g|ass |s mechan|ca||y aacheo o he srucure
hrough a very h|ck |ner|ayer norma||y useo |n hurr|cane
prone areas.
\|ew ol he arch|ecura| mooe|. The Spec|a| lroceeo|ngs Courroom can be seen hrough he pub||c ar|um srucure.
\|ew ol he Spec|a| lroceeo|ngs Courroom.
8 > 99
LENS CEl Ll NC
CDNSTPUCTI DNS
The c|ear per|meer g|ass lrames he o|lluse ro||eog|ass |ens. The pub||c mez
zan|ne has o|rec v|ews |no he courroom ano v|ews hrough he c|ear g|ass ol
he sky above.
Exp|ooeo axonomer|c ol he cab|ene, g|ass ano courroom srucure.
Mooe| es|ng he |nsa||a|on mehoo.
Ear|y renoer|ng ol he suspens|on sysem.
lnspec|on ol he |am|naeo g|ass es|ng.
RETRhCTl NC SCREEN
DaIIas [ Texas [ 1993
The screen lor h|s pr|vae res|oence was |mag|neo as capa
b|e ol o|v|o|ng he space wh||e convey|ng |mages, boh
rel|eceo ano ransm|eo. Des|gneo by R|charo Me|er
larners, he res|oence |nc|uoeo a ga||ery space lor he
o|sp|ay ol he c||en`s exens|ve co||ec|on ol mooern ano
conemporary ar. The o|n|ng room was conce|veo as a
l|ex|b|e space ao[o|n|ng he ga||ery wh|ch wou|o a|so lunc
|on as an anc|||ary recep|on area lor he ga||ery. l was
suggeseo by he arch|ec ha lCDh propose a oes|gn lor
a g|ass screen beween he wo spaces.
The concep lor he screen grew lrom he var|ey ol ||gh
cono||ons |n he spaces surrouno|ng he screen ano he
pub||c/pr|vae qua||y ol he space. The br|gh ||gh|ng on
he ar ob[ecs |n he ga||ery, he sub|e |ow ||gh ol he
pr|vae space, ano oay||gh p|ay|ng |n o|lleren ways on
e|her s|oe ol he screen |eo o he |oea ol a muab|e sur
lace ha cou|o have many vary|ng appearances.
The human lorm v|s|b|e on he screen |s a o|lluseo shaoow cas ono he back ol he screen lrom he pr|vae o|n|ng room.
Th|s phoograph aken lrom he pr|vae space caches he screen rerac|ng |no he l|oor.
l|an oea|| show|ng |oca|on ol he screen.
`00 > 101
Reracab|e Screen
\|ew ol he screen lrom he ga||ery a n|gh. The screen |s rel|ec|ng arworks on he wa|| oppos|e as
we|| as he rel|ec|on ol hose arworks |n he po||sheo gran|e l|oor.
RETRhCTl NC SCREEN
CDNSTPUCTI DNS
h s|mp|e observa|on |n he suo|o ol he super|mpos||on ol
g|ass w|h a sub|e |ow|ron co|or|ess rel|ec|ve coa|ng, ano
ac|oecheo g|ass, grew |no he concep ol a screen maoe
ol wo separae |ayers ol g|ass. The ens|on beween he
cr|sp, sub|e rel|ec|on |n he coaeo g|ass, ano he ou||ne
ol ob[ecs beyono he screen o|lluseo by he ac|oecheo
g|ass, became he sub[ec ol a carelu| exp|ora|on ol he
|negra|on ol maer|a|, srucure, ano ||gh. The ac|oecheo
g|ass shee laces he o|n|ng area o capure he g|ow ol |ow
||gh|ng, wh||e he coaeo g|ass laces he ga||ery o rel|ec
he |||um|naeo ob[ecs on o|sp|ay. The cha||enge was o
have a m|n|mum ol srucure |nerler|ng w|h he g|ass |se|l.
Th|s was so|veo by |ncorpora|ng a beam be|ow he |eve| ol
he l|oor lrom wh|ch he wo separaeo |ayers ol g|ass are
can||evereo. The wo pane|s are spaceo apar ano cappeo
w|h a sa|n|ess see| p|ae o a||ow sa|n|ess see| roos o
pass up beween hem o compress he g|ass pane|s,
hereby ranslorm|ng he pane|s |no he srucure |se|l.
Sequence ol suo|es exp|or|ng |eve|s ol ransm|ss|on ano rel|ec|on.

lnsa||a|on ol g|ass screen.

Draw|ng show|ng he srucure ano pars ha a||ow he operab|e screen o oesceno |no
ano emerge lrom he basemen.
lmpac ess ol haro ano sol pro[ec||es o esab||sh he srucura| |negr|y ol he pos
ens|oneo g|ass concep.
`0z > 103
lCDh oeve|opeo he srucure ano mechan|sm lor he
screen wa||. The srucure cons|ss ol a pa|r ol beams
ha rave| up ano oown he wo ver|ca| co|umns. hs one
beam goes up he oher goes oown by means ol geareo
cha|ns ha connec hem. 0ne beam suppors he
screen wh||e he oher acs as a counerba|ance enab||ng
a sma|| e|ecr|c moor o move he z,000 |b [0kg} wa||
up ano oown.
\|ew lrom he ga||ery ol he screen rerac|ng.
RETRhCTl NC SCREEN
CDNSTPUCTI DNS
lames Carpener Des|gn hssoc|aes was askeo o oeve|op
concep |oeas o enc|ose he weogeshapeo ar|um ol he
Tower l|ace Deve|opmen |n Lonoon, oes|gneo by Foser
ano larners. Fo||ow|ng on lCDh`s work a he Cerman
Fore|gn M|n|sry |n Eer||n, lCDh suggeseo a cab|ene wa||
wh|ch was o be suspenoeo lrom he ar|um rool, l|oa|ng
m [`c loo} oll he l|oor. Tens|oneo hor|zona| cab|es
wou|o be |eo |no he l|ank|ng bu||o|ngs` l|oor p|aes, here
by suppor|ng he g|ass. To reouce he overa|| hor|zona|
cab|e |engh ano |s oel|ec|on, a l|e|o ol |nerm|en
srus was p|aceo even|y a `0 m [3z loo} o carry he
|oao back o he co|umns suppor|ng he rool.
lCDh no|ceo ha, as |n he Eer||n L|chhol pro[ec, ||gh
cou|o reach he ar|um`s oark corners by app|y|ng rel|ec
|ve |eve|s o he ransparency ol he laaoe`s |ner|or
g|ass surlace. Furhermore, he yp|ca| mea| hor|zona|
srus neeoeo o prop he hor|zona| cab|ene wa|| cou|o
be rep|aceo by a hor|zona| l|e|o ol |am|naeo srucura|
g|ass cy||noers whose rel|ec|ons |n he laaoe wou|o
exeno ano enhance he exper|ence ol ravers|ng he
ar|um hresho|o.
CLhSS TUEE Fl ELD
Lcndcn [ United Kingdcm [ 1996 - 2003
`04 > 105
Ear|y renoer|ng ol he g|ass ubes show|ng he concep ol v|sua||y exeno|ng he oeph ol he hresho|o
w|h boh he g|ass ube srus ano he|r rel|ec|ons |n he cab|ene wa||.
Ear|y sec|ona| renoer|ng ol he ar|um hresho|o esab||sheo by he l|e|o ol srus.
CLhSS TUEE Fl ELD
CDNSTPUCTI DNS
Ensur|ng he saley ol he annea|eo g|ass ubes, wh|ch
wou|o break |no |arge sharp p|eces |n case ol la||ure, was
ol pr|mary |mporance. lCDh |n||a||y assumeo ha |
wou|o be re|a|ve|y sra|ghlorwaro o |am|nae wo ubes
ogeher, posens|oneo w|h a cenra| sa|n|ess see| roo
anchoreo o wo sa|n|ess see| eno caps. The posen
s|on|ng ol he g|ass cy||noer reouceo |s beno|ng ano
a||oweo he g|ass o ake pos||ve |oaos |nouceo by w|no
lorces, wh||e he sa|n|ess see| cab|e wou|o res|s he
nega|ve or suc|on lorces a|so causeo by he w|no.
Exper|mens qu|ck|y proveo ha here were severa| ser|
ous prob|ems w|h h|s, he mos |mmeo|ae one be|ng
ha any o|mens|ona| change |n he |am|na|ng res|n e|her
oe|am|naeo or broke he assemb|y oue o he maer|a|s`
expans|on or conrac|on our|ng cur|ng. The so|u|on was
o o|v|oe he ouer ube |no wo |enghs a||ow|ng | a
greaer marg|n ol movemen, bu he res|n |am|na|on
proveo o|ll|cu| o oo c|ean|y w|hou sp|||age. The oes|gn
ol he bu||o|ng was suspenoeo a h|s po|n, wh|ch a||oweo
lCDh o carry ou a ser|es ol sma|| exper|mens w|h w|||
|ng conracors ano |ns|u|ons |n he hope ol l|no|ng a
successlu| prooype lor luure use. ln z000 severa|
exper|mens ry|ng o|lleren mehoos ol bono|ng wo
ubes were unoeraken a he Massachuses lns|ue ol
Techno|ogy Maer|a|s Sc|ences Deparmen. Th|s research
oemonsraeo ha here |s a successlu| mehoo us|ng an
u|rav|o|e |aser o cure he |am|na|on res|n |n concenr|c
banos, hereby gu|o|ng he lorces resu||ng lrom he cure
a|ong ano ou ol he cy||noer.
Scho Rohrg|as was capab|e ol mak|ng he ubes a he
|engh [4m}, h|ckness [abou `0mm}, ano o|ameer [abou
z00mm} neeoeo [`3 loo x 4/`0 |nch x 8 |nch}. lCDh
proposeo us|ng a sa|n|ess see| roo oown he cener ol
he ube o posens|on he cy||noers, ano he eng|neers
ca|cu|aeo ha a `0mm o|ameer roo wou|o be ab|e o
comlorab|y res|s he laaoe`s w|no |oaos. The |nner ube
was |am|naeo w|h conven|ona| |ner|ayers o a segmeneo
ouer ube, each segmen ha|l he |engh ano one h|ro ol
he ube`s c|rcumlerence.
Sequence ol oeve|opmen ol g|ass ubes, lrom he |el o he r|gh.
The concep lor h|s oes|gn was l|rs conce|veo |n `88 lor he
Souhern Ca||lorn|a Cas Company Heaoquarers |n Los hnge|es, Ch.
`0c > 107
CLhSS TUEE Fl ELD
CDNSTPUCTI DNS
lll hllhRhTUSES
l was no enough o oescr|be he ou||ne ol he
reec|ons on he ba|cony o renoer he |mpress|on
conveyeo by ha ray ol sun... |un||| a|| ol a suooen,
w|hou our compreheno|ng why, |n a woro ha ap
pears o be oa||y |ns|gn|hcan we are g|ven access
o a speck ol a cera|n k|no ol h|gher p|easure

he
p|easure ol poes

as he on|y h|ng we canno have

any ooub abou.
MAPCEL PPDUST | |e /u,c/ Je sc/e// so/ /e /u/cc/
III APPAPATUSES
The hor|zon ol Carpener`s ongo|ng conr|bu|on o a conemporary agenoa lor arch|ecure can be
unoersooo by |ook|ng a wo ypes ol work. The l|rs |s a booy ol ear|y ga||ery |nsa||a|ons ha
useo shor l||ms as he|r pr|mary meo|um. The secono |s a co||abora|on w|h he arch|ec \|ncen
lames |n wh|ch Carpener ellecs he pro[ec`s env|ronmena| agenoa. hs opposeo o he empo
ra| prox|m|y ol he wo pro[ecs chosen as parao|gms ol Sec|on l, hese works are more han
weny years apar.
The preceo|ng sec|ons have aooresseo Carpener`s cha||enge o he concep|on ol he ob[ec |n
re|a|on o he l|e|os ol boh scu|pure ano arch|ecure. Sec|on l |nroouceo he no|on ol a oev|ce
ha creaes a oe|ay |n he presumeo |mmeo|acy ol he percep|on ol scu|pure. hs oev|ces, boh
|e//scce l//Jcw ano |/c//c/c |//l F/e/J sh|l an unoersano|ng ol w|noow ano wa|| away lrom
ha ol u|||ar|an bu||o|ng componens, exeno|ng he|r lunc|on o encompass he empora| exper|
ence ol ||gh ano percep|on |se|l. Sec|on ll exenoeo he cha||enge ra|seo |n Sec|on l abou he
||m|s ol a phenomeno|og|ca| reao|ng ol he work o conlron he cono||ons ol |s v|s|b|||y |n he
c|y, ano o aooress comp|ex processes ol proless|ona| co||abora|on |n he las rack rea||za|on ol
lc//J 7/uJe 0e/le/ |n New York. The ro|e ol |me as a o|scon|nuous aspec ol h|s work has
po|neo o he c|nema|c no|on ol monage as a way o reso|ve he h|sor|ca| conl||c beween
scu|pure, arch|ecure, ano |anoscape

|n an urban or naura| conex.

