built ideas
DESCRIPTION
Built IdeasTRANSCRIPT
TheoHARIS david
Curated by
Christoph a. Kumpusch
Prologue
Lebbeus Woods
Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
Curated by
Christoph a. Kumpusch
Prologue
Lebbeus Woods
TheoHARIS david
Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
5δ’
This is a publication of the Pratt institute school of architecture
The school of architecture at Pratt institute seeks to create a culture of research and innovation in both the faculty and student body. The school of architecture recognizes that in the design world of the 21st cen-tury, important research is being conducted around the world by innovative professionals and educators and traditional academic categories of research are giving way to “research-driven practice”, particularly in the areas of sustainability, digital design, material research, sustainability and community planning.
Theoharis David, faia, is a Professor of architecture at Pratt, a visiting professor university of cyprus and design principal of his firm, with offices in new York city and nicosia, cyprus.
© Theoharis David, faia, 2012
all rights reserved. no part of this publication may be reproduced, stored in a retrieval system, or transmit-ted in any form by or any means, electronic, mechani-cal, photocopying, recording or otherwise, without the prior written permission of the publisher.
The public lecture “Talking about You” on march 1, 2012 will be introduced by the visionary lebbeus Woods, architect and theorist working and living in new York, and will precede the opening reception that reflects on Theo David’s 43 years as a teacher through the work of his former students, many of them hav-ing gone on to become accomplished architects and teachers.
The exhibition, which will travel to cyprus, greeceand elsewhere and is accompanied by a catalogue,is designed and curated by christoph a. Kumpusch, architect and professor at Pratt institute.
This exhibit is made possible by funding from the ministry of education and culture of the republic of cyprus, with additional support from the Pratt insti-tute school of architecture Dean Thomas hanrahan, university of cyprus and the cyprus-us chamber of commerce.
Built ideas: a life of Teaching learning and action The work of Theoharis David, faiacurated by christoph a. KumpuschPrologue by lebbeus WoodsPresented by Pratt institute school of architectureDean Thomas hanrahan
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Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
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lebbeus Woods, Prologuechristoph a. Kumpusch, curatorial statementDean Thomas hanrahan, statementacknowledgementsTheoharis David, introduction
etymologies
ayia Trias church Bethelite institutional Baptist church new life Baptist church ayios athanasios elementary schoolstylianos lenas elementary and nursery school laiki residential Training center gsP stadium and athletic center spyros Kyprianou Palais des sportallegra gsP sports center Kaimakli community sports center Thalia David residence gladstonos 22Bleu residential Development Private residence stavrinides residence Phileleftheros head offices cavo greco environmental center st. nicholas church old gsP competition urBan P.a.c.T.
student Projects
closing
creditsBiographiesTimeline
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Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
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Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
It was in the winter of 1988. Theoharis David, then the chairman of Pratt Institute’s Graduate Design Program, had hired Michael Webb, of Archigram fame, and me, as adjunct professors in the design studio, where he was also teaching. At the outset of our one-year tenure, the three of us had sat down and discussed the overall direction we wanted to take. Michael and I - architects who had no realized buildings to our credit - suggested that it would be great if we could focus on “science and architecture.” Theo, a gentleman through and through, asked if we meant exploring the relationships between technology and architecture, a topic worn thin over the decades but still, he supposed, always worth another look. No, we answered, it was pure science we thought would open up fresh perspectives and possibilities, its concepts and methodologies. Relativity, thermodynamics, evolution, cybernetics. Theo’s eyes brightened and he smiled in his nuanced way. A great idea, indeed, he said—let’s do it. And so began one of the most memorable teaching years in my experience and, I believe, that of many of our students.
Science and Architecure was a risky direction to take and not only because other faculty were vocally skeptical of how it would lead to buildable architecture, and how it would be taught by two non-building faculty, but also how, or if at all, it would be accepted by our students, many of whom had traveled far and were paying dearly for this conclusion to their professional education. Nevertheless, it was a risk that Theo took, because he believed in its premises and potentials. It was.
then that I realized what kind of man Theo is, and came to value his integrity as a friend and educator.
It was only more recently - I am chagrined to say - that I discovered his architecture. The fault is mine, but was abetted by his innate modesty and the fact that many of his projects are in Cyprus. My fear that many others might share my ignorance is relieved by this exhibition and catalogue. In them, we find projects of a high order of thought and design, informed by a brave and compassionate spirit. Working with the known building types, he has transformed their conventions into inventions animated by new readings of their traditional meanings and purposes. The boldly abstract volumes of the Ayia Trias Church; the contrasts between delicacy and mass in the Bleu Residences; the soaring, sheltering lightness of the GSP Stadium and Athletic Center; the open courtyards of the Stylianos Lenas School, playfully painted with light and shadow - all are unique interpretations of ideas vital to contemporary living that seem at the same time both familiar and, in these works of architecture, wholly original. It is their unforced, unpretentious character that gives them strength and poetry, a naturalness that imparts to us a sense of well – being and enablement.
As it is with the man, so it is with his works. Theo David is deeply committed to his students and his colleagues and to the architecture that embodies ideas celebrating their community, indeed, community itself. In my view and from my experience, he is an architect setting for all of us an example for a better, more affirmative future.
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Theoharis DaviDBuilT iDeas
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Like a computer, the human brain processes many thousands of bits of information. Looking at a search engine, raw data can be searched for and a number, typically several thousands, of answers are provided. There is almost an infinite number of possibilities and results and further searching. Eliminating many answers allows us to sharpen the question and specify the searched-for result down to what we are really after.
The approach taken by this exhibition is not to look at possibilities in a free fall—not answers, but limitations, boundaries and restrictions. They were space, typology, phenomenology, inhabitability and the desire of being built. Desire – yes – but never unconditional. In terms of process, the idea was sometimes first, and sometimes the building, but it is always its Architecture that tied it together. To be more precise, answers were provided through Theo’s buildings, but he wanted them to provoke questions instead.
No project can be viewed in its entirety at once. The columns, depending on the viewer’s viewpoint, show two sides – the rest is in question – prompting a series of questions. Projects overlap, block each other, speak to each other.
Questions fuel the exhibited buildings, most of them, indeed, built. The question is never how they were done or with which software, but with what desire. Digital or analog? Nonsense! Can you walk me through?
Architecture, as Theo explained, is a life; it’s not a career, it’s not only a building, not only an idea, not only an image. But then I asked, “What is it?” “It’s life”, he replied.
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Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion9η’
The buildings and projects of Theo David are acts of great ambition. The title of the collection and exhibition of these works – “Built Ideas” – proclaims Theo David’s ambition for architecture to aspire to a more complex order, imbued with the transformational power of ideas. This title also suggests something complementary; that an idea becomes even more powerful if it is realized in the form of a building. This dual desire, where building aspires to the power the idea while the idea aspires to be made real in the world, constitutes Theo David’s unique contribution to the discipline of architecture.
In many respects the balancing of dualities defines the trajectory of Theo David’s entire career. Born to Cypriot parents, educated in the United States at Pratt Institute and Yale University, he established early an international practice in New York and Cyprus before globalism became a commonplace term. His practice in New York included public buildings and housing, while the range of his commissions in Cyprus eventually grew to include the national stadium outside of Nicosia, the capital city. The New York / Cyprus practice has been symbiotic on a number of levels. New York, as the restless symbol of modernity and social transformation has provided the conceptual framework for an experimental practice of constant change and renewal. Cyprus, where the culture of modernity is understood in the Mediterranean terms of space activated by natural light, robust form and structural clarity, has served as David’s arena for an architecture that embeds itself deeply into the social and natural landscapes of city and region. Active building and rigorous conceptual thinking on two continents over a long career has resulted in a new kind of global practice, where experimental ideas are realized in the poetics of space, form and construction.
