Jonathan Carroll Bradley

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komoidia κώμη + ώδή village song ADOCODA INSTRUCTORS: KEITH PLYMALE, ROBERT CRAMER DATE OF FINAL REVIEW: MAY 7 2013 FINAL THESIS PROJECT JON BRADLEY 02448338 SPRING 2013 ACADEMY OF ART UNIVERSITY MASTER OF ARCHITECTURE (87 UNITS) GRADUATE DIRECTOR : MARK MUCKENHEIM THESIS COORDINATOR : RICHARD SMITH THE VERNACULAR ECHO CHAMBER SERVES AS AN INSTURMENT TO TRANSFORM THE RELATIONSHIP BETWEEN BUILDING AND SITE.

description

Master of architecture

Transcript of Jonathan Carroll Bradley

  • komoidia + village song

    ADOCODA

    INSTRUCTORS: KEITH PLYMALE, ROBERT CRAMER DATE OF FINAL REVIEW: MAY 7 2013

    FINAL THESIS PROJECT

    JON BRADLEY 02448338 SPRING 2013ACADEMY OF ART UNIVERSITYMASTER OF ARCHITECTURE (87 UNITS) GRADUATE DIRECTOR : MARK MUCKENHEIMTHESIS COORDINATOR : RICHARD SMITH

    THE VERNACULAR ECHO CHAMBER SERVES AS AN INSTURMENT TO TRANSFORM THE RELATIONSHIP BETWEEN BUILDING AND SITE.

  • TABLE OF CONTENTS I

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    MERCURY

    VENUS

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    JUPITERPROPOSAL

    MISSION / USER GROUPS

    PRECEDENT ANALYSIS

    ODEON OF HERODES / ANCIENT / 300 BC / ATHENS, GREECE / SITECHARTRES CATHEDRAL / MEDIEVAL / 13TH CENTURY / CHARTRES FRANCE / STRUCTURETEATRO OLIMPICO / RENAISSANCE / 1585 / VICENZA, ITALY / PALLADIO / MUSICAL PROPORTIONTANGLEWOOD / MODERN /1924 / LENOX, MA / WILLIAM RAWN ASSOCIATES / PROGRAMSAN FRANCISCO JAZZ CENTER / CONTEMPORARY / UNDER CONSTRUCTION / CAVAGNERO / ACOUSTICS

    SITE ANALYSIS / STATIC

    MAPPING DEMOGRAPHICS / MAJOR CITY NODES/ NATURAL FEATURES / MUSICZONING / CIRCULATION / SHADOW

    ENVIRONMENTAL RECREATION / HYDROLOGYGEOLOGY / HISTORICAL / AXONOMETRIC SHADOW

    SCHEMATIC DESIGNCONCEPT TREE / OCTAVE / PILGRIM

    ARCHITECTURAL DRAWINGS SITE 1/32 - 1ROOF 1/16 - 1SKIN / STRUCTURE 1/8-1

    EXITING / ADA AXONOMETRIC 1/8-1 FULL / LEVELS 5-4 / 3-2 / 1- 0

    FLOOR 1/8-1

    ELEVATION 1/8-1

    SOUTH EAST

    SECTION 1/8-1

    AXONOMETRIC SUB STRUCTURESTRUCTURAL SYSTEMSPATIAL COMPOSITION SPACIAL / PROGRAM / COST / CODE

    RENDERINGMAP EXTERIORINTERIOR

    LEVEL / 5 / 4 / 3 / 2 / 1

    EAST WEST

    SCHEMATIC DESIGN

    SUSTAINABLILITY

    ARCHITECTURAL DETAIL DRAWINGS / RENDERINGWALL SECTION - 1/2-1 DETAIL 1 - 1/2-1 FOUNDATION DOORROOF CONNECTION STRUCTURAL ASSEMBLAGESECTION DETAIL 1/2-1 BATHROOM DETAIL