To aooress he apparen paraoox ol choos|ng heerogeneous ano empora||y remoe works as
parao|gms lor h|s sec|on, l w||| bu||o upon he no|ons ol oev|ce ano monage, us|ng hem o
aooress Carpener`s consruc|on ol spa|o/empora| hresho|os ha esab||sh re|a|onsh|ps
beween phenomena ol percepua| reounoancy ano exper|ences ol env|ronmena| o|soroer.
Eoh he l||m |nsa||a|ons ol he `0s ano he arch|ecura| pro[ec lor Tu|ane Un|vers|y hree
oecaoes |aer pos||on hemse|ves w|h|n env|ronmena| l|ows ha reach ou beyono he|r
phys|ca| ||m|s, by aooress|ng more han one even ano mak|ng hese evens perce|vab|e.
The empora| ano echn|ca| conven|ons ha organ|ze he spac|ng beween e|emens
conce|veo hrough h|s lramework are alleceo by hese |arge sca|e processes, ak|ng on a
oynam|c ro|e.
Eoh he l||m |nsa||a|ons ano he Tu|ane pro[ec acknow|eoge o|lleren rhyhms |n he source ano
oes|na|on ol he l|ows ha hey engage. These rhyhms reach a momen |n wh|ch hey can share
a space, now|hsano|ng he|r |nerna| ano muua| gaps. The resu||ng spaces are conse||a|ons
converg|ng lrom remoe ||nes ol resonance beween mo|va|ons ano narra|ve srucures ha oon`
be|ong o a s|ng|e oroer.
``z > 113
FILM INSTALLATIDNS
l cons|oer he l|ve l||m |nsa||a|ons 0c////es, 0uose, |cn//, |c/,ano V//ul/c/ as a represena|ve
samp|e ol a comprehens|ve booy ol v|oeo work, no on|y because mos ol hem were preseneo
w|h|n a shor |me lrame a he same ga||ery [beween ` ano `8`, a he lohn C|bson Ca||ery
|n New York}, bu a|so |n ||gh ol he re|a|ve cons|sency ol he|r c|nema|c parameers. h|| l|ve
l||ms ake he|r |magery lrom naura| eco|og|ca| sysems, oep|c|ng processes ano ac|v||es |noe
penoen lrom ye para||e| o human hough ano purpose. The proagon|ss |n Carpener`s l||ms
are a|| an|ma|s, whose mo|va|ons |n o|lleren conexs mus be |nlerreo by he specaors.
The v|ew po|n ol he camera |n hese l||ms |s lrom above, ano he shos re|ae he an|ma|s o a hor|
zona| l|xeo lrame, |rrespec|ve ol hab|a: grouno lor he snakes, a|r lor he b|ros, or waer lor he
l|sh. Through h|s |ns|sen hor|zona||y, he looage revea|s, amp||l|es, ano locuses he v|ewers`
aen|on on aspecs ol he env|ronmen ha are no oom|nan, ha wou|o oherw|se eno o be
over|ookeo wh||e, a he same |me, sh|l|ng emphas|s lrom wha cou|o be a pure|y v|sua| narra|ve
o he phys|ca| qua||y ol he l||m`s empora| |nerac|ons w|h he l|oor ol he ga||ery.
The sub[ecs ol hese l||m |nsa||a|ons are, respec|ve|y, a snake ano a b|ro o|sp|aceo on a ab|e,
severa| p|geons l|y|ng |no a ||era||y lrameo space, ano l|sh sw|mm|ng |n a poo| or pass|ng hrough
waer wh|ch appears o l|ow on he ga||ery`s l|oor. Raher han recrea|ng he re|a|ve pass|v|y
|nouceo by s||ng |n he cha|r ol a l||m heaer, hese |nsa||a|ons promp a v|ewer o v|scera||y
engage w|h he an|ma|s` |ns|ncua| behav|ors, promo|ng he|r |mag|nary spa|a||za|on |n he
oarkness ol he ga||ery.
ln 0c////es, he l||m shows a snake pos||oneo on a square surlace a whose oppos|e eno are a
person`s wo o|semboo|eo arms. Now|hsano|ng he snake, a pack ol c|garees ano a ha|l lu||
g|ass g|ve c|ues ha he person |s ca|m. The snake s|ow|y moves c|oser, araceo by he warmh ol
he person`s booy emperaure, un|| | wraps |se|l |n s|ow mo|on arouno one ol he arms. Through
he co|nc|oence beween he hor|zona| p|ane ol h|s l||m`s shoo|ng ano he acua| ab|e op on
o|sp|ay, h|s |nsa||a|on aooresses a key aspec ol he c|nema|c lrame: wha maers |s ha wh|ch
he camera ooes no |nc|uoe, ous|oe he phys|ca| eoges ol he ab|e. The unse||ng |mp||ca|on |s
ha, wh||e an|ma| ano human proceeo |n he l||m lrom war|ness o accepance, oher snakes cou|o
be on he l|oor ol he ga||ery, surrouno|ng he v|ewer as we|| as he ab|e.
0uose p|cures a crow suooen|y appear|ng |n he l||m lrame. h o|sh ano a kn|le conl|rm ha he same
oro|nary ab|e was useo as he surlace lor he shoo|ng ano he pro[ec|on, ye he unpreo|cab|e
|rrup|on ol he b|ro |no he scene ano |s |nerm|en ass|m||a|on ol looo, o|srup assoc|a|ons
APPAPATUSES
Serge| E|sense|n, "F||m Sense", `30
he |oeogramma|c pr|nc|p|e ano monage.
w|h he re|a|ve|y regu|aeo |m|ng ol human mea|s. ln he ga||ery space, he presence ol more b|ack
crows, sa|k|ng a|ong he room`s per|meer, |s le| or |mag|neo as |l hey m|gh pass by |n he oark
ness, araceo by he looo on he ab|e. Every |me he crow eners he camera`s l|e|o ol v|s|on ano
has someh|ng o ea, wha changes |s no on|y |s sae ol neeo or |neres, bu he sae ol he
who|e s|ua|on, encompass|ng he ab|e ano he specaor, ano a|| ha ||es arouno hem.
|cn// shows p|geons l|y|ng |no a camera`s l|xeo lrame, where hey are porrayeo wh||e gaher|ng,
ea|ng, ano ma|ng on he grouno. The ga||ery |nsa||a|on pro[ecs h|s l||m |no he m|oo|e ol an
e|evaeo recangu|ar cage, |nhab|eo by ||ve p|geons. Th|s v|sua| s|ua|on canno be reso|veo |n
erms ol he specaors` |oen|l|ca|on ol he h|ckeneo lrame w|h a hear|ca| se|ng. The lac ha
he p|geons he|o pr|soner by he cage |n he ga||ery are he same as he ones whose |mage |s
en|argeo o a s|ze s|m||ar o ha ol he specaors, promoes a reversa| |n he process ol percep|on
ano se|l|oen|l|ca|on. Th|s psycho|og|ca| osc|||a|on |s accompan|eo by locus|ng a v|s|or`s aen|on
on he maer|a||y ol he l||m`s own gra|n, loregrouno|ng Carpener`s |neress |n prob|ng he maer|a|
cons|sency ol a meo|um wh||e us|ng |.
hs opposeo o exp|or|ng he |mp||ca|ons ol he c|nema|c lrame, wo oher l||m |nsa||a|ons pro
pose sraeg|es lor |s expans|on, by sress|ng he ro|e ol |me |n he cons|u|on ol spa|a| percep
|ons. The mu||p||ca|on ol he pro[eceo |mage |nvess he lrame ol hese wo oher |nsa||a|ons
w|h o|lleren percep|ons ol |me, correspono|ng o he|r respec|ve emphas|s on he |ns|oe or ou
s|oe ol he c|nema|c l|e|o.
ln |c/, he appearance ano o|sappearance ol wo k|nos ol co|oreo l|sh sw|mm|ng on o|lleren |eve|s
ol a pono l|||eo w|h waer ||||es creae a ranoom comb|na|on ol co|or ano shape ha conrass
w|h he lorma| o|spos||on ol he |anoscape. The reo l|sh are c|ear|y v|s|b|e |n conras o he ||||es`
green |eaves, he wh|eanob|ack ones ||era||y o|sappear |no ano ou ol he mesh ol a|gae be|ow
he l|oa|ng |eaves ano l|owers, mov|ng owaros apparen|y boom|ess oephs. The ransler ol he
or|g|na| looage |no n|ne separae l||ms makes he o|lleren pars ol he|r s|mu|aneous pro[ec|on
go ou ol sync, proouc|ng mu||p|e ra[ecor|es w|h|n he geomer|c oroer ol he |mage.
V//ul/c/ cons|ss ol a ser|es ol ||nkeo lrames porray|ng a very sha||ow r|verbeo crosseo by he
sequen|a| movemen ol a sa|mon. The upsream movemen ol h|s l|sh proouces races |n he
waer`s surlace ha creae sr|k|ng ellecs on he c|ear|y v|s|b|e grave| r|verbeo, wh|ch |s pro[eceo
ono he ga||ery`s l|oor. ln h|s |nsa||a|on, he re|a|ve o|soroer |nroouceo by he l|sh |s empereo
by he soph|s|caeo se|ng ha lo||ows he sa|mon`s pah ol movemen hrough separae cameras
ano pro[ec|ons, esab||sh|ng a sense ol con|nu|y among sequen|a| |mages. Ey mu||p|y|ng each
``4 > 115
lnu| mask ol he "Sp|r| ol he Eubb|es", an
|nvoca|on o he cosm|c lorces ol he Tunora.
lrame by hree Carpener |nroouces gaps |n he l|uxes |n wh|ch he h|ngs ol naure are borne. The
sense ol |me pro[eceo by h|s |nsa||a|on |s a|so oepenoen on he expans|ons ano conrac|ons
ol ||gh oue o he weaher a he |oca|on ol he shoo|ng. The pro[ec|on |s lu|| ol unou|a|ng ano
sporao|c urbu|ences, m|x|ng he sream`s grave| beo, he l|sh, ano he waer rel|ec|ons |n he
sequen|a| recang|es across he ga||ery`s l|oor.
ln a|| l|ve ol he l||m |nsa||a|ons, a v|s|or`s |mag|nary engagemen w|h ano pro[ec|on owaros an|
ma| ano/or human boo|es |n he ga||ery`s space qua||a|ve|y change he re|a|ons beween |me
ano space, wheher hey be|ong o he sca|e ol a ab|e as a p|ace ol encouner or leeo|ng, or o he
sca|e ol an |nhab|ab|e lrame, a |anoscape cona|neo |n a poo|, or a r|verbeo.
ln oroer o aooress he way |n wh|ch Carpener consrucs proouc|ve ens|ons among heeroge
neous e|emens, l w||| now |nroouce he no|on ol apparaus. Raher han pursu|ng equ|||br|um, an
apparaus enab|es he copresence ol |og|cs ha are remoe o each oher w|h|n he same space,
esab||sh|ng oynam|c re|a|onsh|ps among he |ncompa|b|e cono||ons ol exper|ence lrom wh|ch
hese e|emens come lrom.
Lookeo a hrough he no|on ol apparaus, he l||m |nsa||a|ons o|verge lrom a ga||ery`s expeceo
s|ua|on, resu||ng |n an over|ay ol mu||p|e e|emens wh|ch become |ne|||g|b|e lrom he po|n ol v|ew
ol a specaor`s movemens, ye w|hou acqu|r|ng a un|ary o|rec|on or purpose. There are wo cr||ca|
aspecs |n h|s process: one, o|sp|ac|ng he echn|ca| conven|ons ol he esab||sheo l||m meo|um,
ano wo, lorm|ng chargeo se|ngs ha exceeo he ga||ery`s phys|ca| ano cu|ura| bounoar|es.
The convergence ol hese wo aspecs ol Carpener`s l||m |nsa||a|ons po|ns owaros arch|ecure`s
manoae: o map, lrame, ano qua||a|ve|y ranslorm human encouners beween he cono||ons ol
a s|e ano he consruc|ve parameers a||ow|ng |no|v|oua|s o occupy ano use |. L|ke Carpener`s
l||m |nsa||a|ons, arch|ecure has he poen|a| o capure he momenary over|ap, |nerlace, ano
resonance among heerogeneous e|emens ano phenomena engageo a o|lleren sca|es, by esab
||sh|ng he|r spa|a| connec|ons ano |nerac|ons.
TULANE UNIVEPSITY
There ex|ss a srong concepua| all|n|y beween he l||m |nsa||a|ons ol he `0s ano he way |n
wh|ch Carpener`s curren work oeve|ops a|erna|ves o he no|on ol a bu||o|ng as an env|ronmen
a||y se|lsull|c|en ob[ec ano ol |s conex as a bounoeo s|e. w|h he pro[ec lor he 7o/u/e
///.e/s/l, 3loJe/l 0e/le/ |n New 0r|eans [begun |n `}, Carpener`s work has moveo beyono
APPAPATUSES
conro|||ng ||gh o ways ol allec|ng oher env|ronmena| qua|||es such as emperaure ano
hum|o|y, enr|ch|ng he range ol h|s maer|a|s ano echno|og|es, ano expano|ng he|r app||ca|on o
|nhab|eo spaces.
The pro[ec lor he 3loJe/l 0e/le/ was a co||abora|on w|h he arch|ec \|ncen lames. Carpener`s
|nvo|vemen beg|nn|ng |n he ear|y p|ann|ng phases ra|ses |neres|ng ques|ons abou conven
|ona| oel|n||ons ol an arch|ecura| oes|gn process. The research ha Carpener oeve|opeo
hrough h|s co||abora|on c|rcumvens consra|ns ha are assoc|aeo w|h he ||near oeve|opmen
ol a genera| spa|a| |oea, by locus|ng |nseao on e|emens ha moo|ly he bu||o|ng`s enry areas,
exer|or screen wa||s, ano |ner|or ce|||ngs. H|s work succeeos |n reoel|n|ng he echn|ca| cha|
|enges ha |nvo|ve hese arch|ecura| ropes, hrough he oes|gn ol prec|se, ||m|eo, ye resonan
|nerven|ons.
Carpener, Schu|er ano lames`s approach a he 3loJe/l 0e/le/ |s |nlormeo by a keen aen|on lor
New 0r|eans`s c||mae, sugges|ng ha he ellecs |nouceo by env|ronmena| s|ua|ons no on|y
can conr|bue o he oeve|opmen ol a pro[ec, bu can a|so cons|ue |s concepua| precono|
|ons. h bu||o|ng |ocaeo |n he hum|o c||mae ol h|s a||uv|a| c|y can regu|ae uncomlorab|e cono|
|ons by |nroouc|ng sub|e ao[usmens |n he oens|y ano permeab|||y ol |s arch|ecura| bounoar
|es. Raher han locus|ng exc|us|ve|y on he summer`s hea ano hum|o|y, he pro[ec
accomp||shes s|gn|l|can moo|l|ca|ons ol |s re|a|ons w|h he env|ronmen by g|v|ng aen|on o
he emperae c||mae ol he seasons ol la|| ano spr|ng.
Th|s approach expanos he comlor zone ol an occupan`s booy emperaure hrough he conro| ol
shaoe ano a|r qua||y, couner|ng he env|ronmena| sysem ol he or|g|na| `c0s bu||o|ng ha hao
sea|eo | |n an ar|l|c|a||y |so|aeo g|ass bubb|e w|h a co|o amosphere, respons|ve o a po|ar|za|on
ol peak c||ma|c cono||ons. Carpener`s pursu| ol sub|e ao[usmens ol he bu||o|ng`s porous
membrane a||ows |nseao a |ayer|ng ol enc|osures ano l||ers o emerge lrom he ac|on ol |oca||zeo
l|ows. The mooerae equ|||br|um |nroouceo by h|s exure ol maer|a| re|a|onsh|ps a|so suggess
o qua||ly he bu||o|ng`s arch|ecura| scope as a carelu| regu|a|on ol soc|o/cu|ura| exchanges.
The 3loJe/l 0e/le/ |s characer|zeo by many k|nos ol space ano |me |n wh|ch ac|v||es ||ke reao
|ng ano soc|a||z|ng e|uoe s|ngu|ar c|ass|l|ca|ons ano o|sr|bue re|a|ve chaos am|os |ns|u|ona|
oroer. ln response o h|s oegree ol |noeerm|nacy, Carpener oes|gneo a ser|es ol arch|ecura|
apparauses ha aooress he env|ronmena| scope ol he pro[ec, |nc|uo|ng shao|ng ano enc|osure
sysems, |ner|or lans ol o|lleren s|zes, so|ar vens ano sky ||ghs, ano a waer wa||, each ol wh|ch
esab||shes a comp|emenary re|a|on w|h env|ronmena| conro| sysems.
``c > 117
APPAPATUSES
Through hese cons|oera|ons, he pro[ec unoerm|nes he echno|og|ca| assump|on ha move
men ol maer |n a perlec|y ell|c|en sysem wou|o rema|n sab|e un|| o|surbeo by some exerna|
lorce. F|ve arch|ecura| apparauses make c|ear how he concepua| range ol Carpener`s rear
rangemens ol ava||ab|e env|ronmena| lorces consrucs empora||y |nl|eceo spaces. These appa
rauses operae a o|lleren momens w|h|n he bu||o|ng`s oa||y cyc|e ol ac|v||es, |n re|a|on o
mu||p|e scenar|os ol occupa|on ano |nerac|on w|h he env|ronmen.
h |u/usc/ ol perloraeo see| ano operab|e a|um|num |ouvers ses up a graoa|on ol o|lleren
ang|es ano w|ohs across |s surlace ano hrough |s |ayers, opera|ng |n ana|ogy w|h he canopy
ol a ree. l a|so acs as an |nerna|/exerna| operaor ha suppors a |ayereo re|a|onsh|p be
ween |ns|oe ano ous|oe, m|n|m|z|ng he use ol a|r cono||on|ng. hs an apparaus, he |u/usc/
ranslorms a|r lrom a gener|c l|ow [lrom ous|oe o |ns|oe ano v|ce versa} |no an agency ol
oynam|c env|ronmena| cyc|es, w|h a meo|a|ng lunc|on comparab|e o he processes ol osmos|s
|n he human sk|n.
wooo ano a|um|num 3/olle/s operae |n accoroance w|h seasona| ano oa||y cyc|es a|ong he wes
ano souh eoges ol he bu||o|ng, an|ma|ng |s sk|n w|h a exureo surlace ha |nc|uoes roa|ng
wa||s ano screens ol woven w|re mesh, wh|ch suppor c||mb|ng p|ans. w|noows comp|emen he
|ouvers` var|ab|e oens|y |n re|a|on o o|lleren uses, aoo|ng he poss|b|||y ol persona| ao[usmens
o he |oca||zeo conro| ol ven||a|on. These mu||p|e re|a|ons among pars cons|oer l|u|o|y no as
a rare ano par|cu|ar case ol a genera| cono||on ol so||o bounoar|es, bu as a sar|ng po|n lor he
oes|gn ol he bu||o|ng`s en|re enc|osure.
h sysem ol 3nu// Fu/s |nsa||eo |n he ce|||ng ol caleer|a ano o|n|ng ha|| prov|oes genera| a|r move
men hrough he bu||o|ng. Th|s a|r movemen |nouces a coo||ng ellec on he occupans, as breez
es evaporae waer mo|ecu|es lrom he surlaces ol he|r sk|n. Sa|n|ess see| acuaors ano a|um|
num p|vo arms move a ||gh rel|ec|ve po|ycarbonae l||m srecheo by see| cab|es, engag|ng
mu||p|e l|uxes ol oynam|c lorces [phys|ca|, cogn||ve, ano soc|a|} by seasona||y vary|ng hese
rooms` re|a|onsh|ps w|h he ous|oe.
|eul 0//n/e,s are eng|neereo g|ass cy||noers |n he secono l|oor ba||room, comp|emeneo w|h
||up g|az|ng pane|s, o be useo our|ng he emperae monhs. Large lan b|aoes push [es ol
co|o a|r oown owaros he l|oor wh||e he sunheaeo lr|eo sky||gh p|aes a rool |eve|, causes
he ho a|r o r|se up he cy||noers by convec|on. These zones ol vary|ng emperaure ano he
passage ol a|r prov|oes a more nuanceo apprec|a|on ol he room`s separa|on ano connec|on o
he ous|oe.
The |arge |e/Jo/on Fu/s |n lron ol he lule/ lu// push lorh a|r owaros he wa||s` screens, ano
pu|| | back, crea|ng a breeze ha coo|s he occupans a he bu||o|ng`s enrance. Th|s comp|ex
apparaus marks he hresho|o beween he Commons ano he |ns|oe ol he 3loJe/l 0e/le/,
revea||ng |s c||ma|c var|ab|es. The |arge lans, pos||oneo beneah a rans|ucen scr|m ha sra|l|es
hea ver|ca||y, lorce a|r owaros a sky|| ver|ca| see| mesh, on wh|ch a waerla|| leo by ch|||eo
waer lrom he bu||o|ng`s a|r cono||on|ng sysem conoenses he hum|o|y |n he a|r.
Ey no conlus|ng he concepua| r|gor ol hese l|ve apparauses w|h an absrac pursu| ol exac|
uoe ano echn|ca| power, Carpener ellecs |mpercep|b|e oeparures lrom conven|ona| oes|gn
ano eng|neer|ng |og|c, esab||sh|ng hem no as a subse ol echno|ogy bu as he very prere
qu|s|e lor echno|ogy`s use, hrough a pro||lera|on ol e|emens ha l|ucuae arouno po|ns ol
conro||eo urbu|ence.

DIACPAMS
The o|agrams ol h|s sec|on o|sp|ay a o|lleren |og|c ol represena|on lrom ha ol he axonomer|c
oraw|ngs ano perspec|va| v|ews |n Sec|on l, wh|ch ana|yze he re|a|onsh|ps beween he sun`s
pah ano he oev|ces ol |e//scce l//Jcw ano |/c//c/c F/e/J. ln he case ol boh he l||m |nsa||a
|ons ano he 3loJe/l 0e/le/`s apparauses, he o|agrams sress a l||cker|ng |um|nescen qua||y as
appar||ons |n he spaces where peop|e are mov|ng, esab||sh|ng a concepua| re|a|on beween
he|r percepua| appearance ano o|sappearance, ano he ellec ol |mmers|on |no a l||m`s pro
[eceo rea||y.
Ye here |s a|so a qua||a|ve o|llerence beween a l||m|c wor|o ol |||us|ons ano he o|agrams |||us
ra|ng he wo ypes ol work |n h|s sec|on. wh||e a c|nema|c lrame pro[eceo ono he screen ol
a mov|e heaer empora||y [uxaposes heerogeneous b|ocks ol |mages, he o|agrams engag|ng
he |og|cs ol |nc|us|on ano exc|us|on ol Carpener`s |nsa||a|ons ano apparauses c|ear|y |mp|y
ha he lorces ac|ng hrough he|r phys|ca| bounoar|es exeno beyono he spaces |n wh|ch hey
are s|uaeo.
ln conras o he regu|ar bea |n he empora| unlo|o|ng ol a l||m`s p|o, he o|agrams po|n
owaros he beno|ng ol |me ha resu|s lrom he an|ma|s` c|rcumsan|a| exposures |n he |nsa||a
|ons, or he opera|ons requ|reo by c||mae |n he 3loJe/l 0e/le/. ln boh |nsances, he o|agrams
suppor awareness ol he spa|a| ro|e ol lram|ng ano he empora| ellecs ol |nerm|en [o|s |n
he|r |mages.
``8 > 119
lsamu Noguch|, "Th|s Torureo Earh", `43
"'Th|s Torureo Earh` was my concep lor a |arge
area o memor|a||ze he rageoy ol war. There |s
|n[ury o he earh |se|l."
The o|agrams presen empora| phenomena |n wh|ch he pos||ons ol pars, o|mens|ons, ano o|s
ances vary |n re|a|on o human boo|es. They |nroouce he no|on ha a perspec|ve v|ew porrays
a momen ol spa|a| ano empora| awareness conneceo w|h he phys|ca| ano emo|ona| lorce ol
evens ak|ng p|ace |n naura| ano/or eng|neereo env|ronmens. Raher han oep|c|ng l|xeo h|ngs,
he o|agrams h|gh||gh sub|e ye s|gn|l|can ceners ol |noeerm|nacy w|h|n var|ous processes.
The arrows |n hese o|agrams express o|surbances ano/or changes |n he |eve|s ol energy. ln he
case ol he |nsa||a|ons, hey oep|c an|ma|s ener|ng |n ano ex||ng lrom he bounoar|es esab
||sheo by he l||ms` l|xeo lrames, w|hou re|ega|ng hese naura| evens o he ro|e ol backgrouno
lor human ac|on. ln he case ol he 3loJe/l 0e/le/`s apparauses, he arrows convey more com
p|ex |nlorma|on abou he l|ow ol he ||gh, a|r, ano hum|o|y, ha are, by he|r opera|ons, engageo.
These arrows, wh||e porray|ng he l|ow ol phys|ca| e|emens, sugges a re|a|onsh|p w|h he l|ow ol
he occupans hemse|ves.
These arrows br|ng aen|on o he mob||e pos||on occup|eo by specaors lor whom boo||y
sensa|ons p|ay a cruc|a| ro|e |n esab||sh|ng re|a|onsh|ps w|h qu|e or urbu|en l|ows. They
aooress how oroer can emerge ou ol mu||p|e re|a|onsh|ps beween var|ab|e processes ha
are ne|her causa| nor sr|c|y mechan|ca|. These processes esab||sh a proouc|ve re|a|on w|h
some ol he man|lo|o |og|cs ol an|ma| behav|ors ano c||ma|c conro| hrough he concep|on ol
hybr|o consrucs.
ln Carpener`s prac|ce, hese hybr|o consrucs operae by sub|y subver|ng maer|a| conven|ons,
hereby re|a|ng hese conven|ons o |arger l|ows ol energ|es |n a w|oe exure ol phenomena. He
akes on cha||enges ra|seo by echno|ogy hrough research ano oeve|opmen ol aovanceo maer|a|
ano eng|neer|ng so|u|ons, w|hou conlorm|ng o u|||ar|an pr|nc|p|es. H|s works |nves|gae ways
|n wh|ch enlo|o|ng, cons|u|ve, ano ||v|ng en||es appear w|h|n a spa|a| ano empora| lrame,
w|hou ||m||ng he|r sense o an env|ronmena||y se|lconsc|ous o|sr|bu|on ol maer|a|s ano/or
harmon|ous lorms.
Carpener`s work o|sc|oses he opera|ona| poency ol l|ee|ng |mages ol rea| maer, hrough an
eh|ca| o|mens|on ha |s boh embeooeo |n ano reoel|neo hrough h|s oes|gn process. The passage
lrom lrous quoeo above po|ns o he |nerweav|ng ol crea|v|y w|h he rao|ance ol naure, by
v|rue ol he mena| connec|ons | esab||shes beween con|ngen s|ua|ons. Carpener`s work
boh lorges ano akes apar such connec|ons. l supp|ans he |aws ol know|eoge proper o naura|
sc|ences by po|n|ng owaros he unexpeceo oeph ol h|ngs, wh||e ma|na|n|ng a keen |neres lor
he|r poss|b|e |nhab|a|on |n ways ha meo|aeo appearances canno.
APPAPATUSES
`z0 > 1
C0NFl NES
1975 -1976
`z0 > 121
D|agram show|ng he sequen|a| movemen ol he var|ous e|emens observab|e hrough he course ol he l||m pro[ec|on.
Sequence ol l||m s|||s exraceo lrom he l||m.
lERl SC0lE wl ND0w
PEFPACTI DNS
C0NFl NES
APPAPATUSES
F||meo |n ` ano preseneo as an |nsa||a|on a he
lohn C|bson Ca||ery |n New York C|y |n `8, Conl|nes
cons|ss ol a square ab|e whose surlace ooub|es as a
pro[ec|on screen lor a |oopeo s|ng|e cassee l||m sho |n
super 8. The |mage pro[eceo ono he 3 x 3 loo [` x
`cm} ab|e surlace |s ha ol he same ab|e surlace a
he same sca|e. The l||m |oop was sho w|h he camera
pos||oneo o|rec|y above ha ab|e, recoro|ng a s|mp|e
sequence ol evens, he ar|s`s arms res on he ab|eop,
surrounoeo by oro|nary ob[ecs: a g|ass, an ashray, a c|g
aree pack, ano maches. hcross he ab|e |s a snake.
These e|emens sh|l un|| he co|ob|oooeo rep||e,
araceo by he booy`s warmh, wraps |se|l arouno one ol
he hanos res|ng on he ab|e. The ||e suggess a woro
p|ay on be|ng conl|neo ano he conl|nemen ol an |mage
by |s lrame.
lhoographs aken our|ng he l||m|ng: he ar|s ano
snake a he beg|nn|ng ol he sequence, he snake
approach|ng he ar|s`s hano, he l|na| pos||on ol a|| he
e|emens.
lhoograph ol |nsa||a|on show|ng beg|nn|ng ol l||m
sequence pro[eceo ono ab|eop.
`zz > 1
ChUSE
1975 -1976 [ 1976
`zz > 123
F||meo |n ``c ano shown a he lohn C|bson Ca|
|ery |n New York C|y |n `8, Cause, ||ke Conl|nes, |s an
|nsa||a|on ol a 3 x 3 loo [` x `cm} square ab|e whose
surlace |s a pro[ec|on screen lor a |oopeo s|ng|e cassee
l||m sho |n super 8. The |mage pro[eceo ono he ab|e
surlace |s ha ol he same ab|e surlace a he same
sca|e. The l||m |oop was sho w|h he camera pos||oneo
o|rec|y above ha ab|e recoro|ng a s|mp|e sequence ol
evens: a p|ae w|h a |oal ol breao ano a kn|le can be
seen on he ab|e, wo arms ener he lrame ano use he
kn|le o cu a s||ce ol breao, hen o|sappear, a crow |anos
on he ab|e, cau|ous|y approaches he breao, akes he
s||ce oll he p|ae, consumes |, ano l||es ou ol he lrame.
hs he b|ro l||es ou ol he narrow pro[eceo lrame, he
oarkness ol he ga||ery space becomes occup|eo by he
crow`s v|rua| presence.
lhoo ol he crow our|ng he l||m|ng.
Dea|| ol l||m s||| capur|ng he crow
ano |s shaoow as | |anos on he ab|e.
Dea|| ol l||m s||| ol a s||ce ol breao
be|ng cu lrom he |oal.
lhoograph ol he |nsa||a|on show|ng
he compresseo |mage ol he crow, p|ae,
ano breao pro[eceo ono he ab|e op.
lERl SC0lE wl ND0w
PEFPACTI DNS
ChUSE
APPAPATUSES
D|agram rac|ng he movemen ol he crow |n ano ou ol he l||meo lrame.
Sequence ol l||m s|||s show|ng he crow |ano|ng on he ab|e ano |nerac|ng w|h he |oal ol breao.
`z4 > 1
K0l
1979 -1960
D|agram ol Ko|, show|ng he s|ng|e lrame ol he l||m exrapo|aeo |no n|ne lrames.
Sequence show|ng s|||s lrom he or|g|na| l||m belore | was o|v|oeo |no n|ne lrames.
`z4 > 125
lERl SC0lE wl ND0w
PEFPACTI DNS
K0l
APPAPATUSES
Ko| was l||meo |n ``80 lor an |nsa||a|on ha, ||ke
Cause, leaures naura| e|emens conro||eo ano rans
lormeo by he human |oea ol naure. The lapanese |ano
scape rel|ecs a cu|ure |n wh|ch a|| e|emens ex|s |n a
|gh|y lunc|ona| ano aeshe|c choreography. h|| aspecs
ol he lapanese garoen are orchesraeo |n one seam|ess
re|a|onsh|p beween maer|a||y ano masery. w|h|n he
waer e|emens ol lapanese garoens, he aeshe|c
conro| |s brough |no re||el by he ko|, a ype ol carp
ha moves lree|y ano unpreo|cab|y, presen|ng orama
|ca||y co|oreo ano absrac rel|ec|ons. The ko| represen
an e|emen ol ranoomness ano a sp|r|ua| re|ease lrom
he sub||me cono||ons ha synhe|ca||y aemp o per
lec naure.
The |nsa||a|on leaures Ko| |n a gr|o ol squares on he
ga||ery`s l|oor. The surlace ol he ko| pono was l||meo lrom
above us|ng a l|xeo camera recoro|ng a l|xeo lrame over an
exenoeo |me, capur|ng he movemen ol he l|sh as hey
sw|m be|ow he surlace ol he pono. Carpener sho a s|ng|e
l||m, hen exrapo|aeo he or|g|na| looage |no a gr|o ol
n|ne l||ms pro[eceo |n para||e|. The magn|l|ca|on ol he
l|sh, he exure ol he |mage, ano he gr|o ranslorm he
rea||y ol he ko| |no a human sca|e k|ne|c absrac|on.
lhoograph ol he ko| pono our|ng l||m|ng.
Carpener`s skeches lor |nsa||a|on.
`zc > 1
H0Ml NC
1976 [ 1960
F||meo |n `8 ano shown as an |nsa||a|on a he C|ock
ower Ca||ery |n `8 ano he lohn C|bson Ca||ery |n `80,
Hom|ng |s an |nsa||a|on leaur|ng a group ol cageo hom
|ng p|geons ano a l||m ol hose same p|geons recoroeo
leeo|ng ano ma|ng as hey move lree|y |n ano ou ol he
c|nema|c lrame. Sho lrom above us|ng a super 8 camera,
he l||m |mage |s |oopeo ano en|argeo so ha he b|ros`
pro[eceo |mages are z o 3 loo [c``cm} |ong on he
l|oor. hs he b|ros ener he pro[eceo lrame hey can be
seen ano hearo e|her leeo|ng or ma|ng w|h|n h|s
oe||neaeo l||m |mage. Encompass|ng a|| lour s|oes ol he
pro[ec|on |s an e|evaeo cage ha houses he same
p|geons v|s|b|e |n he l||m. Fram|ng he|r c|nema|c ver
s|ons, he cageo b|ros can be observeo reac|ng o he
sounos ano |mages ol he|r recoroeo se|ves. The c|ne
ma|c vers|ons ol he p|geons are lree ye capureo on
l||m wh||e he cageo b|ros are conl|neo bu lree o reac o
||gh ano souno. hs |n Cause, he l||meo b|ros l|y |n ano
ou ol he lrame ac|va|ng by |mp||ca|on he space ou
s|oe he pro[eceo space.
l|geons |n he p|geon coop.
hr|s |n h|s p|geon coop.
lhoograph ol he |nsa||a|on show|ng
he p|geons |n he|r cages.
lhoographs ol he |nsa||a|on.
`zc > 127
lERl SC0lE wl ND0w
PEFPACTI DNS
H0Ml NC
APPAPATUSES
D|agram show|ng he l||gh ano |nerac|on ol wo p|geons |n he l||m sequence.
Sequence ol l||m s|||s exraceo lrom he l||m.
`z8 > 1
MlCRhTl0N
1976
D|agram ol he |nsa||a|on |so|a|ng he var|ous e|emens ol he l||m |mage. The op p|ane represens he pro[ec|on`s rel|eceo
surlace. The p|ane be|ow represens he rel|ec|ve surlace ol he r|ver w|h |s sky |mage. The boom p|ane represens he grave| boom
ol he r|ver. The p|ane above he pro[ec|on represens he sky oome be|ng rel|eceo by he waer`s surlace.
Sequence ol l||m s|||s exraceo lrom he l||m: an |no|v|oua| sa|mon mov|ng hrough he pro[eceo lrames.
`z8 > 129
lERl SC0lE wl ND0w
PEFPACTI DNS
Ml CRhTl 0N
APPAPATUSES
M|gra|on |s a l||m |nsa||a|on whose mu||p|e pro[ec|ons
ol segmens ol a r|ver were sho on a sma|| sha||ow sream
l|ow|ng |no luge Souno. The Un|vers|y ol wash|ngon
manageo he r|ver as a s|e o exper|men w|h var|ous
sra|ns ol m|graory sa|mon. hnchoreo o scallo|o|ng
ereceo over he r|ver, a ser|es ol cameras, a 0 oegrees
o he waer, were spaceo apar, or|eneo o lo||ow he
l|ow ol waer ano synchron|zeo, hereby capur|ng a lrac
ureo bu accurae recoro ol a c0 loo [`8m} segmen ol
he sream. Each ol he l||ms was hen pro[eceo ono he
ga||ery l|oor a lu|| sca|e, crea|ng a c0 loo [`8m} |ong
|nsa||a|on, relram|ng he r|ver`s l|ow over he ga||ery
l|oor. ln he ga||ery, one exper|enceo sano|ng nex o he
r|ver, wh|ch l|ows across he l|oor ol he space. 0ne cou|o
observe he waer l|ow over he grave| beo ol he sream
ano he sa|mon mov|ng up lrom one l||m lrame, hrough a
momen ol oarkness, |no he nex l||m lrame ano so on
lor a oa| ol n|ne l||meo lrames.
ln oroer o he|ghen he observa|on ol h|s env|ronmena|
phenomenon, each l||m lrame was cop|eo o span he
oura|on ol hree lrames so ha, our|ng pro[ec|on, each
|mage was he|o s||gh|y |onger han wou|o norma||y be he
case. Ey ho|o|ng he |mage lor a br|el |nsan |onger han
norma|, v|ewers were ab|e o s|mu|aneous|y observe he
phenomena ol m|gra|on ano he phenomena ol ||gh. The
|mage ol he sky became c|ear|y v|s|b|e on he surlace ol
he r|ver ano was per|oo|ca||y o|soreo by he |mage ol he
sa|mon, mak|ng v|s|b|e he spa|a| compress|on creaeo by
he comb|na|on ol ransparency ano rel|ec|on.