Theo David has also maintained a dual and ambitious career in practice and in academia. He has been a professor of architecture at Pratt Institute teaching generations of graduate and undergraduate students. He served as chair of graduate architecture from 1979 to 1989, establishing its identity as a progressive program dedicated to ideas and bringing together noted architects such as Lebbeus Woods and Michael Webb. Teaching and practice have constantly renewed each other over the years, as the theoretical concerns of the design studio have always been examined through the lens of making, while practice has offered the opportunity to turn theoretical concerns into completed buildings. For Theo David ideas and buildings are never far apart in either practice or the academy, and this ability to bring these two worlds together has defined his unique contribution to the discipline of architecture. Thinking, making, challenging and serving constitute the framework for this exhibition and catalogue of the extraordinary work of Theo David.
Dean Thomas hanrahan
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Theoharis DaviDBuilT iDeas
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The idea driving this exhibit and its catalog was developed by the energetic and imaginative curator, architect Christoph a. Kumpusch, who guided its design and visual concept working closely with the excellent graphic designer Won Sok Choi. Also, the extraordinary contribution of a great visionary architect, Lebbeus Woods, through his written thoughts and critical advice, cannot be overstated.
My thanks to those faculty and staff of the School of Architecture of Pratt including Mark Parsons, Eric Wong, and Rodrigo Guajardo, whose cooperation and technical assistance made possible the construction of the exhibit and to Kurt Everhart for the calmness of his administrative coordination.
I also think it important for all to see in print the names of those young Pratt student volunteers who worked countless hours sacrificing time from their own work, building or repairing models, assisting in digital production and constructing the exhibit itself. They are Schuyler Klein, coordinator, Ali Fouladi, Shaked Uzrad, Mike Tingen, Kelly Smolenski, Azeem Khan, Jonathan Jarquin, Richard Miller, Juan Sala, Beijia Gu, Brian Dobrolsky, Jasper Hayes, Chris Fantin, Iting Tsai, Keumbi Noh, Brendan O’Shea, Daniela Kolodesh, Neda Kakhsaz, Ryan Joseph Simons, editor, Indiana Morales, digital coordination, Adam Orlinski, Taylor Sams, Martin Velez, Wan Ling Li, Anna Maria Perez, Joel Kokin, Hudson Sackrider-De Ricco, Chizoma Amadi, Damien Daigle, Alyza Enriquez, Ryan Esparza, Gabriela Fiorentino Cedeno, Yani Gao, Xiaoke He, Yuli Huang, Rebecca Pierson, Neha Sadruddin, Chi Ieong Wong and Philip Zucker.
I must also acknowledge the support of the partners and staff of my practice and in particular the contributions of Emre Bozatli, Yiannis Kythreotis and Melissa David who searched for, compiled and edited numerous texts and hundreds of images.
My thanks to Mr. Pavlos Paraskevas Director of Cultural Services, Ministry of Education and Culture of Cyprus for his support in securing major funding for this effort and my wonderful artist friend Nicos Kouroussis for his guidance from the very beginning. The quiet support of my musician son Alexi must also be noted.
And finally I am grateful to Marios Phocas, chair the Department of Architecture of the University of Cyprus and our outstanding Dean, Thomas Hanrahan, of the School of Architecture of Pratt—my “home”—for their generous support and to the many highly talented young men and women I have been given the privilege to call my students and from whom I have learned and continue to learn.
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Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion11ι’
The work presented in this exhibit, consisting of primarily realized designs, posits the position that architecture is conceived by ideas that are developed through theoretical investigations, inquisitiveness and freedom of thought, and that an act of architecture achieves its full potential once built. The exhibit itself attempts to demonstrate how and to what degree the design process leading to built and proposed works was informed by the reality of the four subjectively chosen and often interwoven themes:
Art Precedent Ground Symbolism
The visitor is challenged to evaluate how well the architect has succeeded in reflecting one or more of the chosen themes in the architecture. One is also asked, looking at the student work represented in the exhibit, to wonder about the transfer of knowledge that took place between student and teacher.
The message this exhibit is meant to send is that it is possible to realize one’s ideas regardless of fame or with limited resources and budgets at your disposal; in other words, a message of optimism at a difficult time for our profession.
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Ground, ground, n.Pronunciation /graʊnd/
Forms: OE–ME (15– Sc.) grund, ME–15 grond, (ME gron-nde), ME–16 grounde, ME grownd(e, (ME grount, growende, 15 growinde, groune, 16 grown), ME– ground.(Show Less)
Etymology: Common Germanic: Old English grund strong masculine = Old Frisian, Old Saxon grund (Middle Dutch gront , inflected grond- , Dutchgrond ), Old High German grunt , krunt (Middle High German grunt , grund- , German gruna ), Gothic *grundus (compare grundu-waddjus ground-wall, foundation, afgrundiþa abyss) < Old Germanic *grundu-z < pre-Germanic *ghrn ̥tú-s ; no cognates outside Germanic are known. The formal equivalent is not found in Old Norse, which has however grund (feminine) (declined like the -i- stems), earth, plain, and a cognate type (Germanic *grunþo- < pre-Germanic ghrn ̥to- ) in grunn-r , gruð-r (masculine), bot-tom, grunn-r adj., shallow, grunn neuter, shoal (Danish grund bottom, shallow, Swedish grundbottom, foundation, ground).
a. The bottom; the lowest part or downward limit of anything. b. Of the sea, a well, ditch, etc., and of hell; rarely of heaven. c. The solid bottom or earth underlying the sea (†or other water). Now only Naut., esp. in reference to soundings, or in phrase to break ground : to heave the anchor clear of the bottom. d. Base, foundation. e. The solid base or foundation on which an edifice or other structure is raised. In early use pl. in the same f. sense (cf. foundations). f. That on which a system, work, institution, art, or condition of things, is founded; the basis, foundation. Now somewhat rare. g. Any material surface, natural or prepared, which is taken as a basis for working upon: esp. in painting or decorative art, a main surface or first coating of colour, serving as a support for other colours or a background for designs; the prevailing or principal colour of any object, picture, etc.; that portion of a surface which is not coloured, decorated, or operated upon. h. The surface of the earth, or a part of it i. The earth regarded as the surface upon which man and his surroundings naturally rest or move; freq. in prepositional phrases, as along, on, to the ground (†formerly also without the article), above orunder ground . j. The portion of the earth's surface on which a person or thing stands or moves; often fig. in phr. to cut the ground from under one or one's feet . k. The earth as contrasted with heaven. Chiefly in phr. on (the) ground . l. Area or distance on the face of the earth. m. The space upon which a person, etc., takes his stand; the position maintained or defended by one; esp.in phrases to hold one's ground , to keep one's ground , to maintain one's ground , to stand one's ground , to shift one's ground ; now usually fig.
n. The particular space or area under consideration, or one used for some special purpose, esp. the scene of any contest, or meeting. off the ground: out of the way. on the ground: engaged in a duel. o. The soil of the earth. Also without article: Soil, earth, mould; now only in Mining (see quot. 1881) except with descriptive adj. Phr. to break ground
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τοπίο το, [topío] O39
1. γεωγραφική ενότητα με κοινά φυσικά χαρακτηριστικά: Eλληνικό / ορεινό / αλπικό / μεσογειακό ~. Aρχιτεκτονική προσαρμοσμένη στο νησιώτικο ~. Tα εργοστάσια κατέστρεψαν το αττικό ~. Σεληνιακό* ~ και ως ΦP. || γραφική τοποθεσία: Eιδυλλιακό / ωραίο ~. 2. ζωγραφικός πίνακας που παριστάνει τοπίο• τοπιογραφία. [λόγ.: 1: μσν. τοπίον < ελνστ. τόπ(ιον) -ίον• 2: σημδ. γαλλ. paysage ή μέσω του ιταλ. paesaggio]
προηγούμενος, -η -ο [proiγúmenos] E5 λόγ. θηλ. και προηγουμένη
1. που προηγήθηκε χρονικά, που έχει υπάρξει ή έχει συμβεί πριν από κπ. ή από κτ. άλλο. ANT επόμενος: O ~ ομιλητής / ιδιοκτήτης / ενοικιαστής. H προηγούμενη περίοδος / κυβέρνηση. O ~ κύριος ξέχασε το καπέλο του. || (ειδικότ.) για τις υποδιαιρέσεις του χρόνου: Tην προηγούμενη εβδομά δα / μέρα. Tο προηγούμενο Σάββατο / καλοκαίρι.