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  • TABLE OF CONTENTS II

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    ARCHITECTURAL DRAWINGS SITE 1/32 - 1ROOF 1/16 - 1SKIN / STRUCTURE 1/8-1

    EXITING / ADA AXONOMETRIC 1/8-1 FULL / LEVELS 5-4 / 3-2 / 1- 0

    FLOOR 1/8-1

    ELEVATION 1/8-1

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    AXONOMETRIC SUB STRUCTURESTRUCTURAL SYSTEMSPATIAL COMPOSITION SPACIAL / PROGRAM / COST / CODE

    RENDERINGMAP EXTERIORINTERIOR

    PHYSICAL

    SITE MODEL 1/32 - 1 CONCEPT MODEL / SKETCH

    PERSONAL

    SEMESTER BREAKDOWN / TIMERESUME

    APPENDIX

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    LEVEL / 5 / 4 / 3 / 2 / 1

    EAST WEST

    SCHEMATIC DESIGN

    SUSTAINABLILITY

    ARCHITECTURAL DETAIL DRAWINGS / RENDERINGWALL SECTION - 1/2-1 DETAIL 1 - 1/2-1 FOUNDATION DOORROOF CONNECTION STRUCTURAL ASSEMBLAGESECTION DETAIL 1/2-1 BATHROOM DETAIL

    PAINTING

    INDEXBIBLIOGRAPHY

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  • M[ISSION]USE MUSE / MISSION / USER GROUPS 1

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    MISSION USER PROFILE

    I PROPOSE TO DESIGN A VERNACULAR ECHO CHAMBER THATHOPES TO UNCOVER THE SYMBIOTIC RELATIONSHIP BETWEENTHE SPACIAL QUALITIES OF A BUILDING AND THE FORM OF A SONG THAT IS CREATED IN IT. MORE SPECIFICALLY, TO ANSWERTHE QUESTION: IS MUSICAL FORM CREATED WITH AN ARCHITECTURAL CONTEXT IN MIND? AND IF SO, WHAT IS THE RELATIONSHIP BETWEEN MUSICAL AND ARCHITECTURAL ORDER?

    IF A ODEON CAN BE SEEN AS A HOUSE FOR MUSIC.CHORD FORM ON A GUITAR CAN BE SEEN AS A HOUSE OF SONG. THE WORD SONGE IN FRENCH MEANS DREAM OR VISION. IN ITALIAN, STANZA MEANS ROOM; AND IN GREEK THE WORD POEM DENOTES STRUCTURE.

    THROUGH THE ETYMOLOGY OF THESE WORDS IT IS VERY CLEAR THE RELATIONSHIP BETWEEN MUSICAL FORM AND ARCHITECTURE.

    THIS RELATIONSHIP HAS CHANGED THROUGHOUT THE COURSE OF HISTORY. RELATIVE TIME PERIODS IN ARCHITECTURE HOUSE THEIR RESPECTIVE TIME PERIODS IN MUSIC.

    WITHOUT A HEALTHY BALANCE, BETWEEN MUSIC AND THE ARCHITECTURE THAT IT IS CREATED IN; EACH ART FORM SUFFERS. OSCAR WILDE, IN HIS ESSAY THE DECAY OF LYING STATED: THAT LIFE IS IN FACT THE MIRROR AND ART THE REALITY. WITHOUT HEALTHY BALANCE BETWEEN THE TWO, THE RESULT IS THAT SOCIETY SUFFERS.

    NOW, IN ORDER FOR MUSICIANS TO CATER TO CONTEMPORARY MARKETS THEIR CRAFT MUST BE REDUCED INTO THE CHANNELSTHAT THEIR MUSIC WILL BE CONSUMED. THIS MEANS GEARING THEIR MUSIC TO THE I-POD EAR PHONE GENERATION. THUS SUBVERTING THE ROLE THAT ARCHITECTURE PLAYS IN THIS SYMBIOTIC RELATIONSHIP.