lnsa||a|on v|ew a he lohn C|bson

Ca||ery, New York, New York, `8.

Carpener`s skeches lor |nsa||a|on.

lll hllhRhTUSES
l was no enough o oescr|be he ou||ne ol he
reec|ons on he ba|cony o renoer he |mpress|on
conveyeo by ha ray ol sun... |un||| a|| ol a suooen,
w|hou our compreheno|ng why, |n a woro ha ap
pears o be oa||y |ns|gn|hcan we are g|ven access
o a speck ol a cera|n k|no ol h|gher p|easure

he
p|easure ol poes

as he on|y h|ng we canno have

any ooub abou.
MAPCEL PPDUST | |e /u,c/ Je sc/e// so/ /e /u/cc/
III APPAPATUSES
The hor|zon ol Carpener`s ongo|ng conr|bu|on o a conemporary agenoa lor arch|ecure can be
unoersooo by |ook|ng a wo ypes ol work. The l|rs |s a booy ol ear|y ga||ery |nsa||a|ons ha
useo shor l||ms as he|r pr|mary meo|um. The secono |s a co||abora|on w|h he arch|ec \|ncen
lames |n wh|ch Carpener ellecs he pro[ec`s env|ronmena| agenoa. hs opposeo o he empo
ra| prox|m|y ol he wo pro[ecs chosen as parao|gms ol Sec|on l, hese works are more han
weny years apar.
The preceo|ng sec|ons have aooresseo Carpener`s cha||enge o he concep|on ol he ob[ec |n
re|a|on o he l|e|os ol boh scu|pure ano arch|ecure. Sec|on l |nroouceo he no|on ol a oev|ce
ha creaes a oe|ay |n he presumeo |mmeo|acy ol he percep|on ol scu|pure. hs oev|ces, boh
|e//scce l//Jcw ano |/c//c/c |//l F/e/J sh|l an unoersano|ng ol w|noow ano wa|| away lrom
ha ol u|||ar|an bu||o|ng componens, exeno|ng he|r lunc|on o encompass he empora| exper|
ence ol ||gh ano percep|on |se|l. Sec|on ll exenoeo he cha||enge ra|seo |n Sec|on l abou he
||m|s ol a phenomeno|og|ca| reao|ng ol he work o conlron he cono||ons ol |s v|s|b|||y |n he
c|y, ano o aooress comp|ex processes ol proless|ona| co||abora|on |n he las rack rea||za|on ol
lc//J 7/uJe 0e/le/ |n New York. The ro|e ol |me as a o|scon|nuous aspec ol h|s work has
po|neo o he c|nema|c no|on ol monage as a way o reso|ve he h|sor|ca| conl||c beween
scu|pure, arch|ecure, ano |anoscape

|n an urban or naura| conex.

To aooress he apparen paraoox ol choos|ng heerogeneous ano empora||y remoe works as
parao|gms lor h|s sec|on, l w||| bu||o upon he no|ons ol oev|ce ano monage, us|ng hem o
aooress Carpener`s consruc|on ol spa|o/empora| hresho|os ha esab||sh re|a|onsh|ps
beween phenomena ol percepua| reounoancy ano exper|ences ol env|ronmena| o|soroer.
Eoh he l||m |nsa||a|ons ol he `0s ano he arch|ecura| pro[ec lor Tu|ane Un|vers|y hree
oecaoes |aer pos||on hemse|ves w|h|n env|ronmena| l|ows ha reach ou beyono he|r
phys|ca| ||m|s, by aooress|ng more han one even ano mak|ng hese evens perce|vab|e.
The empora| ano echn|ca| conven|ons ha organ|ze he spac|ng beween e|emens
conce|veo hrough h|s lramework are alleceo by hese |arge sca|e processes, ak|ng on a
oynam|c ro|e.
Eoh he l||m |nsa||a|ons ano he Tu|ane pro[ec acknow|eoge o|lleren rhyhms |n he source ano
oes|na|on ol he l|ows ha hey engage. These rhyhms reach a momen |n wh|ch hey can share
a space, now|hsano|ng he|r |nerna| ano muua| gaps. The resu||ng spaces are conse||a|ons
converg|ng lrom remoe ||nes ol resonance beween mo|va|ons ano narra|ve srucures ha oon`
be|ong o a s|ng|e oroer.
``z > 113
FILM INSTALLATIDNS
l cons|oer he l|ve l||m |nsa||a|ons 0c////es, 0uose, |cn//, |c/,ano V//ul/c/ as a represena|ve
samp|e ol a comprehens|ve booy ol v|oeo work, no on|y because mos ol hem were preseneo
w|h|n a shor |me lrame a he same ga||ery [beween ` ano `8`, a he lohn C|bson Ca||ery
|n New York}, bu a|so |n ||gh ol he re|a|ve cons|sency ol he|r c|nema|c parameers. h|| l|ve
l||ms ake he|r |magery lrom naura| eco|og|ca| sysems, oep|c|ng processes ano ac|v||es |noe
penoen lrom ye para||e| o human hough ano purpose. The proagon|ss |n Carpener`s l||ms
are a|| an|ma|s, whose mo|va|ons |n o|lleren conexs mus be |nlerreo by he specaors.
The v|ew po|n ol he camera |n hese l||ms |s lrom above, ano he shos re|ae he an|ma|s o a hor|
zona| l|xeo lrame, |rrespec|ve ol hab|a: grouno lor he snakes, a|r lor he b|ros, or waer lor he
l|sh. Through h|s |ns|sen hor|zona||y, he looage revea|s, amp||l|es, ano locuses he v|ewers`
aen|on on aspecs ol he env|ronmen ha are no oom|nan, ha wou|o oherw|se eno o be
over|ookeo wh||e, a he same |me, sh|l|ng emphas|s lrom wha cou|o be a pure|y v|sua| narra|ve
o he phys|ca| qua||y ol he l||m`s empora| |nerac|ons w|h he l|oor ol he ga||ery.
The sub[ecs ol hese l||m |nsa||a|ons are, respec|ve|y, a snake ano a b|ro o|sp|aceo on a ab|e,
severa| p|geons l|y|ng |no a ||era||y lrameo space, ano l|sh sw|mm|ng |n a poo| or pass|ng hrough
waer wh|ch appears o l|ow on he ga||ery`s l|oor. Raher han recrea|ng he re|a|ve pass|v|y
|nouceo by s||ng |n he cha|r ol a l||m heaer, hese |nsa||a|ons promp a v|ewer o v|scera||y
engage w|h he an|ma|s` |ns|ncua| behav|ors, promo|ng he|r |mag|nary spa|a||za|on |n he
oarkness ol he ga||ery.
ln 0c////es, he l||m shows a snake pos||oneo on a square surlace a whose oppos|e eno are a
person`s wo o|semboo|eo arms. Now|hsano|ng he snake, a pack ol c|garees ano a ha|l lu||
g|ass g|ve c|ues ha he person |s ca|m. The snake s|ow|y moves c|oser, araceo by he warmh ol
he person`s booy emperaure, un|| | wraps |se|l |n s|ow mo|on arouno one ol he arms. Through
he co|nc|oence beween he hor|zona| p|ane ol h|s l||m`s shoo|ng ano he acua| ab|e op on
o|sp|ay, h|s |nsa||a|on aooresses a key aspec ol he c|nema|c lrame: wha maers |s ha wh|ch
he camera ooes no |nc|uoe, ous|oe he phys|ca| eoges ol he ab|e. The unse||ng |mp||ca|on |s
ha, wh||e an|ma| ano human proceeo |n he l||m lrom war|ness o accepance, oher snakes cou|o
be on he l|oor ol he ga||ery, surrouno|ng he v|ewer as we|| as he ab|e.
0uose p|cures a crow suooen|y appear|ng |n he l||m lrame. h o|sh ano a kn|le conl|rm ha he same
oro|nary ab|e was useo as he surlace lor he shoo|ng ano he pro[ec|on, ye he unpreo|cab|e
|rrup|on ol he b|ro |no he scene ano |s |nerm|en ass|m||a|on ol looo, o|srup assoc|a|ons
APPAPATUSES
Serge| E|sense|n, "F||m Sense", `30
he |oeogramma|c pr|nc|p|e ano monage.
w|h he re|a|ve|y regu|aeo |m|ng ol human mea|s. ln he ga||ery space, he presence ol more b|ack
crows, sa|k|ng a|ong he room`s per|meer, |s le| or |mag|neo as |l hey m|gh pass by |n he oark
ness, araceo by he looo on he ab|e. Every |me he crow eners he camera`s l|e|o ol v|s|on ano
has someh|ng o ea, wha changes |s no on|y |s sae ol neeo or |neres, bu he sae ol he
who|e s|ua|on, encompass|ng he ab|e ano he specaor, ano a|| ha ||es arouno hem.
|cn// shows p|geons l|y|ng |no a camera`s l|xeo lrame, where hey are porrayeo wh||e gaher|ng,
ea|ng, ano ma|ng on he grouno. The ga||ery |nsa||a|on pro[ecs h|s l||m |no he m|oo|e ol an
e|evaeo recangu|ar cage, |nhab|eo by ||ve p|geons. Th|s v|sua| s|ua|on canno be reso|veo |n
erms ol he specaors` |oen|l|ca|on ol he h|ckeneo lrame w|h a hear|ca| se|ng. The lac ha
he p|geons he|o pr|soner by he cage |n he ga||ery are he same as he ones whose |mage |s
en|argeo o a s|ze s|m||ar o ha ol he specaors, promoes a reversa| |n he process ol percep|on
ano se|l|oen|l|ca|on. Th|s psycho|og|ca| osc|||a|on |s accompan|eo by locus|ng a v|s|or`s aen|on
on he maer|a||y ol he l||m`s own gra|n, loregrouno|ng Carpener`s |neress |n prob|ng he maer|a|
cons|sency ol a meo|um wh||e us|ng |.
hs opposeo o exp|or|ng he |mp||ca|ons ol he c|nema|c lrame, wo oher l||m |nsa||a|ons pro
pose sraeg|es lor |s expans|on, by sress|ng he ro|e ol |me |n he cons|u|on ol spa|a| percep
|ons. The mu||p||ca|on ol he pro[eceo |mage |nvess he lrame ol hese wo oher |nsa||a|ons
w|h o|lleren percep|ons ol |me, correspono|ng o he|r respec|ve emphas|s on he |ns|oe or ou
s|oe ol he c|nema|c l|e|o.
ln |c/, he appearance ano o|sappearance ol wo k|nos ol co|oreo l|sh sw|mm|ng on o|lleren |eve|s
ol a pono l|||eo w|h waer ||||es creae a ranoom comb|na|on ol co|or ano shape ha conrass
w|h he lorma| o|spos||on ol he |anoscape. The reo l|sh are c|ear|y v|s|b|e |n conras o he ||||es`
green |eaves, he wh|eanob|ack ones ||era||y o|sappear |no ano ou ol he mesh ol a|gae be|ow
he l|oa|ng |eaves ano l|owers, mov|ng owaros apparen|y boom|ess oephs. The ransler ol he
or|g|na| looage |no n|ne separae l||ms makes he o|lleren pars ol he|r s|mu|aneous pro[ec|on
go ou ol sync, proouc|ng mu||p|e ra[ecor|es w|h|n he geomer|c oroer ol he |mage.
V//ul/c/ cons|ss ol a ser|es ol ||nkeo lrames porray|ng a very sha||ow r|verbeo crosseo by he
sequen|a| movemen ol a sa|mon. The upsream movemen ol h|s l|sh proouces races |n he
waer`s surlace ha creae sr|k|ng ellecs on he c|ear|y v|s|b|e grave| r|verbeo, wh|ch |s pro[eceo
ono he ga||ery`s l|oor. ln h|s |nsa||a|on, he re|a|ve o|soroer |nroouceo by he l|sh |s empereo
by he soph|s|caeo se|ng ha lo||ows he sa|mon`s pah ol movemen hrough separae cameras
ano pro[ec|ons, esab||sh|ng a sense ol con|nu|y among sequen|a| |mages. Ey mu||p|y|ng each
``4 > 115
lnu| mask ol he "Sp|r| ol he Eubb|es", an
|nvoca|on o he cosm|c lorces ol he Tunora.
lrame by hree Carpener |nroouces gaps |n he l|uxes |n wh|ch he h|ngs ol naure are borne. The
sense ol |me pro[eceo by h|s |nsa||a|on |s a|so oepenoen on he expans|ons ano conrac|ons
ol ||gh oue o he weaher a he |oca|on ol he shoo|ng. The pro[ec|on |s lu|| ol unou|a|ng ano
sporao|c urbu|ences, m|x|ng he sream`s grave| beo, he l|sh, ano he waer rel|ec|ons |n he
sequen|a| recang|es across he ga||ery`s l|oor.
ln a|| l|ve ol he l||m |nsa||a|ons, a v|s|or`s |mag|nary engagemen w|h ano pro[ec|on owaros an|
ma| ano/or human boo|es |n he ga||ery`s space qua||a|ve|y change he re|a|ons beween |me
ano space, wheher hey be|ong o he sca|e ol a ab|e as a p|ace ol encouner or leeo|ng, or o he
sca|e ol an |nhab|ab|e lrame, a |anoscape cona|neo |n a poo|, or a r|verbeo.
ln oroer o aooress he way |n wh|ch Carpener consrucs proouc|ve ens|ons among heeroge
neous e|emens, l w||| now |nroouce he no|on ol apparaus. Raher han pursu|ng equ|||br|um, an
apparaus enab|es he copresence ol |og|cs ha are remoe o each oher w|h|n he same space,
esab||sh|ng oynam|c re|a|onsh|ps among he |ncompa|b|e cono||ons ol exper|ence lrom wh|ch
hese e|emens come lrom.
Lookeo a hrough he no|on ol apparaus, he l||m |nsa||a|ons o|verge lrom a ga||ery`s expeceo
s|ua|on, resu||ng |n an over|ay ol mu||p|e e|emens wh|ch become |ne|||g|b|e lrom he po|n ol v|ew
ol a specaor`s movemens, ye w|hou acqu|r|ng a un|ary o|rec|on or purpose. There are wo cr||ca|
aspecs |n h|s process: one, o|sp|ac|ng he echn|ca| conven|ons ol he esab||sheo l||m meo|um,
ano wo, lorm|ng chargeo se|ngs ha exceeo he ga||ery`s phys|ca| ano cu|ura| bounoar|es.
The convergence ol hese wo aspecs ol Carpener`s l||m |nsa||a|ons po|ns owaros arch|ecure`s
manoae: o map, lrame, ano qua||a|ve|y ranslorm human encouners beween he cono||ons ol
a s|e ano he consruc|ve parameers a||ow|ng |no|v|oua|s o occupy ano use |. L|ke Carpener`s
l||m |nsa||a|ons, arch|ecure has he poen|a| o capure he momenary over|ap, |nerlace, ano
resonance among heerogeneous e|emens ano phenomena engageo a o|lleren sca|es, by esab
||sh|ng he|r spa|a| connec|ons ano |nerac|ons.
TULANE UNIVEPSITY
There ex|ss a srong concepua| all|n|y beween he l||m |nsa||a|ons ol he `0s ano he way |n
wh|ch Carpener`s curren work oeve|ops a|erna|ves o he no|on ol a bu||o|ng as an env|ronmen
a||y se|lsull|c|en ob[ec ano ol |s conex as a bounoeo s|e. w|h he pro[ec lor he 7o/u/e
///.e/s/l, 3loJe/l 0e/le/ |n New 0r|eans [begun |n `}, Carpener`s work has moveo beyono
APPAPATUSES
conro|||ng ||gh o ways ol allec|ng oher env|ronmena| qua|||es such as emperaure ano
hum|o|y, enr|ch|ng he range ol h|s maer|a|s ano echno|og|es, ano expano|ng he|r app||ca|on o
|nhab|eo spaces.
The pro[ec lor he 3loJe/l 0e/le/ was a co||abora|on w|h he arch|ec \|ncen lames. Carpener`s
|nvo|vemen beg|nn|ng |n he ear|y p|ann|ng phases ra|ses |neres|ng ques|ons abou conven
|ona| oel|n||ons ol an arch|ecura| oes|gn process. The research ha Carpener oeve|opeo
hrough h|s co||abora|on c|rcumvens consra|ns ha are assoc|aeo w|h he ||near oeve|opmen
ol a genera| spa|a| |oea, by locus|ng |nseao on e|emens ha moo|ly he bu||o|ng`s enry areas,
exer|or screen wa||s, ano |ner|or ce|||ngs. H|s work succeeos |n reoel|n|ng he echn|ca| cha|
|enges ha |nvo|ve hese arch|ecura| ropes, hrough he oes|gn ol prec|se, ||m|eo, ye resonan
|nerven|ons.
Carpener, Schu|er ano lames`s approach a he 3loJe/l 0e/le/ |s |nlormeo by a keen aen|on lor
New 0r|eans`s c||mae, sugges|ng ha he ellecs |nouceo by env|ronmena| s|ua|ons no on|y
can conr|bue o he oeve|opmen ol a pro[ec, bu can a|so cons|ue |s concepua| precono|
|ons. h bu||o|ng |ocaeo |n he hum|o c||mae ol h|s a||uv|a| c|y can regu|ae uncomlorab|e cono|
|ons by |nroouc|ng sub|e ao[usmens |n he oens|y ano permeab|||y ol |s arch|ecura| bounoar
|es. Raher han locus|ng exc|us|ve|y on he summer`s hea ano hum|o|y, he pro[ec
accomp||shes s|gn|l|can moo|l|ca|ons ol |s re|a|ons w|h he env|ronmen by g|v|ng aen|on o
he emperae c||mae ol he seasons ol la|| ano spr|ng.
Th|s approach expanos he comlor zone ol an occupan`s booy emperaure hrough he conro| ol
shaoe ano a|r qua||y, couner|ng he env|ronmena| sysem ol he or|g|na| `c0s bu||o|ng ha hao
sea|eo | |n an ar|l|c|a||y |so|aeo g|ass bubb|e w|h a co|o amosphere, respons|ve o a po|ar|za|on
ol peak c||ma|c cono||ons. Carpener`s pursu| ol sub|e ao[usmens ol he bu||o|ng`s porous
membrane a||ows |nseao a |ayer|ng ol enc|osures ano l||ers o emerge lrom he ac|on ol |oca||zeo
l|ows. The mooerae equ|||br|um |nroouceo by h|s exure ol maer|a| re|a|onsh|ps a|so suggess
o qua||ly he bu||o|ng`s arch|ecura| scope as a carelu| regu|a|on ol soc|o/cu|ura| exchanges.
The 3loJe/l 0e/le/ |s characer|zeo by many k|nos ol space ano |me |n wh|ch ac|v||es ||ke reao
|ng ano soc|a||z|ng e|uoe s|ngu|ar c|ass|l|ca|ons ano o|sr|bue re|a|ve chaos am|os |ns|u|ona|
oroer. ln response o h|s oegree ol |noeerm|nacy, Carpener oes|gneo a ser|es ol arch|ecura|
apparauses ha aooress he env|ronmena| scope ol he pro[ec, |nc|uo|ng shao|ng ano enc|osure
sysems, |ner|or lans ol o|lleren s|zes, so|ar vens ano sky ||ghs, ano a waer wa||, each ol wh|ch
esab||shes a comp|emenary re|a|on w|h env|ronmena| conro| sysems.
``c > 117
APPAPATUSES
Through hese cons|oera|ons, he pro[ec unoerm|nes he echno|og|ca| assump|on ha move
men ol maer |n a perlec|y ell|c|en sysem wou|o rema|n sab|e un|| o|surbeo by some exerna|
lorce. F|ve arch|ecura| apparauses make c|ear how he concepua| range ol Carpener`s rear
rangemens ol ava||ab|e env|ronmena| lorces consrucs empora||y |nl|eceo spaces. These appa
rauses operae a o|lleren momens w|h|n he bu||o|ng`s oa||y cyc|e ol ac|v||es, |n re|a|on o
mu||p|e scenar|os ol occupa|on ano |nerac|on w|h he env|ronmen.
h |u/usc/ ol perloraeo see| ano operab|e a|um|num |ouvers ses up a graoa|on ol o|lleren
ang|es ano w|ohs across |s surlace ano hrough |s |ayers, opera|ng |n ana|ogy w|h he canopy
ol a ree. l a|so acs as an |nerna|/exerna| operaor ha suppors a |ayereo re|a|onsh|p be
ween |ns|oe ano ous|oe, m|n|m|z|ng he use ol a|r cono||on|ng. hs an apparaus, he |u/usc/
ranslorms a|r lrom a gener|c l|ow [lrom ous|oe o |ns|oe ano v|ce versa} |no an agency ol
oynam|c env|ronmena| cyc|es, w|h a meo|a|ng lunc|on comparab|e o he processes ol osmos|s
|n he human sk|n.
wooo ano a|um|num 3/olle/s operae |n accoroance w|h seasona| ano oa||y cyc|es a|ong he wes
ano souh eoges ol he bu||o|ng, an|ma|ng |s sk|n w|h a exureo surlace ha |nc|uoes roa|ng
wa||s ano screens ol woven w|re mesh, wh|ch suppor c||mb|ng p|ans. w|noows comp|emen he
|ouvers` var|ab|e oens|y |n re|a|on o o|lleren uses, aoo|ng he poss|b|||y ol persona| ao[usmens
o he |oca||zeo conro| ol ven||a|on. These mu||p|e re|a|ons among pars cons|oer l|u|o|y no as
a rare ano par|cu|ar case ol a genera| cono||on ol so||o bounoar|es, bu as a sar|ng po|n lor he
oes|gn ol he bu||o|ng`s en|re enc|osure.
h sysem ol 3nu// Fu/s |nsa||eo |n he ce|||ng ol caleer|a ano o|n|ng ha|| prov|oes genera| a|r move
men hrough he bu||o|ng. Th|s a|r movemen |nouces a coo||ng ellec on he occupans, as breez
es evaporae waer mo|ecu|es lrom he surlaces ol he|r sk|n. Sa|n|ess see| acuaors ano a|um|
num p|vo arms move a ||gh rel|ec|ve po|ycarbonae l||m srecheo by see| cab|es, engag|ng
mu||p|e l|uxes ol oynam|c lorces [phys|ca|, cogn||ve, ano soc|a|} by seasona||y vary|ng hese
rooms` re|a|onsh|ps w|h he ous|oe.
|eul 0//n/e,s are eng|neereo g|ass cy||noers |n he secono l|oor ba||room, comp|emeneo w|h
||up g|az|ng pane|s, o be useo our|ng he emperae monhs. Large lan b|aoes push [es ol
co|o a|r oown owaros he l|oor wh||e he sunheaeo lr|eo sky||gh p|aes a rool |eve|, causes
he ho a|r o r|se up he cy||noers by convec|on. These zones ol vary|ng emperaure ano he
passage ol a|r prov|oes a more nuanceo apprec|a|on ol he room`s separa|on ano connec|on o
he ous|oe.
The |arge |e/Jo/on Fu/s |n lron ol he lule/ lu// push lorh a|r owaros he wa||s` screens, ano
pu|| | back, crea|ng a breeze ha coo|s he occupans a he bu||o|ng`s enrance. Th|s comp|ex
apparaus marks he hresho|o beween he Commons ano he |ns|oe ol he 3loJe/l 0e/le/,
revea||ng |s c||ma|c var|ab|es. The |arge lans, pos||oneo beneah a rans|ucen scr|m ha sra|l|es
hea ver|ca||y, lorce a|r owaros a sky|| ver|ca| see| mesh, on wh|ch a waerla|| leo by ch|||eo
waer lrom he bu||o|ng`s a|r cono||on|ng sysem conoenses he hum|o|y |n he a|r.
Ey no conlus|ng he concepua| r|gor ol hese l|ve apparauses w|h an absrac pursu| ol exac|
uoe ano echn|ca| power, Carpener ellecs |mpercep|b|e oeparures lrom conven|ona| oes|gn
ano eng|neer|ng |og|c, esab||sh|ng hem no as a subse ol echno|ogy bu as he very prere
qu|s|e lor echno|ogy`s use, hrough a pro||lera|on ol e|emens ha l|ucuae arouno po|ns ol
conro||eo urbu|ence.