συμβολισμός, ο [simvolizmós] O17
1α.παράσταση ή έκφραση αφηρημένων εννοιών με σύμβολα: Γλωσσικός / επιστημονικός / θρησκευτικός / χριστιανικός ~. O ~ των αριθμών. β. σύμβολο2: Συμβολισμοί της φυσικής / της χημείας. 2. λογοτεχνική κίνηση, που εκδηλώθηκε στη Γαλλία κατά τα τέλη του 19ου αι. ως αντίδραση στο ρομαντισμό και στο νατουραλισμό, και που χρησιμοποίησε παραστάσεις από τον κόσμο των αισθήσεων ως σύμβολα των ιδεών και των συναισθημάτων: O Mαλαρμέ είναι εκπρόσωπος του ποιητικού συμβολισμού. || ανάλογη τεχνοτροπία στη ζωγραφική και στη μουσική. [λόγ. < γαλλ. symbolisme < symbol(e) = σύμβολ(ον)1 -isme = -ισμός]
τέχνη, η [téxni] O30 ανθρώπινη δραστηριότητα που στηρίζεται σε ορισμένες γνώσεις και εμπειρίες και που έχει ως σκοπό τη δημιουργία ενός πνευματικού ή τεχνικού έργου. 1α. δημιουργία έργων που εκφράζουν το αισθητικά καλό και προκαλούν στο θεατή, στον ακροατή ή στον αναγνώστη αισθητική απόλαυση: H ~ για την ~, δόγμα σύμφωνα με το οποίο η τέχνη δεν πρέπει να έχει διδακτικό χαρακτήρα, αλλά ο μοναδικός της σκοπός πρέπει να είναι η αισθητική συγκίνηση. Oι αρχαίες τραγωδίες είναι έργα μεγάλης / απαράμιλλης τέχνης. || (ειδικότ. για έργα αρχιτεκτονικής, ζωγραφικής και πλαστικής): Aντικείμενο / έργο τέχνης. Iστορία της τέχνης. Kριτικός έργων τέχνης. Eκδόσεις τέχνης, βιβλία με φωτογραφίες έργων τέχνης. || H έβδομη* ~. β. το σύνολο των έργων τέχνης σε έναν ορισμένο χώρο και χρόνο: Προϊστορική / αρχαία αιγυπτιακή / αρχαία ελληνική / ρωμαϊκή ~. ~ της Aναγέννησης. Kλασική / σύγχρονη / μοντέρνα / πρωτοποριακή / λαϊκή ~. γ. (πληθ.) Kαλές τέχνες, γενική ονομασία της ζωγραφικής, της γλυπτικής, της χαρακτικής ή και της αρχιτεκτονικής.
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symbolism, n.Pronunciation /ˈsɪmbəlɪz(ə)m/
Etymology: < SYMBOL n.1 + -ISM suffix, partly after French symbolisme , German (modern Latin) symbolismus .
a. The practice of representing things by symbols, or of giving a symbolic character to objects or acts; the systematic use of symbols; hence, symbols collectively or generally. b. A symbolic meaning attributed to natural objects or facts. c. The use of symbols in literature or art; spec. the principles or practice of the Symbolists d. The use, or a set or system, of written symbols.
art, n.1Pronunciation Brit. /ɑːt/ , U.S. /ɑrt/
Forms: ME aart, ME ars, ME ars (plural), ME arse (plural), ME hart, ME harte, ME hert, ME–16 arte, ME– art, 19– awrt (Irish English); Sc. pre-17arit, pre-17 arte, pre-17 hart, pre-17 17– art, pre-17 18– airt, 17 airth. N.E.D. (1885 ) also records a form ME arz. (Show Less)
Etymology: < Anglo-Norman and Old French, Middle French art (French art ) means, method, or knowledge employed to gain a certain result, technique (c1000), manner of acting or behaving (c1100), skill (12th cent. in Anglo-Norman), craftsmanship (12th cent. in Anglo-Norman), magic art, magic, sorcery (12th cent. in Anglo-Norman), ruse, artifice (12th cent.), trade, craft, profession (c1200), habit (13th cent. or earlier in Anglo-Norman), knowledge, science, learning (13th cent. or earlier in Anglo-Norman), deceit, guile (13th cent. or earlier in Anglo-Norman), talent, ability (for gaining a particular result) (14th cent.), practice (a1383 or earlier in Anglo-Norman), academic discipline (early 15th cent.), treatise which sets out the principles of a discipline (15th cent.), artistry or technique, as opposed to science (15th cent.), that which is the product of human activity, as opposed to nature (1580), (in plural) the liberal arts (late 14th cent. or earlier; 12th cent. in les set arz the seven arts), the liberal and mechanical arts (a1628), the humanities and philosophy (1636) < classical Latin arti- , ars professional, artistic, or technical skill, craftsmanship, artificial methods, human ingenuity, artificiality, crafty action, trick, stratagem, crafti-ness, guile, personal characteristic or quality, systematic body of knowledge and practical techniques, magic, one of the fine or liberal arts, profession, craft, trade, task, pursuit, artistic achievement or performance, artistic design or representa-tion, work of art, device, contrivance, rules or principles of an art, treatise, method, system, procedure, principle of classifi-cation, in post-classical Latin also guild (from 1380 in British sources) < the same Indo-European base as ancient Greek ἀραρίσκειν to fit together + the Indo-European base of classi-cal Latin -ti-, suffix forming nouns (see -TH suffix1). Compare Old Occitan art (11th cent.), Catalan art (12th cent.), Spanish arte (12th cent.; also †art ), Portuguese arte(13th cent.), Ital-ian arte (a1294). Occasional use of the form ars as a singular in Middle English probably shows generalization of the plural form ars (itself after French). Art originally shared many of its meanings with craft (see CRAFT n. II.); however, by the 17th cent. the association of art with creative or imaginative skill (see sense 7) rather than technical ability tended to result in less semantic overlap between the two words. Especially in sense 3a art is often contrasted with science (see note at SCIENCE n. 3b), with art now frequently understood as an ability to adopt a creative or flexible approach, in contrast to the application of more theoretical or scientific principles. From the Middle Ages art has often been contrasted with nature Compare also the
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historical sense development of TECHNIC adj., TECHNICAL adj., TECHNOLOGY n.
a. Skill; its display, application, or expression. b. Skill in doing something, esp. as the result of knowledge or practice. c. Skill in the practical application of the principles of a par-ticular field of knowledge or learning; technical skill. Obs. d. A practical application of knowledge; (hence) something which can be achieved or understood by the employment of skill and knowledge; (in early use also) a body or system of rules serving to facilitate the carrying out of certain principles. e. A practical pursuit or trade of a skilled nature, a craft; an activity that can be achieved or mastered by the application of specialist skills; (also) any one of the useful arts (see sense 4b). f. Skill in an activity regarded as governed by aesthetic as well as organizational principles. Now rare.The range of activities covered include the visual arts such as painting, drawing, and sculpture, and also other creative arts such as music, literature, dance, drama, and oratory. g. The expression or application of creative skill and imagina-tion, typically in a visual form such as painting, drawing, or sculpture, producing works to be appreciated primarily for their beauty or emotional power. Also: such works them-selves considered collectively. Cf. a work of art at WORK n. 14.Although this is the most usual modern sense of art when used without any qualification, it has not been found in English dictionaries until the 19th cent. Before then, it seems to have been used chiefly by painters and writers on painting. h. The theory and practice of the visual arts as a subject of study or examination; (also) a class or lesson in art. i. Senses relating to learning or study. j. In pl. Certain branches of study, esp. at a university, serving as a preparation for more advanced studies or for later life, spec. (a) (in the Middle Ages) the seven subjects forming the trivium (grammar, logic, and rhetoric) and the more advanced quadrivium (arithmetic, geometry, music, and astronomy) (now hist.); (b) (in later use) a broad range of subjects, varying according to time and place but now generally taken as includ-ing languages, literature, philosophy, history, and other areas of study concerned with the processes and products of human culture and thought (cf. HUMANITY n. 2.).