    THE MISSION OF THIS PROJECT IS TO ALLOW MUSICIANS TO EXPLORE DIFFERENT ENVIRONMENTS FOR CREATING MUSIC IN. RATHER THEN BLINDLY CREATING MUSAK RELATIVE TO A INVISIBLE MARKETABLE SUPERSTRUCTURE.

    THIS THESIS WILL EXPLORE VERNACULAR MUSIC OF AMERICA CONSISTING OF ITS SEVEN MAJOR MUSICAL GENRES: JAZZ, BLUES,CAJUN, TEJANO, OLE TYME, GOSPEL, NATIVE AMERICAN. THIS FACILITYWILL NOT BE EXCLUSIVE TO, BUT FOCUS ON THE NATIVE MUSICAL DIALECTS SPECIFIC TO THE UPSTATE NEW YORK REGION.

    VERNACULAR, FROM THE LATIN VERNACULUS MEANING HOME-BORN SLAVE; IS CONSIDERED THE NATIVE LANGUAGE OR NATIVE DIALECT OF A SPECIFIC POPULATION. ITS MUSICAL FORM AND SONG IS HOW THAT REGION PASSES DOWN ITS TRADITION AND HISTORY FROM GENERATION TO GENERATION.

    THIS CENTER, BECAUSE OF THE NATURE OF VERNACULAR MUSIC, WILL ONLY FACILITATE ACOUSTIC MUSICIANSHIP. FINALLY, UNLIKE CLASSICAL MUSIC, VERNACULAR MUSIC CAN SURVIVE WITHOUT A CONDUCTOR SO THE ARCHITECTURE WILL REFLECT THIS MAJOR DIFFERENCE BY PROVIDING A MULTITUDE OF STAGE AND AUDIENCE PERSPECTIVES.THIS FACILITY WILL ATTEMPT TO BREAK AWAY FROM THE TRADITIONAL SINGLE STAGED CENTRIC DESIGN AND BLEND THE LINE BETWEEN AUDIENCE AND PERFORMER.

    THIS WILL INCLUDE LOCAL MUSICIANS AS PERFORMERS AND LOCAL ITHACA RESIDENCE AS AUDIENCE MEMBERS TO DISTORT THIS LINE THE FACILITY WILL USE ITS LOCAL RESOURCES TO OFFER EDUCATIONAL PROGRAMS TO ENTICE AUDIENCE MEMBERS INTO PERFORMANCE. THIS WILL INCLUDE ATTEMPT TO FUSE WITH ITHACA COLLEGES MUSIC SCHOOL, AND BOTH THE BOUND FOR GLORY AND TRACY CRAIGRADIO STATION. THE FACILITY WILL PROVIDE A STUDIO LIKE ATMOSPHERE WHERE THE AUDIENCE CAN CONDUCT INTERVIEWS WITHTHE ARTISTS, THUS, FURTHER BLENDING THE LINE.

    AS A RESULT OF THE SITE CONTEXT THIS ARCHITECTURE HARNESES THE NATURAL OCCURENCES OF THE SITE IN ORDER TO PLAY THE BUILDING LIKE AN INSTURMENT.

    - CALLIOPE HOUSE IS A IRISH JIG TUNE IN 6/8 TIME. THIS TUNE SERVES AS A CALL TO THE DANCERS WHOM FORM A RHYTHMICAL PATTERN OF JUMPING IN IT'S RESPONSE. BY CREATING A REACTIVE DANCE-FLOOR THIS ARCHITECTURE, FUNCTIONS IN A VERY SIMILAR WAY TO THAT OF A DIAPHRAGM AND A SET OF LUNGS. BY UTILIZING THE ENERGY PRODUCED FROM THE DANCERS JUMPING, PRESSURE IS DISPLACED BY THE DANCE-FLOOR AND USED TO HARNESS ENERGY.