DIACPAMS
The o|agrams ol h|s sec|on o|sp|ay a o|lleren |og|c ol represena|on lrom ha ol he axonomer|c
oraw|ngs ano perspec|va| v|ews |n Sec|on l, wh|ch ana|yze he re|a|onsh|ps beween he sun`s
pah ano he oev|ces ol |e//scce l//Jcw ano |/c//c/c F/e/J. ln he case ol boh he l||m |nsa||a
|ons ano he 3loJe/l 0e/le/`s apparauses, he o|agrams sress a l||cker|ng |um|nescen qua||y as
appar||ons |n he spaces where peop|e are mov|ng, esab||sh|ng a concepua| re|a|on beween
he|r percepua| appearance ano o|sappearance, ano he ellec ol |mmers|on |no a l||m`s pro
[eceo rea||y.
Ye here |s a|so a qua||a|ve o|llerence beween a l||m|c wor|o ol |||us|ons ano he o|agrams |||us
ra|ng he wo ypes ol work |n h|s sec|on. wh||e a c|nema|c lrame pro[eceo ono he screen ol
a mov|e heaer empora||y [uxaposes heerogeneous b|ocks ol |mages, he o|agrams engag|ng
he |og|cs ol |nc|us|on ano exc|us|on ol Carpener`s |nsa||a|ons ano apparauses c|ear|y |mp|y
ha he lorces ac|ng hrough he|r phys|ca| bounoar|es exeno beyono he spaces |n wh|ch hey
are s|uaeo.
ln conras o he regu|ar bea |n he empora| unlo|o|ng ol a l||m`s p|o, he o|agrams po|n
owaros he beno|ng ol |me ha resu|s lrom he an|ma|s` c|rcumsan|a| exposures |n he |nsa||a
|ons, or he opera|ons requ|reo by c||mae |n he 3loJe/l 0e/le/. ln boh |nsances, he o|agrams
suppor awareness ol he spa|a| ro|e ol lram|ng ano he empora| ellecs ol |nerm|en [o|s |n
he|r |mages.
``8 > 119
lsamu Noguch|, "Th|s Torureo Earh", `43
"'Th|s Torureo Earh` was my concep lor a |arge
area o memor|a||ze he rageoy ol war. There |s
|n[ury o he earh |se|l."
The o|agrams presen empora| phenomena |n wh|ch he pos||ons ol pars, o|mens|ons, ano o|s
ances vary |n re|a|on o human boo|es. They |nroouce he no|on ha a perspec|ve v|ew porrays
a momen ol spa|a| ano empora| awareness conneceo w|h he phys|ca| ano emo|ona| lorce ol
evens ak|ng p|ace |n naura| ano/or eng|neereo env|ronmens. Raher han oep|c|ng l|xeo h|ngs,
he o|agrams h|gh||gh sub|e ye s|gn|l|can ceners ol |noeerm|nacy w|h|n var|ous processes.
The arrows |n hese o|agrams express o|surbances ano/or changes |n he |eve|s ol energy. ln he
case ol he |nsa||a|ons, hey oep|c an|ma|s ener|ng |n ano ex||ng lrom he bounoar|es esab
||sheo by he l||ms` l|xeo lrames, w|hou re|ega|ng hese naura| evens o he ro|e ol backgrouno
lor human ac|on. ln he case ol he 3loJe/l 0e/le/`s apparauses, he arrows convey more com
p|ex |nlorma|on abou he l|ow ol he ||gh, a|r, ano hum|o|y, ha are, by he|r opera|ons, engageo.
These arrows, wh||e porray|ng he l|ow ol phys|ca| e|emens, sugges a re|a|onsh|p w|h he l|ow ol
he occupans hemse|ves.
These arrows br|ng aen|on o he mob||e pos||on occup|eo by specaors lor whom boo||y
sensa|ons p|ay a cruc|a| ro|e |n esab||sh|ng re|a|onsh|ps w|h qu|e or urbu|en l|ows. They
aooress how oroer can emerge ou ol mu||p|e re|a|onsh|ps beween var|ab|e processes ha
are ne|her causa| nor sr|c|y mechan|ca|. These processes esab||sh a proouc|ve re|a|on w|h
some ol he man|lo|o |og|cs ol an|ma| behav|ors ano c||ma|c conro| hrough he concep|on ol
hybr|o consrucs.
ln Carpener`s prac|ce, hese hybr|o consrucs operae by sub|y subver|ng maer|a| conven|ons,
hereby re|a|ng hese conven|ons o |arger l|ows ol energ|es |n a w|oe exure ol phenomena. He
akes on cha||enges ra|seo by echno|ogy hrough research ano oeve|opmen ol aovanceo maer|a|
ano eng|neer|ng so|u|ons, w|hou conlorm|ng o u|||ar|an pr|nc|p|es. H|s works |nves|gae ways
|n wh|ch enlo|o|ng, cons|u|ve, ano ||v|ng en||es appear w|h|n a spa|a| ano empora| lrame,
w|hou ||m||ng he|r sense o an env|ronmena||y se|lconsc|ous o|sr|bu|on ol maer|a|s ano/or
harmon|ous lorms.
Carpener`s work o|sc|oses he opera|ona| poency ol l|ee|ng |mages ol rea| maer, hrough an
eh|ca| o|mens|on ha |s boh embeooeo |n ano reoel|neo hrough h|s oes|gn process. The passage
lrom lrous quoeo above po|ns o he |nerweav|ng ol crea|v|y w|h he rao|ance ol naure, by
v|rue ol he mena| connec|ons | esab||shes beween con|ngen s|ua|ons. Carpener`s work
boh lorges ano akes apar such connec|ons. l supp|ans he |aws ol know|eoge proper o naura|
sc|ences by po|n|ng owaros he unexpeceo oeph ol h|ngs, wh||e ma|na|n|ng a keen |neres lor
he|r poss|b|e |nhab|a|on |n ways ha meo|aeo appearances canno.
APPAPATUSES
TULhNE UNl\ERSlTY CENTER
New DrIeans [ Lcuisiana [ 1999 - 2006
l|an ol he campus show|ng he suoen cener ano ma|n c|rcu|a|on roues.
Cross sec|on ol he aoo||on show|ng he |nerac|on ol a number ol coo||ng sysems, emper|ng he neeo lor a|rcono||on|ng.
Th|s axonomer|c o|agram shows how he o|lleren apparauses are |ayereo hrough he bu||o|ng.
ln `, lames Carpener Des|gn hssoc|aes was ap
proacheo by \|ncen lames hssoc|aes hrch|ecs o co||abo
rae on a |arge renova|on pro[ec lor he Tu|ane Un|vers|y
Suoen Cener w|h he common |nen ol mak|ng he pro
gram more env|ronmena||y sens||ve. 0ver he years, he
or|g|na| `0s Suoen Un|on bu||o|ng hao become a sea|eo
box, comp|ee|y oepenoen on a|rcono||on|ng. Locaeo |n
New 0r|eans, known lor |s ho ano hum|o weaher, lCDh
ano \lhh proposeo crea|ng a more open, l|ex|b|e, ano
permeab|e bu||o|ng, |nsp|reo by he French 0uarer arch|
ecure ol he reg|on, |n par|cu|ar he use ol lans ano he
exeno|ng ol he zone beween |ner|or ano exer|or.
`30 > 131
lERF0RhTED R00F ChN0lY
SCRlM [THERMhL MlRR0R}
lENDULUM FhNS
whTER whLL EEY0ND
UlwhRD SLlDlNC
CLhSS whLL
SKYLlCHTS wlTH lNTECRhL \ENTlLhT0R
R0ThRY FhN
UlwhRD SwlNClNC
CLhSS whLL
0lERhELE CLhSS whLL
wh\E CElLlNC FhN
lREFUNCTl0N
MhRKET lLhCE
EhLLR00M
NEw EhLLR00M
DlNlNC
C0MM0NS
work|ng w|h \lhh ano Mah|as Schu|er ol Transso|ar
C||mae Eng|neer|ng, lCDh oeve|opeo a oes|gn ha wou|o
creae shaoe ano |ncrease a|r movemen |n he bu|| env|ron
men us|ng a ser|es ol success|ve env|ronmena| conro|
e|emens ano |nc|uo|ng a per|meer capab|e ol be|ng
e|her a|r cono||oneo or openeo o he ous|oe. Th|s ser|es
ol e|emens wou|o grea|y reouce energy consump|on
ano m|n|m|ze he conven|ona| use ol mechan|ca| H\hC
sysems. The oes|gn compr|seo a paraso| rool srucure,
auomaeo ver|ca| shuers, a g|ass enc|oseo ba||room
pos||oneo on he ex|s|ng rool errace, |arge lann|ng oev|ces,
ano waerwa||s lor oehum|o|l|ca|on.
The paraso| rool srucure uses vary|ng oens||es ol perlo
raeo mea| pane|s ha se|ec|ve|y sh|e|o he bu||o|ng lrom
excess|ve so|ar ga|n ano enhance naura| ven||a|on by
crea|ng ho surlaces o oraw a|r ou ol he bu||o|ng. 0n he
exer|or ol he bu||o|ng a mechan|zeo a|um|num ano wooo
ver|ca| shuer sysem wraps arouno he wesern ano
souhern laaoes. Th|s compuer conro||eo screen ao[uss
auoma|ca||y our|ng he oay ano hrough he seasons,
moou|a|ng he amoun ol sun||gh |no he bu||o|ng, c|os
|ng o reouce so|ar ga|n |n he summer ano open|ng o
a||ow ||gh penerae |n he w|ner. w|noows are operab|e
o g|ve persona| |oca||zeo conro| over naura| ven||a|on.
The oeph ano lrequency ol each shuer corresponos o
he |ner|or programm|ng, becom|ng w|oer ano more
lrequen as he |ner|or space becomes more pr|vae. ln
he bu||o|ng`s |ner|or he lan sysems creae s|gn|l|can a|r
movemen, prov|o|ng a coo||ng ellec ano ass|s|ng |n
oraw|ng a|r hrough he bu||o|ng. Sma|| sw|ng|ng lans |ne
graeo |no he ce|||ng coo| he caleer|a ano he|p c|rcu|ae
he a|r, wh||e |arge sw|ng|ng lans |n he enrance zone
lorce he warm hum|o a|r near he ce|||ng oown over he
ch|||eo surlace ol he waerwa||. The co|o waer causes he
hum|o|y |n he a|r o conoense ano be absorbeo |no he
waerwa||, oehum|o|ly|ng ano coo||ng he a|r.
TULhNE UNl \ERSl TY CENTER
APPAPATUSES
L0U\ER SHhDl NC C0NCElT
The |ouver shao|ng concep uses ver|ca| wooo ano
exruoeo a|um|num s|as ha are operab|e, chang|ng he|r
oens|y ano or|ena|on accoro|ng o he programmeo
sequence ol space beh|no. Th|s sequence |s oes|gneo o
ba|ance he neeo lor a oeerm|neo amoun ol ||gh wh||e
reouc|ng he hea ga|n assoc|aeo w|h o|rec sun||gh
ener|ng he bu||o|ng. Though oer|veo lrom a pure|y
lunc|ona| prob|em, he |ouvers a|so serve o an|mae he
bu||o|ng sk|n. The var|ous oephs ol s|as are comb|neo
o creae a r|ch|y exureo surlace ha merges v|ews
hrough he s|as w|h he paerns creaeo by he|r var|
ous or|ena|ons ano w|ohs. The oeph ano lrequency ol
he ver|ca| s|as respono o he programmeo space w|h
|n. The more pub||c spaces leaure shorer ano more w|oe
|y spaceo s|as a||ow|ng a more porous re|a|onsh|p o he
ous|oe, wh||e conlerence or |ecure areas leaure w|oer
ano a greaer number ol s|as, crea|ng a she|ereo re|a
|onsh|p o he ous|oe.
Ear|y laaoe suo|es ol |ouver shao|ng concep.
Two poen|a| scenar|os lor he mechan|ca||y operaeo |ouvers.
`3z > 133
Mockup show|ng |ouvers |n o|lleren conl|gura|ons.
Th|s o|agram shows he |ouver shao|ng concep. The s|as aoap o c||ma|c ano programma|c neeos o creae op|ma| shao|ng.
TULhNE UNl \ERSl TY CENTER
APPAPATUSES
Dl Nl NC HhLL FhNS C0NCElT
The concep lor he D|n|ng Ha|| was preo|caeo on he
|oea ha he space wou|o be lrequen|y open o he ou
s|oe. To prov|oe coo||ng w|hou ch|||eo a|r, sw|ng|ng lans,
an upoaeo vers|on ol he rao||ona| lans louno |n New
0r|eans belore he aoven ol a|r cono||on|ng, coo| by
means ol c|rcu|a|ng he a|r ano crea|ng a breeze. The
lans are oes|gneo o be maoe lrom po|ycarbonae exru
s|ons crea|ng a |um|nous, ||ghwe|gh srucure ha w|||
rel|ec ano an|mae ||gh |n he caleer|a.
Th|s o|agram shows he expanse ol ce|||ngmouneo lans. Though he a|r |s no coo|eo,
he breeze creaeo by he lans coo| hose |n he |mmeo|ae v|c|n|y.
`34 > 135
D|agrams show|ng he expanse ol ce|||ng mouneo lans.
Sec|ona| mooe| show|ng he caleer|a lans on he l|rs l|oor ano he
ba||room lans on he secono l|oor.
TULhNE UNl \ERSl TY CENTER
APPAPATUSES
Sa|n|ess see| roo acuacor
Mach|neo a|um|num p|vo arm
Trans|ucen lo|| pane|
Terrazzo l|oor lor herma| mass
EhLLR00M FhNS C0NCElT
The concep lor he ba||room ven||a|on makes use ol |s
|oca|on on he secono l|oor. Coo| a|r [es are supp||eo
lrom oucs |no he oownwaro sream ol a|r creaeo by he
s|ow mov|ng lan b|aoes. 0nce he coo| a|r absorbs more
hea ano r|ses upwaros, | |s evacuaeo hrough he o|l
luseo g|ass cy||noers whose sunheaeo sky||ghops cre
ae an uporal. The op ol he g|ass ubes are p|anes ol
lr|eo g|ass w|h vens o he s|oe, crea|ng a ho surlace
ha proouces he convec|on ellec ha pu||s warm a|r
ou ol he space. The a|r escapes hrough vens a he cy|
|noers` c|rcumlerence. The breeze ol he lans he|ps o
coo| he sk|n, wh||e he |owem|ss|v|y coaeo hor|zona|
scr|m overheao he|ps |so|ae he coo|er zone, remov|ng
he neeo o coo| he who|e space. The oes|gn a||ows lor
naura| ven||a|on: our|ng he emperae monhs, he ba||
room |s open lu||y o he ous|oe.
Th|s o|agram |||usraes he coo||ng opera|on: coo| a|r, emerg|ng lrom
oucs, rave|s oown hrough he space, becomes warmer ano |s orawn up
hrough he g|ass ubes.
Mooe| v|ew ol he ba||room lan concep: o|lluseo g|ass |s |negraeo
|no he oes|gn o prov|oe ||gh, ranslorm|ng he yp|ca| H\hC sysem |no
an |negra| par ol he arch|ecure.
`3c > 137
Hor|zona| scr|m a||ows lor:
Therma| sra|l|ca|on
hcous|ca| absorb|on
L|gh l||ra|on
C|rcu|ar sky||gh
D|lluseo g|ass cy||noer
S|ow mov|ng lan b|aoes
Coo| a|r [es
0perab|e w|noow wa|| o
perm| l|ow ol preva|||ng w|nos
Th|s o|agram |||usraes he movemen ol a|r as | |s coo|eo, becomes warmer ano |s
exraceo hrough he g|ass cy||noers ano hrough he scr|m ha a|so he|ps segregae
emperaure zones, absorb no|se, ano l||er ||gh.
TULhNE UNl \ERSl TY CENTER
APPAPATUSES
whTERwhLL C0NCElT
The oes|gn ol he waerwa||s prov|oes a orama|c env|ron
men lor |s |nenoeo purpose as an enrance zone, br|og
|ng ogeher he |ns|oe ol he bu||o|ng ano he Commons
ano park ous|oe. The wo waerwa||s are each z3 loo
[m} h|gh ano cons|s ol ch|||eo waer runn|ng oown a l|ne
sa|n|ess see| mesh o creae a rans|ucen ano ac|vaeo
surlace. The concep lor he waerwa||s |s s|m||ar o ha
ol he ba||room lans bu uses ch|||eo waer. The waer
comes lrom he cenra| ch|||er p|an, wh|ch urns he
waerwa||s |no a g|an oehum|o|l|er: as coo| waer rave|s
oown he wa||, he penou|um lans lorce he warmer hum|o
a|r o conoense |no he waerla|| ano exchange hea w|h
|, coo||ng he a|r ano prov|o|ng a breeze. hs he a|r heas
| r|ses ano escapes hrough he ce|||ng scr|m.
Fu||sca|e mockup ol waerwa|| shown our|ng es|ng.
D|agram show|ng he movemen ol a|r ano
emperaure exchange.
`38 > 139
Mooe| show|ng he connec|on beween he bu||o|ng commons ano he garoen.
Th|s o|agram |||usraes he movemen ol a|r as | c|rcu|aes, |s coo|eo ano oehum|o|l|eo, warms ano o|ss|paes hrough he herma| scr|m. The range ol
emperaure |s represeneo lrom warm o coo| as reo, ye||ow, green, ano b|ue.
TULhNE UNl \ERSl TY CENTER
APPAPATUSES
ler|meer sky||gh a||ows lor:
Day||gh o |nerac w|h mo|on ol lans
l||um|na|on ol he waer wa||
Hor|zona| scr|m a||ows lor:
Therma| sra|l|ca|on
hcous|ca| absorp|on
L|gh l||ra|on
Cen|y osc|||a|ng
penou|um lans
Ch|||eo waer wa|| lor
oehum|o|l|ca|on ano coo||ng
LUMl N0USTHRESH0LD
Sydney [ AustraIia [ 1996 - 2000
lhoographolpeoesr|anscross|ngheLum|nousThresho|o.
TheLum|nousThresho|owasoes|gneoasagaewayo
he0|ymp|cComp|ex|nSyoney,husra||alorhez000
Summer0|ymp|cCames.Thecomp|ex,s|uaeoabou
`4km[8.m||es}wesolhec|ycener,|sac0hecare
[z.squarem||es}waerlrons|e|nheoemograph|chear
olSyoneyano|nc|uoesma[orareasolenv|ronmena|
s|gn|l|cancesuchas|oa|mangroveswamps,aeuca|yp
uslores,anoacasurar|nawooo|ano.S|ncehepr|mary
emphas|slorhe0|ymp|cswasherec|ama|onano
recyc||ngolapos|nousr|a||anoscape,a||consruc|on
anoarworksweresens||veoorexpos|oryolh|sre|a
|onsh|pw|hhe|ano.
TheLum|nousThresho|ooraws|s|nsp|ra|onlromh|s
manoae.Thework|sahresho|ool||ghhaperpeno|cu
|ar|ycrosseshenorhernenryohepark,s|eopara||e|
oanex|s|ngsreaml|ow|nghroughamangrove||neo
embankmen.Theoes|gnusesasequenceoll|vez3m
[loo}h|ghm|s|ngmass,aheopolwh|chas|ngu|ar
anoeverchang|ngo|sp|ayol||ghcanbeseenasone
approachesano|eaveshepark.Eylocus|ngonheoroer
|nganochang|ngnaureol||ghas||nersecshem|s,
heLum|nousThresho|ocreaesanephemera||anomark
hace|ebraeshe|anoscapeanohez0000|ymp|cs|n
heskyoverheao.
`40 > 141
LUMl N0US THRESH0LD
APPAPATUSES
'( '(r)clure
He||cslal masl
Search||ghl
HELl0SThT
MhST
M|sl wano cn masl lcp
MhST ` MhST 7 MhST 3 MhST 4 MhST 5
Tbeams ccnnecl masls lc
br|oge p|ers ano lcrm lramewcrk
lcr m|sl ||nes lc be allacheo lc.
RL. `03.500
RL. ```.000
RL. `7c.000 RL. `7c.000
RL. `78.440
8000
5
`
`
9
`
5
0
0
0
0bserva|onsol||ghcono||onscommon|nhec|ywereanear|y
|nsp|ra|onlorheLum|nousThresho|o.
Renoer|ngoemonsra|nghepro[ec`sconcep.
hg|mba|eoo|chro|cm|rrorsysemaopas|xhmas,s|uaeoasome
o|sancelromhem|s|ngmass,|sconro||eobyahe||osaoes|gneoo
consan|yrel|ec||ghoheargeareaolhem|s|ngmass.
Mockupolhem|s|ngsysemaopolmass.
0bserv|ngurban||gh|nhum|oanom|sycono||ons,lCDh`s
eamsawheopporun|yoembooy||ghhroughhe
meo|umolamospher|cwaer.Eyexp|or|ngex|s|ngm|s
|ngechno|ogyanoexper|men|ngw|hvar|ousm|rrorsano
coa|ngs,lCDhesab||sheoheleas|b|||yolo|rec|ng||gh
hroughm|s.
hheopoleachmas|saz.4m[8loo}h|ghsa|n|ess
see|assemb|yw|haser|esolnozz|eshao|spersea
l|nec|ouoolm|s|nohea|r.Theor|l|ngc|ouoolm|s|s
an|maeobyrel|ec|ngaye||ow/go|osreamolsun||gh
hrough|sceneranoollolasysemolm|rrors.Con
ro||eobyaHe||osaanoprogrammeoolo||owhesun`s
pahhroughouheoay,hem|rrorsysem,compr|seool
a`0x`0loo[3x3m}seoln|neo|chro|ccoaeog|ass
e|emens,cons|sen|yrel|ecsaye||ow/go|ohueol||gh
hroughhem|sers.Th|s"o|chro|c"ellec|sach|eveoby
app|y|ng|ayersolransparenmea|oepos|soheg|ass
e|emens,he|nens|yanohueolheco|or|shenoeer
m|neobyhesequenc|ngolhese|ayers.
lhoographsolheexp|ora|onlorhepro[ec,v|ewsolhe|nsa||a|on,aoea||olhem|s|ngoev|ce,
anoanaer|a|v|ewolheLum|nousThresho|o|n|sconex.
`4z > 143
LUMl N0US THRESH0LD
APPAPATUSES
S0LhR REFLECT0R SHELL
New Ycrk [ New Ycrk [ 2004 -
Through a compe||on o |negrae ar |no he oes|gn ol
he Fu|on Sree Cener, lames Carpener Des|gn hssoc|
aes wen a sep lurher by co||abora|ng w|h arch|ecs,
Cr|mshaw larners, New York, o ar|cu|ae ||gh
hroughou he|r oes|gn. The maser p|an lor he MTh
Downown Trans| Cener ca||s lor he new Fu|on Subway
Sa|on o be ||nkeo o he new wor|o Traoe Cener lah
Sa|on by a crossown suberranean peoesr|an passage
way. S|gn|l|can|y, he Fu|on Sree Trans| Cener esab
||shes a new |oen|y lor he rans| sysem |n wh|ch ||gh
ano oay||gh are a s|gnaory e|emen.
Carpener`s eam proposeo a mea| ||n|ng ha wou|o l|oa
oll he surlace ol he oome above he sa|on. The eam
oev|seo a perloraeo mea| pane| sysem |ns|oe he oome
on |s norhern s|oe o rel|ec ||gh |no he unne|s be|ow
ano o capure ano an|mae he passage ol he sun pro
[eceo hrough he oome`s ocu|us, hereby lu|l||||ng he
arch|ec`s emphas|s on he ver|ca| connec|on beween
he sree |eve| ano he suberranean peoesr|an unne|s.
Mooe| show|ng |ner|or she|| w|h mea|laceeo oay||gh ||n|ng.
`44 > 145
Cross sec|on ol Fu|on Sree Trans| Cener show|ng oome ano connec|ng
unoergrouno unne|s.
Mooe| ol oome oes|gn w|h mea| ||n|ng, br|ng|ng ||gh oown be|ow grouno ono he racks.
Sec|on show|ng he enrance oes|gn ano rans||on |no he subway unne|s ano racks.
S0LhR REFLECT0R SHELL
APPAPATUSES
Ear|y concep lor rel|ec|ve e|emens ol he perloraeo mea| pane|s.
lo|n rel|ecor pane|.
Sec|on ol oome |oen|ly|ng maer|a|s ano v|ew|ng ang|es up |no he oome.
Dea|| oraw|ng ol connec|on ol perloraeo pane|s.
lr|mary ano seconoary rel|ecor area map ol |nner oome.
Esab||sheo hrough a ser|es ol ess, he |ner|or oome
surlaces comb|ne o|lluseo ano m|rroreo mea| |n a paern
ha suggess he roa|on ol he earh. These lragmens
ol m|rror pro[ec shals ol ||gh oown o he |owes oephs
ol he sa|on. The geomery ol he oome ano |s mea|
||n|ng was ana|yzeo ano rel|neo o op|m|ze he or|ena|on
ano rel|ec|on ol oay||gh. h n|gh, he oome |s || lrom
w|h|n hrough sraeg|c |nerac|ve ar|l|c|a| ||gh|ng.
`4c > 147
TRhNSLUCENT
CLhSS
E`TERNhL SHELL
lERF0RhTED
REFLECTl\E
lNTERNhL SHELL
TRhNSlhRENT
CLhSS 0CULUS
TRhNSLUCENT
CLhSS
MEZZhNlNE
C0NCRETE
FL00R
0.` MM LhMlNhTl0N
hDHESl\E F0lL EhCKlNC
SNhllN "MlRR0R REFLECT0R l0lNTS"
lNlECTED M0LDED l0LYChRE0NhTE w/
hLUMlNlUM [\hCUUM DEl0SlTl0N}
MlRR0R C0hTlNC
z. MM ChUCE CLEhR
hN0DlZED hLUMlNUM SHEET
CLEhR hN0DlZED hLUMlNUM
E`TRUSl0N "E" SH0l Rl\ETED
T0 LhMlNhTED lhNEL
`z00 MM hN0DlZED hLUM.
hLhN0D 0`3 Cl w/
hDHESl\E F0lL EhCK SlDE
LhMlNhTED lhNEL T0 EE l0wDER
C0hTED w/ HlCH RESlSThNT
TRhNSlhRENT C0hTlNCS
CLEhR hN0DlZED hLUM.
E`TRUSl0N "h" T0 EE SLEE\ED
hR0UND 3/`c" S/S R0D
[Tl} S/S TURNEUCKLE
[Tl} S/S N0DE
[Tl} 3/`c" DlhMETER
MEDlUM STRENCTH NET R0D
TlS S/S `/4" CLE\
TURNEUCKLE
`/4" DlhMETER MEDlUM
STRENCTH TlEEhCK R0D
lRlMhRY
REFLECT0R hREh
[S0LhR RECl0N}
SEC0NDhRY
REFLECT0R hREh
CLEhR
CLhZED 0CULUS
SlECULhR lNNER
METhL SHELL
DlFFUSED 0UTER
CLhSS SHELL
Renoer|ng ol he oome show|ng he mea| |nner she|| capur|ng he
sun`s pah as | |s pro[eceo hrough he oome`s ocu|us.
hc|oecheo mea| sca|e mooe| ol he |nner she||.
S0LhR REFLECT0R SHELL
APPAPATUSES
lCDh proposeo |negra|ng he ||gh|ng scheme |no he
exper|ence ol he unne|s. The new Dey Sree Tunne| ano
he rev|a||za|on ol he Fu|on Sree Tunne|s ollereo he
opporun|y o re||eve he sense ol compress|on exper|
enceo by peoesr|ans our|ng |mes ol overcrowo|ng. Ey
aooress|ng he propor|ona| conl|gura|on ol he unne|s
ano by programm|ng maer|a|s ha can embooy ||gh,
lCDh cou|o proouce a percepua| expans|on ol space. The
p|ay ol ||gh, rel|ec|on, ano pro[ec|on exenos he wa||s
ano ce|||ng beyono he|r phys|ca| ||m|s wh||e he peoesr|
ans sh|l|ng perspec|ve ac|vaes he p|ay ol ||gh.
lCDh`s scheme o ||gh he unne|s env|s|ons one wa|| as
he pr|mary ||gh|ng source: a g|ow|ng surlace ha can be
||nkeo o v|oeo or mo|on sensors o creae changes |n he
movemen ol ||gh hrough he unne|. Th|s |nerac|ve
wa|| |s conro||eo by he movemen ol he peoesr|ans. The
source ol he |||um|na|on |s beh|no a |ayer ol s|oeo ano
perloraeo sa|n|ess see|. L|gh emerg|ng hrough hese
s|os rel|ecs oll he ce|||ng ano oppos|e wa||. The sur
laces ac|ve|y conouc ano rel|ec ||gh ano |mages ol
peoesr|an movemen a|ong he unne|, hereby crea|ng
he percep|on ol oeph beyono he unne| surlaces.
Compe||on oraw|ng show|ng he be|ow grouno peoesr|an unne|s as hey |nersec he Fu|on Sree Trans| Cener.
Compuer s|mu|a|ons show|ng he var|ab|e |nerac|ve ||gh|ng |eve|s.
`48 > 149
Mockup mooe| useo o es ||gh ellecs.
Th|s ear|y suoy mooe| shows he |nen ol us|ng puncheo sa|n|ess see| wa|| surlaces w|h suppresseo ||gh|ng.
S0LhR REFLECT0R SHELL
APPAPATUSES
Sl0RTS FhCl LlTY
New Ycrk [ New Ycrk [ 2003 - 2009
her|a| perspec|ve ol he ||ghwe|gh spors enc|osure |n |s park conex.
Renoer|ngs ol he srucure a ousk.
Renoer|ngs ol he Spors Fac|||y, exer|or ano |ner|or. hs an exreme|y ||ghwe|gh maer|a|, he EFTE rool a||ows lor
sma||er russes [spann|ng z00 loo w|h a `0 loo oeph [c`m, 3m} a he m|ospan}, max|m|z|ng |ner|or c|earance lor
he soccer l|e|o.
hs par ol he reoeve|opmen ol he Erook|yn waerlron,
h|s s|e was oes|gnaeo o prov|oe |oca| h|gh schoo|s
ano he pub||c w|h access o much neeoeo yearrouno
ah|e|c lac||||es. lCDh was |nv|eo by he |anoscape
arch|ec, M|chae| \an \a|kenburgh hssoc|aes, o
oes|gn an arch|ecura| ano srucura| concep lor Erook
|yn Er|oge lark`s spors enc|osure o be bu|| a he eno ol
he 400 x 800 loo [`zz x z44m} l|er , on he Erook|yn
waerlron souh ol Erook|yn Er|oge.
lCDh proposeo a ||ghwe|gh see| bu||o|ng w|h an enc|os
|ng sk|n oes|gneo o op|m|ze so|ar cono||ons ano preva||
|ng w|nos wh||e prov|o|ng orama|c v|ews o ano lrom he
harbor ano Lower Manhaan. The mu||use recrea|on
bu||o|ng accommooaes a h|gh schoo| soccer l|e|o ano can
be useo lor a var|ey ol commun|y lunc|ons. The sruc
ure |s sem|cono||oneo ano naura||y ven||aeo, ac|ng as
an opena|r lac|||y our|ng he spr|ng, summer ano la||, ano
an "ouooor room" our|ng he w|ner.
`0 > 151
Sl0RTS FhCl Ll TY
APPAPATUSES
The s|mp|e z30 x 30 x 4 loo [0 x `0 x `4m} vo|ume
ol he srucure uses new maer|a| echno|ogy o cap|a||ze
on he s|e`s unusua| ||m|a|ons. The resu| |s a ||ghwe|gh,
|ow cos ano |ne|||gen bu||o|ng. The rool ol he Spors
Fac|||y |s compr|seo ol ||near |nl|aeo EFTE lo|| "p|||ows"
[ehy|eral|uoroehy|ene, a l|uoropo|ymer maer|a|}. The
p|||ows cona|n one c|ear ano wo pr|neo, paerneo |ayers
ol EFTE lo||. The a|r pressure |n he wo a|r pockes |s
ao[useo o creae an open or c|oseo paern, hereby con
ro|||ng hea rao|a|on ano ||gh|ng.
To op|m|ze comlor, he rool p|||ows a||ow more so|ar
energy o ener he bu||o|ng on sunny w|ner oays, shu
ou he sun`s o|rec rays on summer oays, ano prov|oe
|nsu|a|on our|ng he w|ner. lnsu|a|on ano so|ar hea
are bo|sereo by rao|an hea|ng ano coo||ng |ocaeo
beneah he surlace ol he synhe|c p|ay|ng l|e|o. ln
seao ol lue|, h|s sysem uses a hea exchange sysem
se |n he waer be|ow he p|er o m|n|m|ze hea|ng ano
coo||ng coss.
For oay||gh|ng, he rool`s ransparency can be ao[useo
o accommooae boh overcas ano sunny oays. h n|gh
he rool sysem a||ows lor changes |n |eve|s ol |um|nos|y
boh exerna||y ano |nerna||y. The wes ano eas wa||s are
h|gh|y ransparen |nsu|aeo g|ass un|s, ano he norh ano
souh wa||s are p|anes ol rans|ucen po|ycarbonae |nsu
|a|on ha g|ow w|h o|lluseo ||gh |n he |ner|or our|ng he
oay ano on he exer|or a n|gh. The po|ycarbonae eno
wa||s creae even ||gh beh|no he soccer goa|s ano he|p
o lrame v|ews hrough he c|ear wes wa|| o he harbor
ano Lower Manhaan.
h n|gh, he ha||`s |um|nos|y makes | v|s|b|e hroughou
he harbor, wh||e our|ng he oay he r|pp|eo surlace ol he
rool p|||ows merges w|h he sh|mmer|ng surlace ol he
r|ver`s rel|eceo ano ransm|eo ||gh.
ho[usmen ol EFTE lo|| paerns creaes o|lleren hea|ng ano ||gh|ng cono||ons.
Sec|on show|ng he Spors Fac|||y on |s s|e on he p|er.
`z > 153
Large, operab|e g|ass ooors open a|ong he eas ano wes wa||s, re|nlorc|ng he v|ews lrom he park hrough he bu||o|ng o he harbor
ano c|y beyono wh||e a||ow|ng he breeze lrom he waer o coo| he space our|ng warmer monhs.
Sl0RTS FhCl Ll TY
APPAPATUSES
),;>,,54,4)9(5,(5+40*96*304(;,
THE w0RK 0F lhMES ChRlENTER DESlCN hND hSS0ClhTES
by Kenneh Frampon
lames Carpener |s a un|que prac||oner, bu |n wha l|e|o exac|y | |s haro o say. He |s an ar|s
whose oeve|opmen was prolouno|y |nl|uenceo by an |nense |nvo|vemen w|h an essen|a| aspec
ol mooern bu||o|ng echno|ogy