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ground, v.Pronunciation /graʊnd/
Forms: ME grundien, ME north. grund, ME–15 grounde, grownde, ME–15 gronde, (16 grownd), ME– ground. (Show Less)
Etymology: Middle English < GROUND n.; compare Middle Dutch, Dutch gronden , Middle Swedish grunda . For Old English gryndan see GRIND v.2
a.To lay the foundations of (a house, etc.); to found; to fix or establish firmly. Obs.Chiefly in renderings or echoes of bibli-cal passages. b. To set on a firm basis, to establish (an institution, a prin-ciple of action, belief, science, conclusion or argument), on some fact, circumstance, or authority. c. trans. To instruct (a person) in the fundamental or elemen-tary principles of any branch of study. to be grounded in : to be (well or ill) acquainted with (a subject or science). d. To place or set on the ground; to cause to touch the ground; to lay down. †Also, to bring down (a weapon).
Precedent, n.Pronunciation Brit. /ˈprɛsᵻd(ə)nt/ , U.S. /ˈprˈsˈdnt/
Forms: α. lME precedente, lME precydent, lME–17 precident, lME– precedent, 15 preceedent. β. lME preseident, lME–15 presydent, lME–16 presedent, lME–16 presidente, lME–17 president, 15 presdint, 16 pre-sadent, 16 presydentts(plural).
Etymology: < PRECEDENT adj. Compare classical Latin praecēdēns (masculine) person who goes in front, person who ranks before, person who excels, (neuter) thing which precedes, prior event, preceding statement, in post-classical Latin also previous instance taken as an example or rule (1457, 1523 in British sources), uses as noun of masculine and neuter respectively of praecēdēns , adjective; compare also Middle French precedent person who goes before or in front (1392; French précédent (legal) precedent (1824) is < English).
a. A previous instance taken as an example or rule by which to be guided in similar cases or circumstances; an example by which a comparable subsequent act may be justified. Freq. to set a precedent . b. concr. A document recording past proceedings, serving as a guide or rule for subsequent cases. Obs. c. An example to be followed or copied; a model, an exemplar. Obs. d. An event, person, or thing that goes before or in advance of another; a forerunner, a precursor, a predecessor; an antecedent.
1819
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
ιη’
20Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
21
01
Ayia
Tria
s
Church
The
gre
ek o
rtho
dox
chu
rch
of
ayia
Tri
as is
loca
ted
in th
e Tu
rkis
h oc
cupi
ed g
host
tow
n of
fam
agus
ta.
it w
as d
esig
ned
as a
n in
tegr
al
com
pone
nt o
f a m
edite
rran
ean
seas
ide
hote
l com
plex
, a b
uilt
idea
ab
out c
reat
ing
a pl
ace
of c
hris
tian
w
orsh
ip a
nd r
itua
l ins
pire
d by
the
mul
ti la
yere
d by
zant
ine
era
relig
ious
ar
chite
ctur
e of
cyp
rus.
The
abst
ract
ion
of th
ese
prec
eden
ts
was
inco
rpor
ated
into
the
gene
rati
on
of a
con
tem
pora
ry s
ymbo
lic
arch
itect
ural
syn
thes
is.
locaTion BuilT Year
κ’
FamaGusta RePublic oF cyPRus
1972
2021
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT
κ’
Holy aRcHbisHoPRic oF cyPRus
archiTecT / engineers
J&a PHilliPou, tHeoHaRis DaviD associate aRcHitect
22Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
23
The
prec
eden
t loo
ked
at in
an
atte
mpt
to g
ener
ate
an id
ea th
at
wou
ld p
rovi
de a
n ap
prop
riat
e ar
chite
ctur
al la
ngua
ge a
nd
acce
ptab
le c
omm
unit
y im
age
wer
e th
e va
riou
s st
oref
ront
chu
rche
s sc
atte
red
thro
ugho
ut o
ften
poo
rer
urba
n ne
ighb
orho
ods.
The
new
st
eppe
d br
ick
stre
et fa
cade
cro
wne
d by
an
illum
inat
ed g
lass
blo
ck c
ross
is
ext
rude
d in
to th
e se
ctio
n al
ong
the
enti
re le
ngth
of t
he p
lan
to g
ener
ate
both
the
inte
rior
spa
ce a
nd e
xter
ior
form
of t
he c
hurc
h.
κβ’
02
Bethelit
e
Instit
utio
nal
Baptis
t
Church
locaTion BuilT YearbRooKlyN, Ny 1989
2223
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
κβ’
clienT betHelite iNstitutioNal baPtist cHuRcH iNc.
archiTecT / engineers
tHeo. DaviD aRcHitects
24Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
25
The
idea
beh
ind
this
nei
ghbo
rhoo
d ch
urch
in th
e ea
st n
ew Y
ork
sect
ion
of B
rook
lyn
was
to a
llow
the
sym
bolis
m o
f the
cro
ss to
org
aniz
e th
e pl
an, s
ecti
on a
nd e
leva
tion
of t
he
chur
ch v
olum
e. T
his
is in
trod
uced
th
roug
h th
e br
ick
clad
min
imal
ism
of
its
stre
et fa
cade
whi
ch c
eleb
rate
s th
e su
spen
ded
whi
te s
teel
cro
ss w
hose
sk
ewed
abs
trac
ted
axia
lity
ente
rs
the
chur
ch,
embe
ddin
g it
self
wit
hin
the
rect
iline
ar p
lan
and
acti
ng a
s a
gene
rato
r of
the
arch
itect
ural
form
of
the
sky
lit ro
of.
κδ
03
New
Lif
e
Baptis
t
Church
locaTion BuilT YearbRooKlyN, Ny 1993
2425
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
κδ
clienT New liFe baPtist cHuRcH iNc.
archiTecT / engineers
tHeo. DaviD aRcHitects
26Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
27κστ’
The
idea
for
this
mul
tile
vel
publ
ic s
choo
l was
bor
n th
roug
h un
ders
tand
ing
the
arch
itect
ural
po
tent
ial o
f the
nat
ural
site
. Th
is p
rovo
ked
a si
mul
tane
ous
rede
finit
ion
of th
e te
rm g
roun
d (o
r in
gre
ek to
pio,
as
in to
polo
gy)
at th
e m
acro
and
mic
ro s
cale
. a
t the
mic
ro s
cale
, the
pla
n an
d se
ctio
n id
ea w
as to
imbe
d al
l of t
he
child
ren’
s cl
assr
oom
s in
the
edge
of
a c
liff,
priv
ilegi
ng th
em w
ith
broa
d un
inte
rrup
ted
view
s of
the
med
iterr
anea
n an
d a
land
scap
e of
thei
r ho
mes
that
pre
cede
thes
e di
stan
t vie
ws.
04
Ayio
s
Athanasio
s
Elem
entary
School
locaTion BuilT Yearayios atHaNasios, cyPRus 2002
2627
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT miNistRy oF eDucatioN aND cultuRe, RePublic oF cyPRus
archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
28Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
29κη’
The
orga
niza
tion
al id
ea fo
r th
is
com
mun
ity
of e
duca
tion
al s
pace
s,
cons
isti
ng o
f an
elem
enta
ry s
choo
l an
d in
depe
nden
t nur
sery
sch
ool,
was
to
pro
vide
an
arch
itect
ural
iden
tity
to
each
by
the
juxt
apos
itio
n of
an
obtu
se
tria
ngle
ove
r an
ova
l. Th
is s
ever
e fo
rmal
com
posi
tion
— w
hich
reca
lls
the
cons
truc
tivi
st m
ovem
ent i
n
art —
is fu
rthe
r de
velo
ped
by th
e us
e of
con
tras
ting
mat
eria
l fini
shes
and
co
lor,
whi
le re
peat
ing
the
oval
as
an
ocul
us c
ut in
to th
e tr
iang
ular
met
al
cour
tyar
d ca
nopy
as
a ra
ised
exe
dra
and
mus
ic ro
om v
olum
e.