    - A CALLIOPE IS A MUSICAL INSTRUMENT THAT USES STEAM POWER TO PRODUCE MUSIC. HOW CAN AN ARCHITECTURE INVERT THIS PHENOMENON BY USING MUSIC TO PRODUCE ENERGY?

    - "WHERE WE DO NOT REFLECT ON MYTH BUT TRULY LIVE IN IT, THERE IS NO CLEFT BETWEEN THE ACTUAL REALITY OF PERCEPTION AND THE WORLD OF MYTHICAL FANTASY." -ERNST CASSIRER PHILOSPPHY OF SYMBOLIC FORMS

    thesis

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    MUSE

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  • PRECEDENT / ODEON OF HERODES ANCIENT / 300 BC / ATHENS, GREECE / SITE 2

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    SITE AREA: 8 ACRES BUILDING FOOTPRINT: 40,000 SQ FT

    WHAT: THE ODEON OF HERODES WAS BUILT TO HOUSE THE MUSICAL COMPETITIONS OF THE PANATHENIAN GAMES. THERE ARE TWO THEATER DESIGN TYPOLOGIESON THE GREEK ACROPOLIS: THE THEATER OF DIONYSUS, SPANNING ABOUT TWO TIMES THE FOOT PRINT OF THE ODEON OF HERODES. THE MAJOR DIFFERENCE BETWEEN THE TWO IS THE ROOF ASSEMBLY. IN ORDER FOR ACOUSTICAL PROJECTION INTO THE 2,000 PERSON BOWL THERE WAS A TIMBER FRAMED SQUARE PYRAMID ROOFTOP FROM WOOD CAPTURED FROM CAPTURED PERSIAN SHIPS.

    WHY: THE GREEK CLASSICAL ORDERING SYSTEM LAID THE FOOTWORK FOR VETRUVIUS TEN BOOKS ON ARCHITECTURE. IT IS IN THE STRICT GEOMETRIC ORDERING PRINCIPALS OF THE ACROPOLIS AND THE ODEON IN TALKING ABOUT PROPORTION VETRUVIUS REFERS TO PROPORTION AS A CORRESPONDENCE AMONG THE MEASURES OF THE MEMBERS OF AN ENTIRE WORK AND OF THE WHOLE TO ACERTAIN PART SELECTED AS A STANDARD. FROM THIS LAW SET THE ODEON OF HERODES DIRECTLY CORRESPONDS THE SAME PRINCIPALS SET OUT FOR THE ACROPOLIS AS A WHOLE RELATING IT TO ITS GREATER SITE CONTEXT.

    ODEON OF HERODES ATHENS GREECE

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    ARCHITECT /

    PREFORMER / TOM RELLINGARRAGEMENT / SLIDE GUITAR, VOCAL SONG / TRAVELING RIVERSIDE BLUES AUTHOR / ROBERT JOHNSON DATE RECORDED / 01 /13 /2013ORIGINAL DATE RECORDED / 06 /20 /1937FORM / 12 BAR BLUES

    ECHO:

    KALMANOVITZ HALL ODEON UNIVERSITY OF SAN FRANCISCO

  • PRECEDENT / CHARTRES CATHEDRAL MEDIEVAL / 13TH CENTURY / CHARTRES FRANCE / STRUCTURE 3

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    SITE AREA: 15 ACRES BUILDING FOOTPRINT: 117,060 SQ FT WHAT: THE DELICACIES OF THE ROSE AND LANCET WINDOW SYSTEM IS SUPPORTED BY AN EXTERIOR, FLYING BUTTRESS, STRUCTURAL SYSTEM. ALLOWING WITH THE STORY TELLING ABILITY OF THE STAINED GLASS, THE CATHEDRAL IS STRUCTURED IN PERFECT TUNE WITH THE PIPE ORGAN TO COMMUNICATE THE LITURGY ON A MUSICAL LEVEL. THE ENTIRE CATHEDRAL SERVE AS THE ORGANS MAIN CHAMBER,LARGE ENOUGH FOR HUMANS TO ENTER. THEY ARE ABLE TO EXPERIENCE HOW ACOUSTICAL FINE TURNINGS CAN TRANSFORM THEIR SONOROUS EXPERIENCE OF THEIR NATURAL SURROUNDINGS, TO THAT, OF THE DIVINE.