name|y p|ae g|ass |n a|| |s mu||lar|ous app||ca|ons. So, wh||e he

was l|rs ra|neo br|el|y |n arch|ecure ano hen |n scu|pure a he Rhooe ls|ano Schoo| ol Des|gn,
graoua|ng |n `z, he s|ngu|ar|y mos oec|s|ve exper|ence ol h|s lorma|on as a oes|gner seems
o have been he oecaoe ha he subsequen|y spen as a consu|an o he Corn|ng C|ass works
|n Corn|ng, New York. ln h|s unoerak|ng he was sponsoreo by Thomas Euechner, o|recor ol he
Corn|ng Museum ol C|ass, le| ha | wou|o be aovanageous lor he company o have a a|en
eo |nhouse ar|s |nvo|veo |n he research ano oeve|opmen. wh||e Carpener con|nueo o
work as an |noepenoen ar|s, he aov|sory pos||on enab|eo h|m o par|c|pae |n he evo|u|on ol
new maer|a|s, |nc|uo|ng phoorespons|ve g|ass ano var|ous lorms ol v|reous ceram|cs. Mos ol
he research |n wh|ch he par|c|paeo was or|eneo owaros arch|ecure as he l|e|o mos capa
b|e ol u|||z|ng soph|s|caeo g|ass echno|ogy as a new means lor man|pu|a|ng ||gh, shaoe, ano
surlace ellec.
Much ol he Corn|ng research locuseo on he oeve|opmen ol |nerlerence coa|ngs ano on he pro
ouc|on ol o|lleren lorms ol o|chro|c g|ass. wh||e resr|ceo hroughou h|s |n||a| prac|ce o he
crea|on ol var|ous spec|a| leaures ano g|ass membranes |nsa||eo |n bu||o|ngs |arge|y oes|gneo by
ohers, Carpener was ob||geo o oevoe much ol h|s energ|es o he manner |n wh|ch he g|ass was
secureo. Th|s |nev|ab|y |eo h|m |no he re|aeo l|e|o ol mea| labr|ca|on |n oroer o op|m|ze he
env|ronmena| ano phenomeno|og|ca| poen|a| ol g|ass. Th|s enry |no he srucura| use ol muu
a||y |nerac|ng maer|a|s, w|h o|lleren coell|c|ens ol expans|on, prompeo h|m, aler h|s exper|
ence a Corn|ng, o seek ou spec|a||ss ano co||aboraors ol excep|ona| ca||ber, boh w|h|n h|s
own suo|o ano w|hou, |n par|cu|ar srucura| ano env|ronmena| eng|neers. The w|oen|ng scope
ol Carpener`s prac|ce a|so ena||eo he cu||va|on ol spec|a||s labr|caors ha he knew wou|o
be ab|e o supp|y he qua||y proouc|on he was aler, mos noab|y, |n he |ae `80s, sh|p`s chan
o|ers such as Navec ol wesloro, Mh, wh|ch |aer became Tr|lyram|o Srucures, lnc. The neeo o
ma|na|n prec|s|on a every |eve| lrom labr|ca|on o |nsa||a|on encourageo Carpener o cu||vae a
sall whose oes|gn prowess was macheo by he|r ab|||y o superv|se ano, even lurher, o oeve|op
a capac|y lor he erec|on ol he works on s|e.
Ey he ear|y `0s, Carpener`s prac|ce began o ga|n a cera|n renown ous|oe he U.S., above
a|| |n Cermany, where he was askeo o co||aborae w|h Cuner Eehn|sch larner on he oes|gn
ol a ens||e oome scu|pure lor he Eonn lar||amen, bu|| |n ``. Des|gneo |n assoc|a|on w|h
R|charo Kress ano Luke Low|ngs, boh ol whom hao by hen become core members ol h|s suo|o
eam, h|s work, ne|her arch|ecure nor scu|pure |n he conven|ona| sense, |eo wha |s now
he l|rm ol lames Carpener Des|gn hssoc|aes [lCDh) |no he l|e|o ol ens||e ne consruc|on.
They wou|o |aer con|nue |n h|s genre, exper|men|ng w|h w|recab|e suspens|on srucures
rang|ng lrom a ens||e ne sa|r oes|gneo lor a home |n Ch|cago |n `3 o an |nvereo w|re
cab|e ano rans|ucen g|ass oome |n he R|charo Me|er larners` Sanora Day 0`Connor Cour
house |n `8.
Carpener`s l|rs co||abora|on w|h he Cerman eng|neer lorg Sch|a|ch came |n ``, when hey
workeo ogeher on a pro[ec lor a w|nmas, cab|esayeo br|oge over he M|ss|ss|pp| R|ver |n
S. lau|, M|nnesoa. ln `c, when he arch|ecs Mu||er Re|mann |nv|eo Carpener ano Sch|a|ch o
co||aborae on he|r compe||on enry lor he Cerman Fore|gn M|n|sry |n Eer||n, he wo [o|n|y
oeve|opeo ano oea||eo he g|azeo ar|um, or L|chhol. hs w|h he subsequen g|azeo laaoe ol he
T|me warner Eu||o|ng, New York, he `0 loo [4c m) h|gh g|azeo, cab|ene enry laaoe ol he
Eer||n m|n|sry was susa|neo by wo ses ol ens||e cab|es separaeo lrom each oher, one runn|ng
ver|ca||y lrom l|oor o ce|||ng ano he oher hor|zona||y lrom s|oe o s|oe. The sa|n|ess see| sru
componens ha ma|na|neo he sab|||y ol h|s g|ass wa|| were exenoeo o ` |nch [43 cm) |ong,
can||ever|ng oll he ver|ca| w|re cab|es ano, a every course, c|ampeo o he hor|zona| w|re cab|es
ha susa|n he |nerna| membrane. Th|s separaes he srucure lrom he g|ass ano creaes a
rel|eceo sense ol oeph o he hresho|o.
w|h h|s work he Carpener oll|ce wou|o pass lrom he ||m|eo scope ol sens||ve|y oea||eo, |nge
n|ous bu||o|ng e|emens o he more comprehens|ve ask ol crea|ng a oa| m|croc||mae. ln he
L|chhol pro[ec lCDh was |nvo|veo no on|y w|h he cab|ene wa|| bu a|so w|h he oes|gn ol he
vau|eo g|ass rools cover|ng he cour, each vau| supporeo on |en|cu|ar russes. These rool vau|s
were l|eo w|h rans|ucen an|so|ar g|ass so as o aom| narrow shals ol sun||gh a cera|n |mes
ol he oay. h he same |me, mea| rel|ecor pane|s app||eo o he srucura| g|roers ha suppor
he vau|s rel|ec oay||gh back |no he oarkes par ol he couryaro. ln lac, he en|re rool
lunc|ons |n phenomeno|og|ca| erms as a sky rel|ecor, pro[ec|ng he sun ano sky back ono he
|nner surlace ol he cab|ene g|ass wa|| lac|ng norh. h bano ol c|ear g|ass lrames he expanse ol
sem|rel|ec|ve g|ass, perm||ng one o sense he |ayer|ng ol v|ews ano rel|ec|ons seen hrough
ano on he cab|ene wa||.
To oae, he |arges membrane o be rea||zeo o he oes|gns ol lCDh |s he 0 sory reconsruceo
wor|o Traoe Cener, New York. Here he overa|| lrame, srucure, ano |nerna| organ|za|on were he
`c > 157
respons|b|||y ol he corporae arch|ecs Sk|omore, 0w|ngs Merr|||, unoer he o|rec|on ol Dav|o
Ch||os, wh||e he overa|| appearance ol he l|n|sheo srucure was oeve|opeo by he Carpener suo|o
|n c|ose co||abora|on w|h Sk|omore, 0w|ngs Merr|||. ln h|s |nsance, he mos o|ll|cu| cha||enge
was o oev|se wo o|lleren membrane sysems ha wou|o each be appropr|ae o he vo|umes hey
cona|neo: ConEo|son ranslormers |n e|gh sor|es ol concree ano a 4z sory oll|ce bu||o|ng. To
h|s eno, boh membranes were oes|gneo o be equa||y respons|ve o he chang|ng |nc|oence ano
|nens|y ol he naura| ||gh. lCDh laceo he concree ranslormer sa|on w|h a con|nuous gr|||
compr|seo ol wo |ayers ol ver|ca| sa|n|ess see| pr|sma|c w|res ol vary|ng r|angu|ar sec|on ano
se|ng, wh||e lor he bu|k ol he oll|ce ower he eam oes|gneo a ooub|eg|azeo cura|n wa||, com
pr|s|ng a g|ass membrane, ||near|appeo ano se above recesseo ano curveo spanore| pane|s a
each l|oor. The |nner surlace ol hese pane|s are corrugaeo ano embosseo so as o serve as sky
rel|ecors, ano h|s b|ue sa|n|ess see| s||| p|cks up he |oca| ||gh cono||ons caus|ng he cura|n
wa|| o merge w|h he co|or ol he sky. The |ow|ron g|ass useo y|e|os a h|gh|y ransparen mem
brane, wh||e he corner co|umns were |nse so as o he|ghen he |||us|on ol oemaer|a||z|ng mass.
Thus, as|oe lrom he norma| g||sen|ng ellec ha one assoc|aes w|h cura|n wa|| consruc|on, he
crysa|||ne shal ol he ower appears o emanae ||gh a every l|oor.
0ne ol he mos remarkab|e aspecs ol h|s work |s he sa|n|ess see| revemen enve|op|ng he
e|gh sory concree poo|um. The ooub|e |ayereo gr|||work, |n re||el, |s v|sua||y ac|vaeo oay ano
n|gh |n wo o|lleren bu re|aeo ways. Dur|ng he oay, a oynam|c op|ca| ellec |s oba|neo par|y
hrough he vary|ng |nc|oence ol he naura| ||gh as | sr|kes he pr|sma|c gr|||work ano par|y
hrough a consan|y ranspos|ng |era|on ol h|gh||ghs ar|s|ng o|rec|y ou ol he movemen ol he
observer. Dur|ng he n|gh, he rear |ayer ol he gr|||work |s an|maeo by b|ue ano wh|e ||gh pro[ec
eo lrom LEDs mouneo on he back ol he lron gr|||work. hs w|||gh oescenos, h|s b|ue |um|nos|y
w|h|n he sa|n|ess see| mar|x assumes he |mage ol a cub|c vo|ume ha by correspono|ng
o he upper space ol he loyer serves percepua||y o anchor he core ol he ower shal |no he
sa|n|ess see| base.
ln he loyer |se|l, a c loo |ong, `4 loo h|gh [`.8 x 4.3m) rans|ucen g|ass wa|| beh|no he recep
|on oesk serves o o|sp|ay a scro|||ng, commemora|ve |nscr|p|on oes|gneo by he ar|s lenny
Ho|zer ano lCDh. Due o he use ol o|llus|on g|ass, Ho|zer`s LED memor|a| message passes across
h|s monumena| |||usory p|ane ||ke a m|rage, ak|ng on o|lleren |eve|s ol |eg|b|||y oepeno|ng upon
he v|ewer`s pos||on. Here we are reurneo o Marsha|| McLuhan`s he meo|um |s he message."
The |nellab|||y ol ||gh |s u||mae|y he common meo|um upon wh|ch he work ol boh Ho|zer ano
ETWEEN MEMPANE AND MI CPDCLI MATE
KENNETH FRhMlT0N
Carpener |s equa||y oepenoen. Ne|her qu|e be|ongs, as | were, o he ar|s|c l|e|o |n wh|ch hey
m|gh be sa|o o have he|r or|g|ns. Eoh grav|ae owaro an expanoeo l|e|o: Ho|zer owaros ||eraure
|l no poery |n he or|g|na| sense ol WVLZPZ ano Carpener owaros arch|ecure, |n he sense ol
HYJOP[LJ[VU

ch|el consrucor. l may be argueo ha because ol |s ||erary ano somewha cryp|

ca||y represena|ona| characer, Ho|zer`s work |s ne|her a mura| nor a scu|pure, [us as |n h|s
|nsance, Carpener`s |||usory |um|nous env|ronmen |s ne|her qu|e arch|ecure nor ar.
Four pro[ecs oes|gneo |n he |as en years make us progress|ve|y aware ol he way |n wh|ch,
w|hou re||nqu|sh|ng h|s locus on he membrane, Carpener has moveo owaros he broaoer scope
ol he oa| m|croenv|ronmen.
The l|rs ano mos meaphor|c work |n h|s sequence |s he Lum|nous Thresho|o" pro[eceo |n `8
lor he z000 Syoney 0|ymp|cs. h yp|ca| Carpener work |n ha he phenomeno|og|ca| ellecs ar|se
ou ol a oynam|c |nerp|ay beween naure ano cu|ure. ln h|s |nsance, he l||ereo ano locuseo
rays ol he sun ano m|croc|ouo lorma|ons |ssue lrom a ser|es ol [es mouneo on op ol he mass.
He speaks ol h|s work as emu|a|ng he phenomena ol sun ha|os." ln po|n ol lac boh man|lesa
|ons oepeno on a sub|e man|pu|a|on ol echno|ogy, whereby he |nerp|ay ol naura| phenomena
comes o be revea|eo hrough ar|l|c|a| means. Th|s m|n|ma||s env|ronmena| work, a a c|v|c sca|e,
emboo|es a posmooern|s scu|pura| o|mens|on by v|rue ol be|ng ne|her exac|y |anoscape nor
arch|ecure. ln h|s regaro | bears compar|son o wa|er oe Mar|a`s L|ghn|ng F|e|o ereceo |n he
w||os ol New Mex|co |n `.
Carpener eners more lu||y |no he env|ronmena| mooe |n h|s work w|h he M|nnesoa arch|ec
\|ncen lames, ogeher hey oes|gneo he new suoen cener |n Tu|ane Un|vers|y, a pro[ec oa
|ng lrom `. ln co||abora|on w|h he Cerman env|ronmena| eng|neer Mah|as Schu|er ol Trans
so|ar Eng|neer|ng, lCDh env|s|oneo a veranoah" bu||o|ng lor h|s renova|on ano expans|on ol an
ex|s|ng suoen cener, p|anneo on hree l|oors, arouno a preex|s|ng core, w|h he |as reorga
n|zeo o accommooae wo meo|ums|zeo |ecure ha||s ano a relecory. The bas|c susa|nab|e pre
cep comp|emen|ng h|s veranoah concep |s he use ol pass|ve coo||ng ano ven||a|on as progres
s|ve c||ma|c bounoar|es arouno he per|meer ol he bu||o|ng. The sa||en sraegy was o rea
mos ol he grouno l|oor as a empereo zone," wh||e u|||z|ng cenra||zeo a|rcono||on|ng lor he
|ower grouno l|oor ano a |arge par ol he l|rs l|oor. ln h|s way, he per|meer ol he grouno l|oor
cou|o be hano|eo as a par|a||y cono||oneo m|croc||mae, par|cu|ar|y on he souheas laaoe. h
s|m||ar approach was aken owaros he l|rs l|oor ba||room s|uaeo o he norh ol he cenra|
core. The overa|| env|ronmena| sraegy was o ma|na|n a l|ex|b|e permeab|||y beween he |ns|oe
`8 > 159
ano ous|oe ol he srucure, ano o h|s eno, Carpener, ogeher w|h lames ano Schu|er, creaeo
a h|gh|y ranslormab|e oes|gn |n wh|ch he grouno l|oor common room may be lu||y openeo up,
e|her hrough s||o|nglo|o|ng g|ass wa||s or hrough ver|ca||y s||o|ng p|ae g|ass w|noow wa||s,
loo [z.m) |n he|gh. Th|s |as, unoer cera|n c||ma|c cono||ons, w||| be s||o up as counerba|
anceo sash w|noows beh|no he l|xeo upper ha|l ol he w|noow wa||. Such an |nnova|ve g|az|ng
prov|s|on |s macheo by he equa||y |arge ver|ca||y p|vo|ng w|noows ha are o be useo o ven|
|ae he ba||room on he l|rs l|oor. Deep ||ghwe|gh canop|es |n perloraeo mea| cons|ue he
acua| veranoah ano sh|e|o he souhwesern ano norheasern laces ol he bu||o|ng, wh||e a|u
m|numre|nlorceo operab|e wooo |ouvers are oep|oyeo as ao[usab|e sun screens on he souh
easern lace. Ce|||ng lans ol boh he penou|um ano roary var|ey are o be w|oe|y oep|oyeo
hroughou, he coo||ng capac|y ol he |aer grea|y enhanceo by b|ow|ng co|o [es ol a|r ono he
b|aoes ol he lan.
l wou|o be o|ll|cu| o l|no any oher meo|ums|zeo conemporary srucure |n Norh hmer|ca, or
even e|sewhere, so we|| oes|gneo ano equ|ppeo lor he |mmeo|ae moo|l|ca|on ol |s vary|ng m|cro
c||maes hrough ao[usab|e lenesra|on ano ven||a|on. C|ose |n |s ||gh moou|ar characer o
Norman Foser`s Carre o`hr meo|aech comp|eeo |n Nimes |n `3, he Tu|ane Suoen cener |s
a|so a work ha reca||s he h|gh|y |ngen|ous, poe|c, mechan|ca| e|abora|ons ol l|erre Chareau`s
Ma|son oe \erre ol `3z. L|ke he oomes|c works ol he husra||an arch|ec C|enn Murcu, h|s |s
a bu||o|ng |n wh|ch he membrane w||| requ|re consan ao[usmen on he par ol |s user |n oroer
o max|m|ze |s poen|a|.
w|h he|r [o|n z004 proposa| lor he oome ano unne|s ol he MTh Fu|on Sree Trans| Cener,
lCDh ano Cr|mshaw larners have caegor|ca||y oemonsraeo he poss|b|||y ol prov|o|ng a
c|v|||zeo env|ronmen lor a suberranean eas/wes peoesr|an |nerchange beween he var|ous
rans| ||nes runn|ng norh/souh |n Manhaan. For he proposeo z,z00 loo [c0 m) |ong unne|
sysem ||nk|ng he var|ous ||nes, 0 ol wh|ch |s a|reaoy be|ow grouno, lCDh oeve|opeo a sa|n|ess
see| ||n|ng lor he wa||s ano he rool ol he unne| sysem ano a par|a||y rel|ec|ve, par|a||y rans
|ucen oome, open a he op, o be se above a mu|||eve| concourse s|uaeo a he v|rua| m|opo|n
ol he ransverse suberranean nework. Th|s con|ca| rel|ecor compr|ses an ouer weaherprool
g|ass sk|n w|h a par|a||y perloraeo, rel|ec|ve mea| ||n|ng. ls ouer lorm cons|ues a monumena|
|um|nous leaure r|s|ng we|| above he |eve| ol he surrouno|ng srees. ln aoo||on o he alore
men|oneo perlora|ons oes|gneo o aom| boh naura| ano ar|l|c|a| ||gh, here are rel|ec|ve
bosses |mp|aneo a |nerva|s so as o o|sperse he sun`s rays |n a more locuseo way as hey
ETWEEN MEMPANE AND MI CPDCLI MATE
KENNETH FRhMlT0N
sr|ke he |nner surlace ol he oome. 0ne |s rem|noeo ol Lasz|o Moho|yNagy`s L|gh Moou|aor ol
`3c, on|y now | |s he sun ha moves wh||e he perloraeo surlaces are l|xeo. hs w|h he
perloraeo mea| ||n|ng ol he unne|s, where an LED sysem beh|no he screen wa||s ano ce|||ng |s
consan|y ac|vaeo by he passage ol he peoesr|ans hrough he unne|s, Carpener`s oome |s
equ|ppeo w|h ar|l|c|a| ||gh|ng beween he c|ear g|ass exer|or sk|n ano he o|lluseo g|asscum
rel|ec|ve surlace ol he |nner membrane, hus |s |um|nos|y may be moou|aeo oay ano n|gh
hroughou he seasons.
Up o now Carpener`s penchan lor ||ghwe|gh m|n|ma||s srucure has never been more econom|
ca||y oemonsraeo han |n h|s proposa| lor erec|ng a `80 by 300 loo, 4 loo h|gh [ x ` x `4 m)
sheo o accommooae an |nooor soccer l|e|o ano mu||purpose space on he op ol a o|suseo p|er
as a par ol M|chae| \an \a|kenburgh`s maserp|an lor he Erook|yn Er|oge R|verlron lark. Th|s
oemaer|a||zeo sheo w||| be equ|ppeo w|h s||o|ng g|ass ooors on |s easern ano wesern e|eva|ons
so ha on emperae oays a |arge par ol he 300 loo [` m) membrane may be openeo ou so as
o no on|y lac|||ae ven||a|on bu a|so o alloro oa||y unobsruceo v|ews ol he waer lrom he
park. S||| |n process, he |n||a| srucura| concep compr|seo `80 loo [ m) span se|lbrac|ng
r|angu|aeo suppor sysem ha w||| ransm| he srucura| |oao v|a h|ngeo [o|ns o he concree
graoe beams ano |mber p||e srucure ha makes up he labr|c ol he ex|s|ng p|er. The rool, a
rans|ucen ETFE a|r cush|on rool, |s a new lorm ol p|as|c cover|ng [ehy| era l|uoro ehy|ene) con
s|s|ng ol a r|p|e |ayereo, rans|ucen, se|l|nsu|a|ng l||m, a enh ol he we|gh ol g|ass. The
upper wo |ayers are pr|neo |n a couner paern so ha when he |ower |ayer ol he r|p|e sk|n
labr|c |s |nl|aeo w|h a|r he wo lreeo surlaces are over|a|o |n such a manner as o obscure mos
ol he sun. Conro||eo by servomechan|sms, h|s a|r may be heaeo |n he w|ner o me| he snow.
Converse|y, when he upper |ayer |s unoer a marg|na||y h|gher pressure he |ayers are separaeo so
as o aom| sun||gh.
Carpener env|sages |negra|ng phoovo|a|c ce||s |no he uppermos lreeo |ayer ol he labr|c o
ollse he amoun ol e|ecr|c|y consumeo by he srucure. The overa|| susa|nab|||y ol he bu||o|ng
a|so oepenos on coo||ng he space w|h a hea pumpch|||er leo o|rec|y by he waer ol he r|ver,
a|erna|ve|y hea|ng ano coo||ng, w|h he coo| a|r oe||vereo o he vo|ume hrough a rao|an p|pe
sysem be|ow he p|ay|ng l|e|o. From Erook|yn He|ghs, Carpener |mag|nes he who|e srucure
hover|ng ||ke a |um|nous |anern above he waer a n|gh, wh||e our|ng he oay, he g||sen|ng,
unou|a|ng surlace ol he rool w||| esab||sh a v|sua||y empahe|c re|a|onsh|p w|h he r|pp||ng
sheen ol he r|ver.
`c0 > 161
Ey now he scope ol lCDh`s ac|v||es |s so expanoeo as o oely c|ass|l|ca|on, par|cu|ar|y s|nce
Carpener`s se|lconsc|ous cu||va|on ol co||abora|ve oes|gn has now become so we||orchesraeo,
oynam|c, ano ransna|ona| as o resemb|e he concereo ellor ol a h|gh|y aovanceo, research
|aboraory raher han an ar|s`s or arch|ec`s suo|o |n he conven|ona| sense. Th|s cono||on
l|nos conl|rma|on |n Carpener`s me|cu|ous hab| ol o|rec|y creo||ng v|rua||y every s|gn|l|can
member ol he oes|gn eam assemb|eo lor each pro[ec, so ha he ar|bu|on more c|ose|y resem
b|es he creo| ||ne a he eno ol a leaure l||m han ha wh|ch |s norma||y prov|oeo by our anachro
n|s|c myh|ca| m|sconcep|ons abou |no|v|oua| crea|v|y, even hough |eaoersh|p ano |nven|ve
|ngenu|y are obv|ous|y a|ways presen hroughou he process. L|ke l||m, env|ronmena| oes|gn a
any consequen|a| sca|e |s a co||ec|ve enoeavor, ano | a|ways has been so, no maer who may be
u||mae|y o|rec|ng ano gu|o|ng he l|na| oucome. Carpener`s |um|nous env|ronmena||sm ||es
c|oser