05
Stylia
nos
Lena
Elem
entary
School
locaTion BuilT YearNicosia, cyPRus 2009
2829
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT miNistRy oF eDucatioN aND cul-tuRe, RePublic oF cyPRus
archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
30Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
31λ’
The
prec
eden
t for
this
hyb
rid
finan
cial
ser
vice
s bu
ildin
g is
a
mon
aste
ry. i
t com
bine
s do
rmito
ry
and
dini
ng fa
cilit
ies
that
par
tial
ly
enci
rcle
and
enc
lose
a s
hade
d co
urty
ard
wit
h ad
join
ing
educ
atio
nal
and
mee
ting
spa
ces
and
a ce
ntra
lly
loca
ted
libra
ry.
The
plan
, ele
vate
d on
a c
ylin
dric
al
podi
um, i
s an
asy
mm
etri
cal
asse
mbl
age
of c
ircl
es a
nd re
ctan
gles
or
gani
zed
alon
g an
ext
rude
d (in
se
ctio
n) e
ast -
wes
t axi
s w
hich
rela
tes
to e
arly
20t
h ce
ntur
y ab
stra
ct w
orks
of
art
.
06
Laik
i
Resid
entia
l
Train
ing
Center
locaTion BuilT YearyeRi, cyPRus 1995
3031
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT laiKi baNKiNG GRouP archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
32Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
33
rec
olle
ctio
ns o
f mod
erni
st a
rt
cont
ribu
ted
subc
onsc
ious
ly to
sha
pe
the
conc
eptu
al id
ea fo
r th
is 3
0,00
0 se
at s
occe
r st
adiu
m s
uppo
rted
by
circ
ulat
ion
elem
ents
and
com
bine
d w
ith
a 6,
000
seat
trac
k an
d fie
ld
stad
ium
. Th
e ar
chite
ctur
al fo
otpr
int
of th
is in
tern
atio
nal c
ompe
titi
on
entr
y w
inne
r co
uld
be a
ttri
bute
d to
a ce
rtai
n vi
sual
and
com
posi
tion
al
orde
r ev
iden
t in
exam
ples
of a
bstr
act
art a
s pr
eced
ent.
Thi
s fo
otpr
int,
extr
uded
into
a s
ecti
on a
nd c
appe
d by
a s
uspe
nded
ste
el c
anop
y, is
ju
xtap
osed
aga
inst
the
dist
ant
grou
nd o
f a m
ount
ain
rang
e an
d
read
as
a sy
mbo
l rea
lized
from
a
synt
hesi
s of
mul
tipl
e th
emes
.
07
GSP S
tadiu
m
and A
thletic
Center
locaTion BuilT YearNicosia cyPRus 1998
λβ’
3233
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT PaNcyPRia GymNastic club archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
34Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
35λδ’
This
mul
tile
vel s
port
s fa
cilit
y w
ith
a m
ain
aren
a ac
com
mod
atin
g 7,
000
spec
tato
rs is
a b
uilt
idea
em
anat
ing
from
the
noti
on o
f gro
und
— o
r in
g
reek
: top
oi —
a p
rim
ary
desi
gn
crite
rion
of t
he a
rchi
tect
ural
co
mpe
titi
on w
on b
y th
is p
roje
ct.
its
sect
iona
l ide
a is
bot
h an
impl
ant
into
and
a c
onti
nuat
ion
of th
e ex
isti
ng s
ite c
onto
urs,
whi
le it
s m
ulti
laye
r un
dula
ting
roof
sur
face
s ar
e m
eant
to v
isua
lly fl
oat j
ust
abov
e th
e su
rrou
ndin
g hi
lls,
thus
de
mon
stra
ting
ano
ther
exp
ress
ion
of g
roun
d.
08
Spyros
Kypria
nou
Athletic
Arena
and S
ports
Com
plex
locaTion BuilT Yearlemesos, cyPRus 2007
3435
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT cyPRus sPoRts oRGaNizatioN archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
36Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
37λστ’
The
cont
rast
s of
form
evi
dent
in
wor
ks o
f art
of t
he m
oder
n er
a pl
ayed
a s
ublim
inal
role
in s
hapi
ng
the
idea
for
this
mix
ed u
se s
truc
ture
co
nsis
ting
of l
ivin
g, tr
aini
ng a
nd
recr
eati
onal
faci
litie
s fo
r at
hlet
es.
Thes
e fu
ncti
ons
are
inte
grat
ed u
sing
st
ruct
ural
and
func
tion
al c
lari
ty
wit
h ad
diti
onal
sta
dium
sea
ting
for
seve
ral t
hous
and
spec
tato
rs.
Bas
ic g
eom
etri
c fo
rms
or g
estu
res,
su
ch a
s a
cylin
der,
rad
ial a
rc, l
ine
and
a tr
iang
ulat
ed p
rism
, are
ar
chite
ctur
ally
com
pose
d to
gen
erat
e a
dyna
mic
arc
hite
ctur
al p
rese
nce
inte
grat
ed w
ith
the
give
n ge
omet
ries
of
the
adjo
inin
g sp
orts
pitc
hes.
09
Allegra G
SP
Sports
Center
locaTion BuilT YearNicosia cyPRus 2008
3637
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT PaNcyPRia GymNastic club archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
38Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
39λη’
The
idea
for
the
desi
gn o
f thi
s su
burb
an n
eigh
borh
ood
athl
etic
ce
nter
was
insp
ired
by
emot
iona
l, as
w
ell a
s ac
tual
, gro
und.
The
3,0
00-
seat
fair
face
s a
conc
rete
and
och
re
bloc
k su
pers
truc
ture
pro
tect
ed b
y a
win
g-sh
aped
ste
el c
anop
y, b
orde
rs
on a
no
man
’s la
nd m
ilita
ry b
uffe
r zo
ne d
ivid
ing
a co
untr
y, a
nd lo
oks
beyo
nd to
the
hist
ory
lade
n Ky
reni
a m
ount
ain
rang
e. T
he a
dapt
ed
mor
phol
ogy
of a
n ai
rcra
ft w
ing
coul
d be
iden
tifie
d as
a p
rece
dent
for
the
defin
ing
arch
itect
ural
com
pone
nt o
f th
is w
ork.
10
Kaim
akli
Com
munit
y
Sports
Center
locaTion BuilT YearNicosia cyPRus 2012
3839
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT Nicosia muNiciPality archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
40Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
41μ’
The
idea
for
this
hom
e fo
r a
wid
owed
m
othe
r an
d gr
andm
othe
r liv
ing
alon
e w
as b
orn
out o
f a s
enso
ry d
efini
tion
of
gro
und
as e
xpre
ssed
by
the
scen
t, fe
el a
nd e
arth
of a
n or
ange
gro
ve,
the
dire
ctio
n of
win
d an
d po
ssib
ility
of
vie
w.
all
of t
his
hom
e’s
open
ings
and
pe
netr
atio
ns w
itho
ut e
xcep
tion
ac
quir
e m
eani
ng b
ecau
se o
f the
way
th
ey a
re o
rien
ted
by a
nd c
onne
cted
to
the
conc
ept o
f gro
und
as d
efine
d by
the
natu
ral c
hara
cter
isti
cs o
f the
ex
tend
ed s
ite.