|n more ways han one

o he sub||me a|mos noh|ng" ol he Cerman En||ghenmen, o

he ILPUHOLUPJO[Z as M|es van oer Rohe was lono ol say|ng.
Ne|her scu|pure nor |anoscape, a|hough | shares w|h he |aer a preoccupa|on w|h he naure/
cu|ure |nerlace, Carpener`s work grav|aes owaros arch|ecure, wh||e s|mu|aneous|y veer|ng
away lrom |. h|hough | rema|ns aga|ns represena|on, even |n he case ol he somewha
emb|ema|c m|s|ng mass ha he oes|gneo lor Syoney, | |s |nvar|ab|y locuseo on he genera|on
ol an |nense|y membranous aeshe|c wh|ch, wh||e o|scree|y acknow|eog|ng he |os cause ol
he ornamena|, aemps o ransceno h|s |oss. l |s a prac|ce ha compe|s us o re||nqu|sh
any rece|veo axonomy ol he ars. Evao|ng he cyn|ca| reac|onary aspecs ol posmooern|sm
hrough a cu|ure ol echno|ogy, Carpener rema|ns, raher han any oher caegory ha we
m|gh be empeo o ascr|be o h|s proouc|on, ||ke hugus lerre ano lean lrouve belore h|m,
\UJVUZ[Y\J[L\YWHYL_JLSSHUJL.
ETWEEN MEMPANE AND MI CPDCLI MATE
KENNETH FRhMlT0N
CDNFINES
F||meo |n `
Shown |n `8 a he lohn C|bson Ca||ery, New York,
New York
Supere|gh l||m |oop
Concep|on, |nsa||a|on, proouc|on: lames Carpener
Camera work, |nsa||a|on: Dan Re|ser, Tom layne
Thl LS 0F FhTE
F||meo |n `
Supere|gh l||m |oop
Concep|on, |nsa||a|on, proouc|on: lames Carpener
TRhCKS
F||meo |n `
Supere|gh l||m |oops
Concep|on, |nsa||a|on, proouc|on: lames Carpener
KDI
F||meo |n ` `80
Supere|gh l||m |oops
Concep|on, |nsa||a|on, proouc|on: lames Carpener
Camera work, |nsa||a|on: Dan Re|ser
SHhKl NC
F||meo |n `8
Supere|gh l||m |oop
Concep|on, |nsa||a|on, proouc|on: lames Carpener
Camera work, |nsa||a|on: Dan Re|ser
0Rl ENThTl0N
F||meo |n `8
Shown |n ` a he lohn C|bson Ca||ery, New York,
New York
Supere|gh l||m |oop
Concep|on, |nsa||a|on, proouc|on: lames Carpener
Camera work, |nsa||a|on, proouc|on: Dan Re|ser, Tom
layne, Dan Trup|ano
w0LF lhCK
F||meo |n `
Supere|gh l||m |oops
Concep|on, |nsa||a|on, proouc|on: lames Carpener
HDMINC
F||meo |n `8
Shown |n `8 a he C|ockower Ca||ery, New York, New
York ano |n `80 a he lohn C|bson Ca||ery, New York,
New York
Supere|gh l||m |oop
Concep|on, |nsa||a|on, proouc|on: lames Carpener
Camera work, |nsa||a|on: Dan Re|ser
CAUSE
F||meo |n ` `c
Shown |n `8 a he lohn C|bson Ca||ery, New York,
New York
Supere|gh l||m |oop
Concep|on, |nsa||a|on, proouc|on: lames Carpener
Camera work, |nsa||a|on: Dan Re|ser, Tom layne
SELECTED LIST PPDJECTS
wHl RLl00L
F||meo |n `80
Supere|gh l||m |oops
Concep|on, |nsa||a|on, proouc|on: lames Carpener
`cz > 163
MICPATIDN
F||meo |n `8
Shown |n `8 a he lohn C|bson Ca||ery, New York, New
York ano a Ca|er|e Nachs S. Sephan, \|enna, husr|a
Supere|gh l||m |oops
Concep|on, |nsa||a|on, proouc|on: lames Carpener
Camera work: Euser S|mpson
lnsa||a|on: Dan Re|ser
STPUCTUPAL CLASS PPISMS `8 `8
lno|anapo||s, lno|ana
C||en: Chr|s|an Theo|og|ca| Sem|nary, lno|anapo||s
hrch|ec: Eowaro Larrabee Earnes
Des|gn pr|nc|pa|: lames Carpener
lro[ec eam: Dan Re|ser, \era Mar[anov|c
LUMINDUS CLASS PIDCE `8
Mar|n Couny, Ca||lorn|a
C||en: lr|vae
Srucura| eng|neer: 0ve hrup larners
Des|gn pr|nc|pa|: lames Carpener
lro[ec eam: M|chae| Morr|s, Yosh|ko Sao
CLhSS TRUSS R0D whLL `88 ``
Los hnge|es, Ca||lorn|a
hrch|ec: Sk|omore 0w|ngs Merr|||
Eng|neer: 0ve hrup, Tony Eroomheao
Des|gn pr|nc|pa|: lames Carpener
lro[ec eam: Ne|| Logan, Luke Low|ngs, lane F|nk,
R|charo Kress
0REC0N HEhLTH SCl ENCES UNl\ERSlTY CLhSS
FL00R `8 ``
lor|ano, 0regon
hrch|ec: R|charo Me|er ano larners
Des|gn pr|nc|pa|: lames Carpener
lro[ec eam: Ne|| Logan, Luke Low|ngs, lane F|nk,
R|charo Kress
lnsa||a|on: Er|an Cu||ck
hRCH TRUSS whLL `88 `8
Los hnge|es, Ca||lorn|a
hrch|ec: lohnson, Fa|n lere|ra
Eng|neer: 0ve hrup larners, Tony Eroomheao
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: lane F|nk
lro[ec eam: Ne|| Logan, R|charo Kress, Luke Low|ngs
TENSl0N NET SCULlTURE `0
Los hnge|es, Ca||lorn|a
C||en: Souhern Ca||lorn|a Cas Company, Los hnge|es
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: lane F|nk, Luke Low|ngs, Ne|| Logan
CHl LDREN`S CHhlEL wl ND0w `0
Manhasse, New York
C||en: Un|ar|an Un|versa||s Church, Manhasse
hrch|ec: Eowaro Larrabee Earnes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lnsa||a|on: Er|an Cu||ck, Creg Morre||
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
TENSl0N D0ME R00F `0
Eonn, Cermany
C||en: Eonn lar||amen, Eonn
hrch|ec: Eehn|sch larner
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
Twl N MhST ERl DCE lR0l0ShL `z `4
S. lau|, M|nnesoa
C||en: C|y ol S. lau|, wabasha Sree Er|oge
Comm|ss|on, S. lau|
Eng|neer: Sch|a|ch Eergermann uno larner,
lorg Sch|a|ch, Hans Schober, TKDh hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lro[ec eam: lane F|nk, R|charo Kress
SELECTED lR0l ECTS
SHELL 0CULUS lR0l0ShL `0
Cenoa, la|y
C||en: Cenoa hquar|um, Cenoa
hrch|ec: Renzo l|ano Eu||o|ng workshop, Cambr|oge
Seven hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: Luke Low|ngs
REFRhCTl\E TENSECRlTY Rl NCS ``
Mun|ch, Cermany
C||en: EMw Mun|ch h|rpor, Mun|ch, Cermany
Eng|neer: 0ve hrup larners, Tony Eroomheao
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lnsa||a|on: Er|an Cu||ck, Creg Morre||, R|charo Kress
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
PEPISCDPE WINDDW ` `
M|nneapo||s, M|nnesoa
C||en: lr|vae
hrch|ec: \|ncen lames hssoc|aes, hrch|ecs
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Marek wa|zcak
lro[ec eam: Rebecca Uss, R|charo Kress
lnsa||a|on: Er|an Cu||ck
Srucure: lroouc Des|gn
C|ass: Depp C|ass
LUMl N0US ChTEwhY lR0l0ShL `c
Samloro, Connec|cu
C||en: Sw|ss Eank
hrch|ec: Sk|omore, 0w|ngs Merr|||
Des|gn pr|nc|pa|: lames Carpener
lro[ec eam: R|charo Kress, Marek wa|czak
LENS CEILINC `c z000
Sanora Day 0`Connor Courhouse, lhoen|x, hr|zona
C||en: Cenera| Serv|ces hom|n|sra|on
hrch|ec: R|charo Me|er larners
Eng|neer: 0ve hrup larners, Ma K|ng
Componens: Tr|lyram|o Srucures
L|gh|ng oes|gner: F|scher Maranz Renlro Sone
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lro[ec eam: R|charo Kress, Rebecca Uss, Marek
wa|czak, Kaher|ne wyberg, hk| lsh|oa
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass
SC0TTSDhLE MUSEUM `c
Scosoa|e, hr|zona
hrch|ec: w||||am Eruoer hrch|ecs
Eng|neer: Ruoow Eerry Srucura| Eng|neer|ng
Des|gn pr|nc|pa|: lames Carpener
lro[ec eam: hk| lsh|oa, Rebecca Uss
lnsa||a|on: Er|an Cu||ck, Creg More||
C|ass: Depp C|ass
LICHT PDPTAL ` z00c
Cener hrery Tunne|, Eoson, Massachuses
C||en: Cenra| hrery Tunne|, huhor|y, Eoson
hrch|ec ano srucura| eng|neer: Eeche|/larsons
Er|nkerholl
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lro[ec eam: R|charo Kress, Rebecca Uss, Marek
wa|czak, Kaher|ne wyberg, hk| lsh|oa
lnsa||a|on: Er|an Cu||ck
TENSl0N NET SThl R `3 `
Ch|cago, l|||no|s
C||en: lr|vae
hrch|ec: Larson hssoc|aes
Eng|neer: Dewhurs Maclar|ane
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lnsa||a|on: Er|an Cu||ck, Creg Morre||, Mark McC|e||an
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
SCULlTURhL LlCHT REFLECT0RS `4 z000
San Franc|sco, Ca||lorn|a
C||en: San Franc|sco hrs Comm|ss|on, San Franc|sco
lnerna|ona| h|rpor, San Franc|sco
hrch|ec: Sk|omore, 0w|ngs Merr|||, Cra|g Harman
Eng|neer: Euro Happo|o
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: lane F|nk
lro[ec eam: R|charo Kress, Luke Low|ngs, Er|k Schu|z,
Rebecca Uss, Marek wa|czak
lnsa||a|on: Er|an Cu||ck, E|roa|r
DICHPDIC LICHT FIELD `4 `
Co|umbus hvenue, New York, New York
C||en: M|||enn|um larnersh|p
hrch|ec: Hanoe| hssoc|aes
Srucura| eng|neer: Des|mone Chap||n Dobr|n
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lro[ec eam: lane F|nk, R|charo Kress
C|ass: Depp C|ass
EREMERHh\EN Rl NC ERl DCE lR0l0ShL
Eremerhaven, Cermany
C||en: C|y ol Eremerhaven
hrch|ec: Cambr|oge Seven hssoc|aes
Eng|neer: Sch|a|ch Eergermann uno larner
Des|gn pr|nc|pa|: lames Carpener
lro[ec eam: Luke Low|ngs, R|charo Kress, Rebecca Uss
REFRhCTl\E CLhSS whLL `z
C|y Hono|u|u, Hawa||
C||en: F|rs Hawa||an Eank
hrch|ec: Kohn leoersen Fox
C|az|ng consu|: Rayme Kun|yuk|, He|nges hrch|ecs
Consu|ans
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: h|| Tayar
lro[ec eam: Rebecca Uss
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
PETPACTINC SCPEEN `3
Da||as, Texas
C||en: Howaro Racholsky
hrch|ec: R|charo Me|er larners
Fabr|ca|on: Cansruc, Tr|pyram|o Srucures
C|ass manulacurer: Depp C|ass
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lnsa||a|on: Er|an Cu||ck, Creg Morre||
`c4 > 165
RlTZ ChRLT0N Ml LLENlh lR0l0ShL `
S|ngapore
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
LUMl N0US SUSlENDED ELUE R00M
lR0l0ShL `
Kurlursenoamm, Eer||n, Cermany
C||en: DlFh Eer||n
hrch|ec: Murphy lahn
Eng|neer: werner Sobek
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: Luke Low|ngs, Mary Spr|nger
CREhT HhLL LlCHT T0wER `8
San Franc|sco C|v|c Cener, San Franc|sco, Ca||lorn|a
C||en: San Franc|sco C|v|c Cener Comp|ex hrs lrogram,
San Franc|sco
hrch|ec: Sk|omore, 0w|ngs Merr|||, Cra|g Harman
Eng|neer: 0ve hrup larners, Tony Eroomheao
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: Luke Low|ngs, Marek wa|czak
lnsa||a|on: Er|an Cu||ck
F||ngs: Tr|pyram|o Srucures
CLhSS SCREEN SThl R `8
lac|l|c l|ace, Hong Kong
hrch|ec: wong 0uyang
Eng|neer: Dav|o Kullerman
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
LlCHT MhST `8 `
C|nc|nna|, 0h|o
C||en: Conservaory ol Mus|c, Un|vers|y ol C|nc|nna|
ano 0h|o hrs Counc||
hrch|ec: le| Cobb Freeo larners
Eng|neer: Dewhurs Maclar|ane
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Sephan|e Forsyhe
lro[ec eam: Kaher|ne wyberg
lnsa||a|on: Er|an Cu||ck, Creg Morre||
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
CLASS TUE FIELD `8 z003
Tower l|ace, Lonoon, Un|eo K|ngoom
C||en: T|shman Speyer Rea|y
hrch|ec: Foser ano larners
Eng|neer: 0ve hrup larners
C|ass ube manulacurers: Scho Rohrg|as,
\eg|a Cermany, Dupon hovanceo C|az|ng
lrooucs, l||k|ngon Techn|ca| M|rrors
Componens: waagner E|ro, \|enna, husr|a
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lro[ec eam: R|charo Kress, Marek wa|czak,
\a|er|e Spa|o|ng
SUSlENDED CLhSS T0wER `
Conven|on ano Exh|b||on Cener Hong Kong
C||en: Hong Kong Traoe Deve|opmen Counc||,
Hong Kong
hrch|ec: Sk|omore, 0w|ngs Merr|||
Eng|neer: 0ve hrup larners, Tony Eroomheao
Componens: Tr|lyram|o Srucures lnc.
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: Luke Low|ngs, Rebecca Uss, lane F|nk
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass
TENSl0N D0ME ` `
Char|oe, Norh Caro||na
C||en: Na|ons Eank, Char|oe
Eng|neer: Dav|o L. Kullerman, l.E.
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Kaher|ne wyberg
lnsa||a|on: Er|an Cu||ck, Creg Morre||
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
LICHTHDF ` `
Eer||n, Cermany
C||en: Feoera| 0ll|ce lor Consruc|on ano Reg|ona|
l|ann|ng, Cermany
hrch|ec: Mu||er Re|mann hrch|eken
Eng|neer: Sch|a|ch Eergermann uno larner, Sugar,
lorg Sch|a|ch, Hans Schober, Thomas Fack|er
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lro[ec eam: R|charo Kress, Sephan|e Forsyhe
LUMINDUS THPESHDLD `8 z000
Syoney, husra||a
C||en: 0|ymp|c Cooro|na|on huhor|y, Syoney, husra||a
Eng|neer: w||oe woo|aro lac|l|c
hom|z|ng: MEE lnousr|es
C|ass: Depp C|ass
He||osa: Eom|n So|ar
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: Marek wa|czak
CLhSS \lTRl NE `8 z00`
New York, New York
C||en: Eear Searns
hrch|ec: Sk|omore, 0w|ngs Merr|||
Eng|neer: Euro Happo|o
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Kaher|ne wyberg
lnsa||a|on: Er|an Cu||ck
SELECTED lR0l ECTS
lRl SMhTlC CLhSS SKYLlCHT ` z00`
Casey Key, F|or|oa
C||en: lr|vae
hrch|ec: Tosh|ko Mor| hrch|ec
Srucura| eng|neer: Euro Happo|o
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Kaher|ne wyberg
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
ChST LENS whLL ` z00`
4 h hvenue, New York, New York
hrch|ec: Kohn leoersen Fox
C||en: Morgan San|ey Dean w|er
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: hk| lsh|oa
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass, lohn Lew|s C|ass
F||ngs: Tr|pyram|o Srucures
TIME WAPNEP UILDINC ` z004
lazz_L|nco|n Cener ooub|e cab|ene wa||, New York, N Y
hrch|ec: Sk|omore, 0w|ngs Merr|||
S0M oes|gn pr|nc|pa|: Dav|o Ch||os
S0M assoc|ae oes|gner: lell Ho|ms
Srucura| eng|neer: Sch|a|ch Eergermann uno larner
C||en: The Re|aeo Compan|es, Co|umbus Cener LLC
C|ass wa|| conracor: ww C|ass Sysems
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gners: Luke Low|ngs, Char||e Cho|
lro[ec eam: R|charo Kress, hk| lsh|oa, loe we|ker,
Rayme Kun|yuk|
TULANE UNIVEPSITY STUDENT CENTEP
PPDPDSAL ` z00c
New 0r|eans, Lou|s|ana
C||en: Tu|ane Un|vers|y
hrch|ec: \|ncen lames hssoc|aes hrch|ecs, w|h
lames Carpener Des|gn hssoc|aes lnc.
Srucura| eng|neer: 0ve hrup larners
Env|ronmena| eng|neer: Transso|ar, Mah|as Schu|er
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: D|emar Ce|se|mann, N||ay 0za, loe we|ker,
lohanna K|nova||, Marek wa|czak, U|| Franze|, Sephan|e
Hu|, \a|er|e Spa|o|ng, Nao|ne Reuers
MlT hTRlUM R00F lR0l0ShL `
Cambr|oge, Massachuses
C||en: Massachuses lns|ue ol Techno|ogy, Cambr|oge
hrch|ec: E||enzwe|g hssoc|aes
Srucura| eng|neer: Sch|a|ch Eergermann uno larner
Mechan|ca| eng|neer: 0ve hrup larners
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: Marek wa|czak, N||ay 0za, lohanna K|nova||
MhChLESTER C0LLECE `8
S. lau|, M|nnesoa
C||en: Maca|eser Co||ege
hrch|ec: Shep|ey Eu|l|nch
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
LlCHT ERl DCE `
Eer||n, Cermany
C||en: Cerman Fore|gn M|n|sry, Eer||n
hrch|ec: Mu||er Re|mann hrch|eken
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lro[ec eam: R|charo Kress
MlT ChRhCE `
Cambr|oge, Massachuses
C||en: Massachuses lns|ue ol Techno|ogy
hrch|ec: E||enzwe|g hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Marek wa|czak
lH0T0\0LThlC whLL ` z00z
hus|n Conven|on Cener hr|um, hus|n, Texas
C||en: C|y ol hus|n
hrch|ec: lage Souher|ano lage
Srucura| Eng|neer: 0ve hrup larners, Ma K|ng
Day||gh|ng: Dav|oson Norr|s, Carpener Norr|s Consu||ng
Des|gn pr|nc|pa|: lames Carpener,
Sen|or oes|gner: Marek wa|czak
lro[ec eam: R|charo Kress
`cc > 167
LUMl N0US hRC `c z00`
San D|ego Conven|on Cener, San D|ego, Ca||lorn|a
C||en: San D|ego Reoeve|opmen hgency
hrch|ec: Tucker Sao|er hssoc|aes
Srucura| eng|neer: Mar|n, Chow Nakabara
Eng|neer: lsh|er Des|gn ano Eng|neer|ng hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: Rebecca Uss
lnsa||a|on: Er|an Cu||ck
LlCHT hND whTER lh\l Ll0NS lR0l0ShL `8
R|yaoh, Sauo| hrab|a
C||en: K|ng Fa|sa| Founoa|on
hrch|ec: Foser ano larners
Eng|neer: Euro Happo|o UK, Euro Happo|o New York
Founa|n: we Labs
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: Marek wa|czak, Luke Low|ngs
LUMl N0US ELUE CLhSS ERl DCE z00`z003
Sea|e, wash|ngon
C||en: C|y ol Sea|e, Sea|e C|y Ha||
hrch|ec: Eoh||n, Cyw|nsky, lackson hrch|ecs
Srucura| eng|neer: Dewhurs Maclar|ane
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lro[ec eam: Char||e Cho|, \a|er|e Spa|o|ng
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
l NCLl NED CLhSS whLL ` z004,
New York Ha|| ol Sc|ence, New York
hrch|ec: lo|shek larnersh|p
Srucura| eng|neer: hnore Chaszar
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: lohanna K|nova||, Marek wa|czak, N||ay 0za
lnsa||a|on: l|m lo|k, Chr|s \espermann
Fabr|ca|on: Cansruc
C|ass: Depp C|ass
CLhSS SCREEN SThl R SCULlTURhL SKYLlCHT
` z00`
New York, New York
C||en: lr|vae
Srucura| eng|neer: Dewhurs Maclar|ane
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Kaher|ne wyberg
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
lLhNThTl0N lLhCE lR0l0ShL ` z003
Lonoon, Un|eo K|ngoom
C||en: Er||sh Lano lLC
hrch|ec /eng|neer: hrup hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lro[ec eam: \a|er|e Spa|o|ng
SEhTTLE Fl NhNClhL CENTER z000 z00z
Sea|e, wash|ngon
C||en: H|nes lroper|es
hrch|ec: Z|mmer Cunsu| Frasca larnersh|p
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
C|ass: Depp C|ass
MDIP STAIP TDWEP ` z00z
Eonn, Cermany
C||en: Deusche los
hrch|ec: Murphy lahn hrch|ecs, He|mu lahn
Srucura| eng|neer: Sobek lngen|eure, werner Sobek
Energy/comlor: Transso|ar
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: D|emar Ce|se|mann
SCHUEERT CLUE EhND SHELL z000 z00z
Raspberry ls|ano, S. lau|, M|nnesoa
C||en: The Schuber C|ub, S. lau|
hrch|ec ol recoro: Roark, Kramer, Kosowsk| hrch|ecs,
leer Kramer
Srucura| eng|neer: S0M Eng|neer|ng w||||am Eaker
Consu||ng eng|neer: Sch|a|ch Eergermann uno larner
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: \a|er|e Spa|o|ng
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass
F||ngs: Tr|pyram|o Srucures
LUMl N0US l0RThLS z000 z00
F. Lauoeroa|e Ho||ywooo lnerna|ona| h|rpor, F|or|oa
hrch|ec: Sp||||s Canoe|a, DMlM
Eng|neer: Dav|o Kullerman
C||en: Erowaro Couny
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Kaher|ne wyberg
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass
lRl\hTE RESl DENCE z00` z00z
Kaonah, New York
C||en: lr|vae
hrch|ec: R|charo Me|er larners
Eng|neer: hrup larners
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Rayme Kun|yuk|
lro[ec eam: N||ay 0za
hUDUE0N l NSECThRlUM z00`
New 0r|eans, Lou|s|ana
C||en: huoubon Soc|ey
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Rayme Kun|yuk|
CLhSS C0LUMNS ` z00`
New York, New York
C||en: Eear Searns, New York, New York
hrch|ec: Sk|omore, 0w|ngs Merr|||
Srucura| eng|neer: Euro Happo|o
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Kaher|ne wyberg
lnsa||a|on: Er|an Cu||ck
SELECTED lR0l ECTS
CL0UD l0RThL z00z
New York, New York
C||en: lr|vae
hrch|ec: R|charo Me|er larners
Srucura| eng|neer: Rober S||man hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Rayme Kun|yuk|
lnsa||a|on: Er|an Cu||ck
Fabr|ca|on: Lowe Tech Eng|neer|ng
C|ass: Depp C|ass
RENEE ThELE z003
Sarasoa, F|or|oa
C||en: lr|vae
Honeycomb C|ass Compos|e: Coez Cusom Eoas
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Kaher|ne wyberg
Fabr|ca|on: Chr|s \esperman
lnsa||a|on: Chr|s \espermann
REFLECTl\E CLEREST0RY SCULlTURE z00z z003
M|nneapo||s, M|nnesoa
Cenera| M|||s hr|um
C||en: Cenera| M|||s
hrch|ec: Creen hbrahamson
C|ass: Depp C|ass
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Kaher|ne wyberg
lnsa||a|on: Chr|s \espermann
7 WDPLD TPADE CENTEP z003 z00c
New York, New York
C||en: S||verse|n lroper|es
hrch|ec: Sk|omore, 0w|ngs Merr|||
S0M oes|gn pr|nc|pa|: Dav|o Ch||os
S0M manag|ng pr|nc|pa|: T. l. Coeso|ener
S0M echn|ca| pr|nc|pa|: Car| Ca||oo
S0M assoc|ae parner: leer Rugg|ero
S0M eam: Chr|s Cooper, Ken Lew|s, N|ck Ho|,
Chr|sopher 0|son
l0DlUM whLL
Des|gn pr|nc|pa|: lames Carpener
SKYCLhSS SCREEN whLL
New York, New York
C||en: lr|vae
hrch|ec: R|charo Me|er larners
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Rayme Kun|yuk|
lnsa||a|on: Er|an Cu||ck
C|ass: Depp C|ass
Sen|or oes|gner: R|charo Kress
lro[ec eam: D|emar Ce|se|mann, Marek wa|czak
lnerac|ve LED consu|an: K|nec|y lnc., Marek wa|czak
Sa|n|ess See|: lohnson Screens
CURThl N whLL
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress, Rayme Kun|yuk|
lro[ec eam: D|emar Ce|se|mann, Marek wa|czak
Day||gh consu|an: Carpener Norr|s Consu||ng,
Dav|oson Norr|s
Mechan|ca|: Transso|ar, Mah|as Schu|er
LED: LED Ellecs, Kev|n Furry
ChELE NET ENTRY
Des|gn pr|nc|pa|: lames Carpener
lro[ec eam: Char||e Cho|, loseph we|ker, R|charo Kress
Srucura| eng|neer: Sch|a|ch Eergermann uno larner,
Hans Schober, Selan lus|s
L0EEY whLL
Co||abora|ve arwork w|h lenny Ho|zer
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: Marek wa|czak, lohanna K|nova||,
Sephan|e Hu|
Srucura| eng|neer: S0M Eng|neer|ng, w||||am Eaker,
Shane McCorm|ck
ShN FRhNCl SC0 C0NSER\hT0RY 0F MUSlC
lR0l0ShL z00`
San Franc|sco, Ca||lorn|a
Day||gh|ng: Carpener Norr|s Consu||ng, Dav|oson Norr|s
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gners: R|charo Kress, Dav|oson Norr|s
`c8 > 169
PEPISCDPIC VIEWINC PDDM z00`
Frank E. Moss Feoera| Courhouse, Sa| Lake C|y, Uah
C||en: Cenera| Serv|ces hom|n|sra|on
hrch|ec: Thomas lh|ler ano larners
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: Marek wa|czak, lohanna K|nova|,
Sephan|e Hu|
lEDESTRlhN ERl DCE lR0l0ShL z00`
Lonoon, Un|eo K|ngoom
C||en: Roya| 0pera House, Lonoon
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Luke Low|ngs
lro[ec eam: \a|er|e Spa|o|ng
N0RTH ChR0Ll Nh MUSEUM lR0l0ShL z00`
Ra|e|gh, Norh Caro||na
hrch|ec: Thomas lh|ler larners
Des|gn pr|nc|pa|: lames Carpener
Day||gh|ng: Carpener Norr|s Consu||ng, Dav|oson Norr|s
LUMl N0US ll ER z003 z00
Chaanooga, Tennessee
C||en: C|y ol Chaanooga
Lanoscape arch|ec: Hargreaves hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gners: loseph we|ker, Char||e Cho|
lro[ec eam: Sephan|e Hu|, R|charo Kress
Fabr|ca|on: lohnson Screens
CUCCl Cl NZh z004 z00c
Tokyo, lapan
C||en: Cucc| Croup lapan
hrch|ec: 0bayash| Corpora|on
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Rayme Kun|yuk|
lro[ec eam: Dorohy Schm|o|nger, lonahan Forsyhe,
R|charo Kress, Char||e Cho|, Sephan|e Hu|
SMlTHS0NlhN NhTl0NhL l0RTRhlT MUSEUM
E`lhNSl0N lR0l0ShL z003
wash|ngon, D|sr|c ol Co|umb|a
C||en: Sm|hson|an lns|u|on, wash|ngon DC
hrch|ec: Tosh|ko Mor| hrch|ec w|h lCDh
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gners: Rayme Kun|yuk|
lro[ec eam: loseph we|ker, Kaher|ne wyberg,
Cameron wu, R|charo Kress
SDLAP PEFLECTDP SHELL z004
New York, New York
C||en: MTh hrs |n Trans| ano he C|y ol New York
Deparmen ol Des|gn ano Consruc|on
hrch|ec: N|cho|as Cr|mshaw larners
Srucura| eng|neer: 0ve hrup larners
Day||gh consu|an: Carpener Norr|s Consu||ng,
Dav|oson Norr|s
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: loseph we|ker, Marek wa|czak, Sephan|e
Hu|, lohanna K|nova||, Eva Rohme|er, Torsen
Sch|auersbach, Rayme Kun|yuk|
hMERlChN UNl\ERSlTY 0F EEl RUT z00z
Ee|ru, Lebanon
hrch|ec: \|ncen lames hssoc|aes hrch|ecs w|h
lames Carpener Des|gn hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: D|emar C|ese|mann, hk| lsh|oa,
Kaher|ne wyberg, Marek wa|czak, U|| Franze|
Day||gh|ng: Carpener Norr|s Consu||ng, Dav|oson Norr|s
CRhFT MUSEUM lR0l0ShL z00z
New York, New York
hrch|ec: Tosh|ko Mor| hrch|ec w|h lames Carpener
Des|gn hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gners: R|charo Kress, hk| lsh|oa
HEhRST LlCHT ChSChDE z00z z00c
New York, New York
hrch|ec: Foser larners
hrch|ec ol Recoro: hoamson hssoc|aes hrch|ecs
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gners: Torsen Sch|auersbach, R|charo Kress
lro[ec eam: lohanna K|nova||, lonahan Forsyhe
waer consu|an: F|u|o|y Des|gn Consu|ans, l|m Car|ano
C|ass: lohn Lew|s C|ass
H0E0KEN ClTY ll ER C lhRK z00z z00c
Hoboken, New lersey
C||en: C|y ol Hoboken
Lanoscape arch|ec: M|chae| \an \a|kenburgh
hssoc|aes
Srucura| eng|neer: S0M Eng|neer|ng, w||||am Eaker,
Shane McCormack
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gners: R|charo Kress, Char||e Cho|
lro[ec eam: lohanna K|nova||, Torsen Sch|auersbach,
Rayme Kun|yuk|
MUSEUM 0F lEwl SH HERlThCE z003 z00c
New York, New York
C||en: Museum ol lew|sh Her|age, New York
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gners: R|charo Kress, loe we|ker
lro[ec eam: Sephan|e Hu|
lnerac|ve consu|an: K|nec|y, Marek wa|czak
LED: LED Ellecs, Kev|n Furry
C|ass: Ca|axy C|ass
ChLLERY SKYLlCHT lR0l0ShL z003
Napa, Ca||lorn|a
C||en: lr|vae
hrch|ec: R|ck loy hrch|ecs
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: loseph we|ker, U|| Franze|
PDDKLYN PIDCE PAPK z003 z00
New York, New York
C||en: Erook|yn Er|oge lark Deve|opmen Corpora|on
Lanoscape arch|ec: M|chae| \an \a|kenburgh hssoc|aes
Srucura| eng|neer: Sch|a|ch Eergermann uno larner,
Hans Schober
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: R|charo Kress
lro[ec eam: lohanna K|nova||, Re|o Freeman, Em||y
K|rk|ano, Marek wa|czak, Rayme Kun|yuk|
Energy consu|an: Transso|ar, Mah|as Schu|er,
Dav|o wh|e
ShRh LEE EUl LDl NC ENCL0SURE SYSTEMS
z003 z00
w|nson Sa|em, Norh Caro||na
C||en: Sara Lee
hrch|ec: Thomas lh|ler larners
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Rayme Kun|yuk|
lro[ec eam: R|charo Kress, Kaher|ne wyberg, Sephan|e
Hu|, lonahan Forsyhe, Henr|ke Eosbach
SELECTED lR0l ECTS
`0 > 171
MhCKL0wE RESl DENCE z00
New York, New York
C||en: lr|vae
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Rayme Kun|yuk|
lro[ec eam: Sephan|e Hu|
DhNl EL lhTRlCK M0YNl HhN SThTl0N z00
New York, New York
C||en: \ornaoo Rea|y Trus ano The Re|aeo Compan|es
Execu|ve arch|ec: H0K
lro[ec Des|gners: lames Carpener Des|gn hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gners: loseph we|ker, R|charo Kress,
Re|o Freeoman
lro[ec eam: Torsen Sch|auersbach, lohanna K|nova||,
Kae wyberg, Cameron wu, Dev|n H|nes
Srucura| eng|neer: Hans Schober, Sch|a|ch Eergermann
uno larner
MhDl S0N S0UhRE ChRDEN REN0\hTl0N z00
New York, New York
C||en: Mao|son Square Caroen
hrch|ec: Cens|er
Des|gn pr|nc|pa|: lames Carpener
lro[ec eam: R|charo Kress, Cameron wu, loseph we|ker
l SRhEL MUSEUM z00 z0`0
lerusa|em, lsrae|
Execu|ve arch|ec: Lerman hrch|ecs
l|ann|ng arch|ec: Elra Kowa|sky, hrch|ecs
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gners: Re|o Freeman
lro[ec eam: R|charo Kress, Cameron wu, lohanna
K|nova||, Sephan|e Hu|, Eva Rohme|er
LUMl N0US CUEE z00 z00c
lsrae|
C||en: The Cheo F|ghers` Museum a Ee| Lohame|
Hagheao, lsrae|
hrch|ec: Elra Kowa|sky, hrch|ecs
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: Torsen Sch|auersbach
lro[ec eam: lonahan Forsyhe
EhTTERY lhRK ClTY STREETSChlE
z004 z00c
New York, New York
C||en: Eaery lark C|y huhor|y
hrch|ec: Rogers Marve| hrch|ecs
Srucura| eng|neer: Rober S||man hssoc|aes
Des|gn pr|nc|pa|: lames Carpener
Sen|or oes|gner: loseph we|ker
lro[ec eam: lohanna K|nova||
C|ass: lohn Lew|s C|ass
Mea| Fabr|ca|on: lohnson Screens
l NSll RhTl 0N
PEFPACTI DNS
Skech by Dr. Rober l. Carpener ol a eraheora| ce|| srucure ol Dr.
Ee||`s k|es ano l|y|ng mach|nes. 3 s|oes, h, E C covereo |n s||k, D |el
open, srucure ol `/8 |nch [3mm) p|aneo spruce.
lhoograph ol Dr. Rober l. Carpener [h lrom |el) w|h Dr. h|exanoer
Craham Ee|| [h lrom |el), lu|y `4, `08, Ee|nn Ehreagh, Cape Ereon,
Nova Sco|a
`z > 173
There are lour groups ol peop|e l wan o hank.
My l|rs acknow|eogmen |s o lames Carpener, lor he sp|r| ol co||abora|on ma|na|neo hroughou he
book`s progress. 0ur conversa|ons abou h|s work have brough my aen|on o sub|e phenomena w|h|n
he env|ronmen. The concepua| srengh ol h|s pro[ecs has provokeo my hes|s as a way o capure h|s
conr|bu|on o an emergen reoel|n||on ol oes|gn prac|ces. The book wou|o no have been poss|b|e w|hou
he seaoy ano exac|ng par|c|pa|on ol Een Co|ebrook, who has ass|seo lam|e ano me s|nce |s onse. He
has superv|seo he organ|za|on ol a|| v|sua| ano wr|en maer|a|s lrom w|h|n lCDh, research|ng, gaher|ng,
|ay|ng ou, ano g|v|ng cons|sency o a vas booy ol work.
The secono group ol peop|e |nc|uoes he wo em|nen conr|buors lorg Sch|a|ch ano Ken Frampon. The pro
less|ona| assoc|a|on among lorg ano lam|e qua||l|es he o|s|nc|on ano convergence beween an eng|neer
|ng pursu| ol abso|ue reouc|on|sm, ano he |oen|l|ca|on ol m|n|ma| oev|a|ons lrom h|s pursu| ol neces
s|y, ha |nroouce a lurher oegree ol aeshe|c exper|ence. Ken`s comm|men o an env|ronmena| agenoa
|n arch|ecure has resu|eo |n a oea||eo ano comprehens|ve reao|ng ol lCDh`s mos recen work, by rac|ng
|s ra[ecory lrom an all|n|y w|h eng|neer|ng o he oep|oymen ol env|ronmena| h|nk|ng. 0her lr|enos
ano co||eagues have ollereo |ns|ghlu| commens ano aov|ce, |nc|uo|ng Sebas|en Maro, Mary M|ss, h|essan
ora lone, lu||o Sa|ceoo, E|s \erbake|, M|rko Zaro|n|, Sarah wh||ng, ano Cwenoo|yn wr|gh.
The h|ro group ol peop|e l wan o hank are he auhors ol he o|agrams ha subsan|ae he book`s hes|s.
U|| Franze| workeo our|ng he |n||a| sages ol he book`s oeve|opmen, conr|bu|ng o |s concep|on ano
l|neun|ng he op|ca| o|agrams ol he pro[ecs chosen as parao|gms lor he l|rs chaper. Cameron wu
brough |no he p|cure h|s exqu|s|e sens|b|||y, o br|oge he o|ll|cu| pa|r|ng ol l||m|c ano arch|ecura|
works se|eceo as parao|gms lor he book`s h|ro chaper. H|s o|agrams esab||sh a concepua| re|a|onsh|p
beween heerogeneous maer|a|s, rel|ec|ng h|s spec|a| way ol |ook|ng a he wor|o, wh|ch |s boh auneo o
conemporary cono||ons ol meo|aeo rea||y ano comm|eo o a pursu| ol arch|ecure.
Laura Cresc|mano requ|res a spec|a| acknow|eogmen a|ongs|oe h|s group, no on|y because ol her exen
s|ve conr|bu|on |n o|agramm|ng he parao|gm chosen lor he secono chaper, bu a|so on more lrons ol
co||abora|on. She ook on he work ol he|p|ng o c|ar|ly my |ne||ecua| agenoa by reprocess|ng ano br|ng|ng
o a new |eve| a|| ol he pro[ecs` maer|a|s ha l hao se|eceo. Her suppor ano ava||ab|||y lor o|scuss|on
enab|eo me o rel|ne he book`s narra|ve ||ne: |n h|s sense she cou|o be creo|eo as concepua| oes|gner
ano coeo|or. w|hou her par|c|pa|on ano sk|||s |n loser|ng commun|ca|on among he var|ous members ol
he eam, you m|gh no be reao|ng hese pages.
The lourh group ol peop|e |nc|uoes he eo|or a E|rkhauser ano he graph|c oes|gner, who have ass|seo,
supporeo, ques|oneo, ano prope||eo lrom Cermany he work ha was be|ng oone |n New York. R|a Se|n
has oemonsraeo an a|mos supernaura| |eve| ol pa|ence ano be||el |n h|s book as | |ncheo |s way
owaros comp|e|on. S||ke Na|bach responoeo graph|ca||y o lam|e`s ano my pursu| ol s|mp||c|y