11 Thalia
David
Resid
ence
locaTion BuilT YearmoRPHou, cyPRus 1974
4041
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT tHalia l. DaviD archiTecT / engineers
tHeoHaRis DaviD
42Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
43
This
34
unit
resi
dent
ial c
ompl
ex is
pa
rt o
f the
con
tinu
um o
f the
urb
an
deve
lopm
ent o
f a 1
,100
-yea
r-ol
d ea
ster
n m
edite
rran
ean
city
is a
B
uil
T iD
ea e
volv
ed fr
om a
pre
cede
nt
rela
ted
to re
side
ntia
l arc
hite
ctur
e of
th
e m
oder
n m
ovem
ent w
hich
defi
nes
the
proj
ect’s
site
. its
real
izat
ion
is
offe
red
as a
par
adig
m s
ervi
ng a
s
proo
f tha
t arc
hite
ctur
e ca
n ac
hiev
e a
deve
lope
r / c
ontr
acto
r cl
ient
’s
econ
omic
goa
ls w
hile
sat
isfy
ing
the
inte
rest
s of
div
erse
sta
keho
lder
s,
incl
udin
g th
e re
side
nt o
wne
rs a
nd
appr
oval
bod
ies,
whi
le re
spec
ting
a
land
mar
ked
neig
hbor
hood
an
d th
e di
stin
ct e
nvir
onm
enta
l ch
arac
teri
stic
s of
the
site
.
12
Gladstonos
22
locaTion BuilT YearNicosia, RePublic oF cyPRus 2009
μβ’
4243
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT J&P ltD. archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal iN associatioN witH Nma aRcHitects
44Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
45μδ’
a g
roun
d co
ndit
ion
defin
ed b
y th
e no
t too
dis
tant
hor
izon
of t
he
med
iterr
anea
n se
a, th
e in
tens
e bl
ue
of th
e c
ypri
ot s
ky a
nd a
ncie
nt ro
ck
out c
ropp
ing
and
ston
e qu
arri
es th
at
inha
bite
d th
e si
te a
ll c
ombi
ned
to
shap
e an
idea
abo
ut th
is v
acat
ion
resi
dent
ial c
ompl
ex o
f 18
livin
g un
its.
a u
niqu
e re
lati
onsh
ip to
gro
und
is
gene
rate
d no
t onl
y by
the
expe
cted
fr
amin
g of
the
dist
ant g
roun
d, b
ut
by a
llow
ing
a sy
mbi
otic
rela
tion
ship
be
twee
n th
e bu
ilt fo
rm a
nd e
xist
ing
rock
form
atio
ns.
13
Bleu
locaTion BuilT YearPRotaRas, cyPRus 2010
4445
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT Nice Day DeveloPmeNts archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
46Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
47μστ’
The
idea
for
this
resi
denc
e fo
r a
youn
g fa
mily
, bui
lt o
n a
subu
rban
co
rner
lot,
was
info
rmed
by
thin
king
how
, as
in c
erta
in w
orks
of
art
, an
enti
re m
icro
cosm
can
be
acco
mm
odat
ed a
nd e
xpre
ssed
w
ithi
n th
e re
stri
ctiv
e vo
lum
e of
a
cube
of s
pace
.
The
mic
roco
sm o
f the
act
of d
wel
ling
is e
xpre
ssed
not
onl
y by
spa
tial
fo
ldin
g w
ithi
n th
e gi
ven
volu
me,
but
w
ith
the
juxt
apos
itio
n of
con
tras
ting
m
ater
ials
, inc
ludi
ng w
ater
that
de
fines
hor
izon
tally
and
ver
tica
lly
habi
tabl
e sp
ace.
14
priv
ate
Resid
ence
locaTion BuilT YearaGlaNtzia, cyPRus 2011
4647
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT aNoNymous archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
48Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
49μη’
sym
bolis
m th
roug
h th
e ch
oice
and
us
e of
a s
peci
fic m
ater
ial,
met
al
clad
ding
, to
defin
e th
e sh
arp
wed
ged
volu
me
whi
ch c
onta
ins
an a
mat
eur
radi
o st
udio
that
is p
art o
f the
iden
tity
of
the
clie
nt, h
elps
des
crib
e th
is
volu
met
rica
lly m
odul
ated
fam
ily
resi
denc
e. T
his
sym
bolic
use
of
mat
eria
l is
repe
ated
at s
igni
fican
t fu
ncti
onal
junc
ture
s of
the
hous
e.
The
inte
grat
ion
of a
cur
vilin
ear
roug
h st
one
reta
inin
g w
all u
nder
scor
es
furt
her
the
sym
bolic
idea
and
m
ater
ial b
ehin
d th
e ar
chite
ctur
e.
15
Spyros a
nd
MaryAnn
Stavrin
ides
Resid
ence
locaTion BuilT YearaGlaNtzia, cyPRus 2010
4849
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT sPyRos stavRiNiDes archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
50Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
51ν’
16
Phil
eleftheros
Head O
ffic
es
The
grap
hic
sym
bolis
m im
plie
d in
th
e ar
chite
ctur
al m
orph
olog
y of
this
di
gita
l pro
duct
ion
and
adm
inis
trat
ive
cent
er fo
r a
med
ia g
roup
, was
in
spir
ed b
y bu
ildin
g te
chno
logy
ad
opte
d fr
om th
e id
ea o
f fus
elag
e as
pre
cede
nt. T
he fu
sela
ge a
lso
appr
opri
ated
as
sym
bol,
beco
mes
the
cont
aine
r fo
r bu
ilt in
depe
nden
t ob
ject
s th
at re
flec
t and
hou
se d
iver
se
uses
incl
udin
g di
gita
l pro
duct
ion
faci
litie
s, e
xhib
itio
n ga
lleri
es,
an a
udito
rium
, vol
umet
rica
lly
arti
cula
ted
build
ing
infr
astr
uctu
re
and
priv
ate
offic
e su
ites.
locaTion BuilT YearNicosia cyPRus 2013
5051
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT PHileleFtHeRos Public comPaNy ltD.
archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
52Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
53
The
brie
f for
this
ope
n co
mpe
titi
on
entr
y fo
r an
env
iron
men
tal c
ente
r re
quir
ed a
lear
ning
cen
ter,
pub
lic
faci
litie
s, a
sm
all m
useu
m a
nd w
ays
of e
xper
ienc
ing
this
pro
tect
ed c
ape
prot
rudi
ng in
to th
e se
a.
Whi
le th
e ar
chite
cton
ic c
ompo
siti
on
of th
e en
tire
pro
gram
mat
ic e
lem
ent
mig
ht b
e at
trib
uted
to c
erta
in
mov
emen
ts in
art
, it i
s th
e ex
pres
sion
of
gro
und
thro
ugh
a pr
ecis
e in
cisi
on
into
and
a c
anti
leve
red
proj
ecti
on
beyo
nd th
e gi
ven
site
con
diti
on, t
hat
defin
es th
e id
ea b
ehin
d th
e de
sign
co
ncep
t.
17
Cavo G
reco
Envir
onm
ental
Center
locaTion BuilT Yearcavo GReco, cyPRus 2006
νβ’
5253
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
clienT miNistRy oF tHe iNteRioR, Re-Public oF cyPRus
archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
54Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
55νδ’
18
St.
Nic
holas
Church
a p
ropo
sal f
or th
e re
build
ing
of a
ch
urch
at t
he W
Tc s
ite w
hose
idea
w
as g
ener
ated
by
an a
bstr
acti
on
of s
ymbo
ls s
peci
fic to
the
ort
hodo
x c
hris
tian
litu
rgy
and
trad
itio
n co
mbi
ned
wit
h th
e ge
omet
rica
l sp
ace
of a
sph
ere,
whi
ch o
ften
sy
mbo
lizes
uni
vers
alit
y an
d as
a
resp
onse
to th
e de
sire
of t
he
cong
rega
tion
for
an e
cum
enic
al
spac
e. T
he id
ea is
com
plet
ed a
s a
prop
osal
insp
ired
by
wor
ks o
f art
rein
terp
rete
d w
hich
bot
h en
velo
ps
and
open
s up
to a
ll w
ho m
ay w
ish
to e
nter
, a p
lace
of w
orsh
ip, p
raye
r, so
litud
e an
d pe
ace.
locaTion ProPosalwoRlD tRaDe ceNteR, Nyc 2012
5455
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
archiTecT / engineers
tHeoHaRis DaviD
56Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
57νστ’
19
Old G
SP
Com
petit
ion
The
idea
beh
ind
this
com
peti
tion
en
try
for
the
desi
gn o
f a v
acat
ed
site
in th
e m
idst
of a
n ev
olvi
ng
civi
c ce
nter
was
--w
hile
hav
ing
to
repr
ogra
m th
e ex
isti
ng g
roun
d —
to
exp
lore
the
re-d
efini
tion
of g
roun
d as
a tr
ansf
orm
ativ
e ac
t, th
en th
roug
h a
dyna
mic
des
ign
conc
ept,
into
a
sym
bolic
arc
hite
ctur
e fo
r n
icos
ia,
a w
orld
cap
ital.
This
was
ach
ieve
d by
tilt
ing
up
alm
ost t
he e
ntir
e si
te o
f the
old
gs
P st
adiu
m, c
reat
ing
a ge
ntly
incl
ined
an
d ro
tate
d la
ndsc
ape
plan
e as
a
gest
ure
tow
ard
the
faca
de o
f the
new
n
atio
nal T
heat
re.
locaTion comPeTiTionNicosia cyPRus 2011
5657
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
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clienT Nicosia muNiciPality, cyPRus DePaRtmeNt oF towN PlaNNiNG
archiTecT / engineers
tHeo. DaviD aRcHitects tDa+Kal
Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
59νη’
59
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
νη’
60Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
61ξ’
se
e P
ro
jec
T 8
sP
Yro
s K
YPr
ian
ou
Pa
la
is D
es
sP
or
T,
P
ag
e 3
4
se
e P
ro
jec
T 8
sP
Yro
s K
YPr
ian
ou
Pa
la
is D
es
sP
or
T,
P
ag
e 3
4
6061
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
se
e P
ro
jec
T 19
ol
D g
sP
co
mP
eTi
Tio
n u
rB
an
P.a
.c.T
.,
Pa
ge
56
se
e P
ro
jec
T 12
gl
aD
sTo
no
s 2
2,
P
ag
e 4
2
62Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
63ξβ’
se
e P
ro
jec
T 9
al
le
gr
a g
sP
sP
or
Ts c
en
Ter
,
Pa
ge
36
se
e P
ro
jec
T 9
al
le
gr
a g
sP
sP
or
Ts c
en
Ter
,
Pa
ge
36
6263
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
se
e P
ro
jec
T 17
ca
vo g
re
co
en
vir
on
me
nTa
l c
en
Ter
,
Pa
ge
52
se
e P
ro
jec
T 5
sTY
lia
no
s l
en
as
el
em
en
Tar
Y s
ch
oo
l,
P
ag
e 2
8
se
e P
ro
jec
T 12
gl
aD
sTo
no
s 2
2,
P
ag
e 4
2
64Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
65ξδ’
se
e P
ro
jec
T 6
la
iKi
re
siD
en
Tia
l T
ra
inin
g c
en
Ter
,
Pa
ge
30
se
e P
ro
jec
T 6
la
iKi
re
siD
en
Tia
l Tr
ain
ing
ce
nTe
r,
P
ag
e 3
0
6465
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
se
e P
ro
jec
T 15
sTa
vrin
iDe
s r
es
iDe
nc
e,
P
ag
e 4
8 s
ee
Pr
oje
cT
15 s
Tavr
iniD
es
re
siD
en
ce
,
Pa
ge
48
66Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
67
se
e P
ro
jec
T 3
ne
W l
ife
Ba
PTi
sT
ch
ur
ch
,
Pa
ge
24
se
e P
ro
jec
T 16
Ph
ile
le
fTh
er
os
he
aD
of
fic
es
,
Pa
ge
50
ξστ’
6667
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
se
e P
ro
jec
T 10
Ka
ima
Kl
i c
om
mu
niT
Y s
Po
rTs
ce
nTe
r,
P
ag
e 3
8
se
e P
ro
jec
T 15
sTa
vrin
iDe
s r
es
iDe
nc
e,
P
ag
e 4
8 s
ee
Pr
oje
cT
19o
lD
gs
P c
om
Pe
TiTi
on
ur
Ba
n P
.a.c
.T.
, P
ag
e 5
6
68Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
69
se
e P
ro
jec
T 18
sT.
nic
ho
la
s c
hu
rc
h,
P
ag
e 5
4 s
ee
Pr
oje
cT
18 s
T. n
ich
ol
as
ch
ur
ch
,
Pa
ge
54
se
e P
ro
jec
T 14
Pr
ivaT
e r
es
iDe
nc
e,
P
ag
e 4
6
ξη’
6869
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
sTu
Den
Ts r
ePr
esen
TeD
in e
xhiB
iT
h. B
oia
ng
iu
ch
. Bic
Kfo
rD
v. B
lais
e
e. o
’Do
nn
ell
a. h
ern
an
Dez
j. s
ch
miD
T
j. m
or
ri
j.a
iza
Ki
K.a
lexa
nD
ro
u
B. c
uaY
co
ng
g. s
ch
eiD
ler
K.P
aPa
PeT
ro
u
s.io
nes
cu
l. m
oD
rc
in
K. l
inD
Ber
g
j. j
on
g h
Yun
Yi
se
e P
ro
jec
T 3
ne
W l
ife
Ba
PTi
sT
ch
ur
ch
,
Pa
ge
24
se
e P
ro
jec
T 14
Pr
ivaT
e r
es
iDe
nc
e,
P
ag
e 4
6
Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
71
ProjecT Team
curator christoph a. Kumpusch
exhibit Design architect christoph a. Kumpusch
Design and curatorial Team schuyler Klein, ali fouladi, ryan joseph simons, indiana morales, adam orlinski, Taylor sams, emre Bozatli
model Team — new York shaked uzrad, mike Tingen, Kelly smolen-ski, azeem Khan, jonathan jarquin, richard miller, juan sala, Beijia gu, Brian Dobrolsky, jasper hayes, richard Tengurian, umit Kuroglu
model Team — cyprus emre Bozatli, maria christofi, robert Di fulvio
coordination schuyler Klein
consTrucTion
installation Team schuyler Klein, ali fouladi, anne marie Pe-rez, jasper hayes, Kelly smolenski, jonath-an jarquin, richard miller, juan sala, Taylor sams, chris fantin, iting Tsai, Keumbi noh, Brendan o’shea, Daniela Kolodesh, neda Kakhsaz, martin velez, Wanling li
column fabrication anne marie Perez, ali fouladi, joel Kokin, alyza enriquez, ryan esparza, Yani gao, Yuli huang, rebecca Pierson, neha sadrud-din, chi ieong Wong, Philip zucker, hudson sackrider-De ricco, chris fantin, iting Tsai, xiaoke he, gabriela fiorentino cedeno
Digital fabrication anne marie Perez, ali fouladi, joel Kokin, alyza enriquez, ryan esparza, Yani gao, Yuli huang, rebecca Pierson, neha sadrud-din, chi ieong Wong, Philip zucker, hudson sackrider-De ricco, chris fantin, iting Tsai, xiaoke he, gabriela fiorentino cedeno
consulTanTs
fabrication rodrigo guajardo
column fabrication anne marie Perez, rick Klein
sPecial ThanKs
Kurt everhart rodrigo guajardo melissa David alexi David eric Wong mark Parsons nicole Katz Kane austin
PhoTograPhY
Projects charalambos artemis, emre Bozatli, Theo-haris David, sean hemmerle, john veltri
exhibition alyza enriquez
caTalogue
graphic Design Won sok choi − wosochburi
editor ryan joseph simons
Printing Paper chase, 7176 W. sunset Blvd. los angeles, ca 90046 (323) 874-2300 www.paperchase.net
ο’
71
Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
a life of learning, Teaching anD acTion
Theoharis DaviDΔomhmeneΣ iΔeeΣ
Theoharis DaviDBuilT iDeas
73
Theoharis DavidArchitect and Professor, faia
Theoharis David was born in the United States of Cypriot immigrant parents. He holds a B. Arch degree from Pratt institute and went on after serving as a musician in the US Army, to graduate school at Yale University, where he studied directly under the modernist master Paul Rudolph, graduating in 1964 with a Master of Architecture degree. After gaining work experience in New York, he took the advice of Rudolph to “go where you can build” and went in 1967 as a young man to the recently independent Republic of Cyprus.