no an
easy goa| o accomp||sh cons|oer|ng he maer|a|`s heerogene|y

work|ng w|h grea prec|s|on our|ng he

l|na| phase ol he work.
There |s no caegory ol acknow|eogmen ha cou|o oescr|be my |noebeoness o L|noa lo||ak, who encour
ageo me o ake on he cha||enge ol wr||ng he l|rs monograph on lam|e`s work, reao ano commeneo upon
my ear|y noes, ano has rema|neo very c|ose o boh he work ever s|nce. Many ol he |oeas l pu lorh here
are he oucome ol our |ne||ecua|, proless|ona|, ano persona| assoc|a|on. hs |n mos ol her unoerak|ngs,
L|noa has exceeoeo any expeca|ons as a un|que|y |ns|ghlu| eo|or ol boh |oeas ano |anguage, as pa|en
co||eague |n he oll|ce, ano |n he |ncommensurab|e ro|e ol muse.
Sanoro Marp|||ero
February z00c
ACKNDWLEDCMENTS
hCKN0wLEDCMENTS
las Suo|o Members:
Rache| Eerw|ck
Henr|ke Eosbach
Marha Eush
Char||e Cho|
E|noa Co|ebrook
leer Drobny
Er|ca Fr|eoman
lonahan Forsyhe
Sephan|e Forsyhe
lane F|nk
U|| Franze|
hnne Caro|ner
L|es| Ce|ger
D|emar Ce|se|man
Kaher|ne Corm|ey
Dev|n H|nes
hk| lsh|oa
lohanna K|nova||
Ne|| Logan
N||ay 0za
Dan|e| Re|ser
Dan Trup|ano
\era Mar[onov|c
Mark McC|e||an
Creg Morre||
M|chae| Morr|s
Yosh|ko Sao
Dorohy Schm|o|nger
\a|er|e Spa|o|ng
Mary Spr|nger
Sephan|e Snyoer
Rebecca Uss
Ceorg|a \an Ryz|n
Kae wa||
Mar|a weserpha|
0ur oes|gn suo|o has a|ways been an env|ronmen ha encourages co||abora|on beween suo|o oes|gners,
eng|neers, arch|ecs, |anoscape arch|ecs ano labr|caors. hs such, over he pas z years, here have been
numerous par|c|pans |n a w|oe range ol pro[ecs. w|h|n he suo|o, he |ong erm conr|bu|ons ol R|charo
Kress ano Luke Low|ngs have been mos s|gn|l|can. Curren suo|o members |nc|uoe Re|o Freeman, Er|an
Cu||ck, Sephan|e Hu|, Em||y K|rk|ano, R|charo Kress, Rayme Kun|yuk|, Eva Rohme|er, Torsen Sch|auersbach,
Marek wa|czak, loseph we|ker, Cameron wu ano Kahar|ne wyberg. No oll|ce can lunc|on or grow w|hou
he haro work ol |s oll|ce sall. 0ll|ce Manager s|nce `, D|ane Ch|||og |s ol par|cu|ar |mporance o
lCDh`s success, meanwh||e as hom|n|sraor, M|Young Sohn suppors he oll|ce |n mu||p|e capac||es.
Long erm co||abora|ons w|h srucura| eng|neers |nc|uo|ng Tony Eroomheao, lorg Sch|a|ch, Hans Schober,
E||| Eaker, T|m Maclar|ane ano werner Sobek have prov|oeo |nsp|ra|on ano c|ar|y o many ol our pro[ecs.
The c|ose |nvo|vemen ol our labr|caors |nc|uo|ng T|m E||assen, M|chae| Mu|hearn ano wes|ey Depp have
a||oweo us o lu||y rea||ze he work a a |eve| ol execu|on ha wou|o no oherw|se have been poss|b|e.
lames Carpener Des|gn has grown over he years o proouce Carpener Norr|s Consu||ng, a oay||gh|ng
consu||ng l|rm cons|s|ng ol lames Carpener ano Dav|oson Norr|s, ano Carpener Low|ngs, a Lonoonbaseo
arch|ecure l|rm spec|a||z|ng |n g|ass ano arch|ecure cons|s|ng ol Luke Low|ngs ano lames Carpener.
lCDh`s re|a|onsh|p w|h Mah|as Schu|er ol Transso|ar |s anoher key co||abora|on wh|ch has ass|seo lCDh`s
amb||on o |negrae eco|og|ca|, ar|s|c ano arch|ecura| oes|gn.
To a|| ol our c||ens ano arch|ec co||aboraors, he opporun||es g|ven have been cha||eng|ng ano pro
ouc|ve ano we hope o con|nue he |eve| ol engagemen |n pro[ecs ha can proouce excep|ona| works |n
he pub||c rea|m.
lames Carpener
lanuary z00c
ILLUSTPATIDN CPEDITS
lhTRlCK El NCHhMHhLL
`4` op r|gh, `43 boom r|gh, `44 cener r|gh
ERhD FEl NKN0lF
z r|gh, 3, boom
ULRl KE FRhNZEL, lCDh
zc boom |el, boom r|gh, z8 r|gh, z |el, 3z, 33, 34, 3,
3 boom, 38 boom, 3 boom, 4z op
ChLh`Y CLhSS
`0c boom cener r|gh
ERlhN CULlCK, lCDh
z, 3`, op, boom r|gh, , 8 cener [E.E. wh|e, Here |s
New York [`4) z00c lenny Ho|zer, couresy hr|ss R|ghs
Soc|ey, hRS, NY), 88, 8, `00 op, `0`, `03, `08, `0
lhMES ChRlENTER
`z0 boom, `z` boom, `zz boom, `z3 boom, `z4 boom,
`z boom, op, `zc op cener, boom, `z boom, `z8 bo
om, `z cener |el, `z boom
lCDh
30 op |el, op r|gh, boom, 40 op, 44 boom |el, boom r|gh,
4c cener, 4 op cener, op r|gh, cener, boom, 4 op |el,
cener, 0 cener, ` |el, r|gh, 4 op r|gh, boom, c r|gh,
cener |el, op r|gh, cener r|gh, 8, op, |el, c0 op,
cener |el, cener r|gh, c`, z op |el, op r|gh, boom, 4 op,
boom |el, boom r|gh, op, m|oo|e, boom |el, c boom,
boom |el, boom cener, 8, , 80 cener, boom cener,
boom |el, 8` cener, op, 8z op, boom, 83op, boom,
84 cener, op, 8 op, cener r|gh, 8c cener, boom, 4 op,
boom r|gh, op, , `00 boom, `0z, `04, `0c op,
boom |el, boom cener |el, `30, `3z, `3, `3c, `3, `38, `3,
`4` op |el, cener, boom, `4z |el, op r|gh, `4 op, boom,
`4c, `4 boom, `48, `4, `0, ``, `z, `3
l0HNS0N SCREENS
boom r|gh, 8c cener |el, 8
hNDREhS KELLER
z, 3, c |el, op |el, boom r|gh
EhLTHhZhR K0RhE
48, 4 r|gh, 0 op |el, op r|gh
LED EFFECTS
8z cener |el, cener r|gh
LUKE L0wl NCS
`0, `0
TH0MhS lhl NE
`zz op cener, op r|gh
E0E lETERS
`40, `4z op r|gh, `43 op, boom |el
TH0MhS lHl FER lhRTNERS
4c op, 4 op |el
l0CK l0TTLE
`44, `4 cener
DhNl EL REl SER
`z` op, `zz op |el, cener, `zc op |el, op r|gh, cener,
`z op, cener r|gh
HhNS SCH0EER
4 op |el, boom |el
SCH0TT R0HRCLhSS
`0c boom r|gh
SKl DM0RE, 0wl NCS MERRl LL
3 boom, c cener, op r|gh, 8` boom |el
Dh\l D SUNDEERC, EST0
Cover, z, 3, `c, `, 3c op, 40 cener, 4` op, boom, 4z boom,
43 op, 44 op, 4, 0 boom, cz, c3, 3 op, boom r|gh,
80 boom r|gh, 84 boom, 8 cener |el, boom |el, 8c op,
8 op, boom, 0, `, z |el, 4 boom |el
SYDNEY 0LYMllC C00RDl NhTl NC hUTH0RlTY
`4z boom r|gh
Tl SHMhN C0NSTRUCTl0N, R. lhCKS0N,
EERNSTEl N hSS0ClhTES
80 op |el, op r|gh
MhREK whLCZhK, lCDh
c, cener r|gh, cener |el, op, 83 cener, `4 op
D0N F. w0NC
zc op |el, op r|gh, z8 |el, z op r|gh, boom r|gh
ChMER0N wU, lCDh
`z` op, `z3 op, `z4 op, `z op, `z8 op, `3`, `33, `34