As assistant architect with the firm of J&A Phillipou, he was entrusted with the design of a number of significant projects including government offices, hotels and radical for its time, 1970, the church of Ayia Trias in Famagusta through which he enjoyed a creative relationship with the legendary President and Archbishop of Cyprus, Makarios III, the client. After the Greek junta coup and Turkish invasion of 1974, Theo refused to abandon Cyprus despite the uncertainty that existed, and return to the security of his teaching position at Pratt. Having secured the safety of his young family he returned and with his then partner headed the team for the design of the first refugee housing estates in the now divided country. Theo. was also a founding director of CAEC a pioneering architect’s collaborative formed to counter the effects of the 1974 war.
In 1979 Theo. was appointed Chair of Graduate Architecture at Pratt Institute where he brought to the faculty significant architects such as Lebbeus Woods, Hani Rashid, John Johansen, Giuliano Fiorenzoli, Teodoro Gonzales de Leon, Nicos Kalogeras and Michael Webb. He also originated and directed for twenty years the “Pratt in Cyprus + Greece” foreign studies program.
His former firm David & Dikaios Associates continued in Cyprus with the realization of for that era technologically advanced buildings such as head offices for Universal Life, industrial buildings, prefabricated housing for Hellenic Mining Ltd. and a major exhibition hall for the Cyprus State Fair. Theo was also active in New York City with the completion of award winning churches and interiors that have been documented as part of the late 20th century architecture legacy of New York City.
In 1988 he formed a joint venture with KAL Engineering, TDA+KAL, which went on to design a number of major projects in Cyprus such as the GSP Stadium and Athletic Center which received the Cyprus State Award for Architecture, and was nominated for the Mies van der Rohe Award and the Spyros Kyprianou Arena both the result of open competitions. Other built projects included a prototypical Residential Training Center for a major financial institution, the Allegra GSP Athletes Center, along with elementary schools which the Ministry of Education considers exemplary. The Gladstonos 22 Housing development in Nicosia, was shortlisted for a 2011 World Architecture Festival Award.In 1993, Theo. achieved tenure and a full professorship at Pratt and in 1996 was elevated to Fellowship in the American Institute of Architects for “notable contributions to the advancement of the profession of architecture”.
In 2005 he was named Chair of the Advisory Committee for architecture of the University of Cyprus and was instrumental in the creation of the Department of Architecture where he continues as visiting professor. In 2006 the Cyprus Government appointed him a founding director of the Cyprus Cultural Foundation where he has been a driving force behind the architectural plans for the Cyprus Cultural Center. At Pratt he negotiated an agreement between the School of Architecture and the University of Cyprus, and has served on the Academic Senate and Board of Trustees.
Theo. has also contributed to design awards programs worldwide iincluding the Aga Khan Awards and has chaired the New York Chapter of the AIA Distinguished Architecture Awards program having also been elected to its Honors Committee. His own awards include the City Club of New York Bard Award for Excellence in Design, a NYSAIA Design Award, an ADPSR Design Citation, Architecture Magazine Design Award, and the Cyprus Architects Prize for 2009.
He has been characterized by his American peers as “a teacher of teachers” and has advocated for architectural excellence by encouraging and supporting the work of younger architects.
Theo. David is currently involved in projects in Cyprus, New York, Romania and the Middle East while continuing to teach full time. He has lectured in Nicosia, New York, Athens, Thessaloniki, Shanghai, Barcelona, London, Paris, Los Angeles, Charleston and elsewhere and has been a guest critic at Yale, CCNY, Cooper Union, Metropolis Program Univ. of Cataluña Barcelona, the AA London, Columbia, Temple, Texas A&M, RPI, University of Syracuse etc. His work as an architect and educator continues to be exhibited and published internationally.
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a life of learning, Teaching anD acTion
Christoph a. Kumpusch
Christoph a. Kumpusch is a New York based architect and PhD candidate inarchitecture at the University of AppliedArts in Vienna. He is a co-director ofForward-slash, an interdisciplinarypractice founded in 2008 and the head oftheir research division Back-slash. He isa Leonardo da Vinci Fellow and a RudolfM. Schindler Scholar, USAA Scholar andNational Collegiate Engineering Awardwinner for outstanding commitment toacademic excellence; was a MAK CenterArchitect in Residence in 2003, the co-author of System Wien with Lebbeus Woods, Anthony Vidler and Manuel DeLanda, the editor of IDEA(u)topsy and consultant to the Architectural Forum and Association for Urban Development and Research in Beijing.He has previously taught at the IrwinS. Chanin School of Architecture atCooper Union, Columbia University’sGraduate School of Architecture,Planning and Preservation, Ohio StateUniversity, Cornell University, SCI-Arcand Guangzhou University in China.
Current projects of his office c.a.k LAB/ +maison de architecture include a community embassy in Kenya, Africa;a social housing tower in Budapest, Hungary and the Light Pavilion in Chengdu, China in collaboration with Lebbeus Woods and Steven Holl Architects.
His dissertation, “Detail-Kultur”, focuseson the complex behavior of details in thebuilt environment.
Lebbeus Woods
Lebbeus Woods is a New York-based architect and theorist whose projects that have thrilled and challenged the architecture profession. He trained at University of Illinois and Purdue University and worked in the offices of Eero Saarinen before devoting himself exclusively to theory and experimental projects. Among Woods’s best known work are provocative proposals for San Francisco, Sarajevo and Havana, each created when those cities were experiencing crises. He is the author of System Wien, The Storm and the Fall, and Pamphlet Architecture 15: War and Architecture.
Woods co-founded the non-profit Research Institute for Experimental Architecture and is a professor at The Cooper Union Irwin S. Chanin School of Architecture in New York City.
Woods is a recipient of the Chrysler Award for Innovation in Design and his works are in public collections, including the Museum of Modern Art, New York; the Cooper-Hewitt National Design Museum; The San Francisco Museum of Modern Art; the Cartier Foundation for Contemporary Art, Paris; the Austrian Museum of Applied Art, Vienna; the Carnegie Museum of Art, and the Getty Research Institute for the Arts and Humanities. His first built work in collaboration with Christoph a. Kumpusch and Steven Holl Architects, the Light Pavilion, is currently under construction in Chengdu, China.
Dean Thomas Hanrahan
Dean Thomas Hanrahan is a New York-based architect and a founding partner of HanrahanMeyers architects (hMa) and the Dean of the School of Architecture at Pratt Institute. He has been the principal architect on numerous award winning projects including the Holley Residence which featured at the Museum of Modern Art in 1999; the Won Dharma Center (2010 Design Award, Faith + Form Magazine) where he has overviewed the development of a 550-acre site into a zero-carbon footprint landscape and is overseeing the construction of hMa’s five buildings on the site; the Pratt Design Center, and the Interpretive Center Museum in Chattanooga, TN, and ‘Light-Arc’, a Platinum LEED-rated community center adjacent to Ground Zero in Lower Manhattan.
He is the author of a monograph on his own work The Four States of Architecture and the main hMa principal overviewing the Battery Park City North Neighborhood Master Plan and has a unique expertise in green master planning and sustainable urban design and has hosted a symposium in New York in collaboration with Metropolis magazine titled: ‘Global Warming’. The symposium addressed issues of green technologies applied to building construction as well as regional urbanism and sustainable development. He is also on the Editorial Advisory Board at The Architect’s Newspaper.
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Μια ζωή τήΣ ΜαθήΣήΣ, ΔιΔαΣκαλια και ΔραΣήΣ
74 a life of learning, Teaching anD acTion
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