    WHY:THIS ARCHITECTURAL TYPOLOGY IS THE MOST ECONOMICAL WITH ITS STRUCTURE SO THAT IF ONE STONE WERE TO BE REMOVED, THE WHOLE BUILDING WOULD COLLAPSE. IT IS ALSO BASED AROUND THE CONCEPT OF THE LABYRINTH WHICH HASHISTORICAL ASSOCIATION WITH ARCHITECTURE (DEADALUS: ARCHITECT OF LABYRINTH) MUSIC AND DANCE ( THE CLERGY AT CHARTRES RE-CREATED HELL AND DANCED THEIR WAY OUT.)

    CHARTRES CATHEDRAL CHARTRES FRANCE

    ARCHITECT / LEWIS P. HOBART

    PREFORMER / JON VRADLEYARRAGEMENT / FIDDLESONG / C MAJOR SCALE AUTHOR / TRADITIONALDATE RECORDED / 12 / 06 /2012ORIGINAL DATE RECORDED / NAFORM / DORIAN

    ECHO:

    GRACE CATHEDRAL NOB HILL

  • PRECEDENT / TEATRO OLIMPICO RENAISSANCE / 1585 / VICENZA, ITALY / PALLADIO / MUSICAL PROPORTION 4

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    SITE AREA: 4 ACRES BUILDING FOOTPRINT: 12,000 SQ FT WHAT: TEATRO OLIMPICO IS MODELED AFTER A STRICT ADHERENCE TO CLASSICAL THEATER DESIGN ORDERING PRINCIPALS BASED ON VETRUVIUS TEN BOOKS ON ARCHITECTURE. IT IS UNIQUE IN DESIGN BECAUSE OF ITS STRICT ECONOMY OF MATERIALITY. PALLADIO WAS VERY AWARE OF PERCEPTION. BECAUSE OF THIS TEATRO OLIMPICO IS UNIQUE FROM CLASSICAL THEATERS.WHERE A COLONNADE OR A ROOF STRUCTURE IN A CLASSICAL THEATER DESIGN WOULD CONSIST OF SOLID MARBLE OR STONE, PALLADIO WOULD USE WOOD TIMBER FRAMING AND FACE THE WOOD WITH STONE BRICK OR PLASTER TO MAKE THE ARCHITECTURE APPEAR CLASSICAL. PALLADIO ALSO PLAYED WITH PERCEPTION BY TILTING UP THE ALLEY WAYS AT THE BACK OF THE THEATER IN ORDER TO GIVE OFF THE EFFECT THAT THE ALWAYS WAS EXTENDING INTO THE CITY BEHIND.

    WHY: PALLADIOS STRICT ADHERENCE TO MUSICAL PROPORTIONALITY BASED ON SUB DIVISIONS OF THE OCTAVE. THE SAME MATHEMATICAL PROPORTIONS THAT ARE USED TO STRUCTURE MUSICAL SCALES, PALLADIO USES THEM IN HIS ROOMPROPORTIONS. TEATRO OLIMPICO , WITH ITS UNIQUE STAGE PERSPECTIVE BLENDS THE LINE BETWEEN THE NATURAL STREETS CAPE STAGE OF VICENZA AND ARTIFICIALSTAGE OF TEATRO OLIMPICO.

    TEATRO OLIMPICO VICENZA ITALY

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    ARCHITECT / BERNARD MAYBECK

    PREFORMER / JON BRADLEYARRAGEMENT / FIDDLE SONG / CALLIOPE HOUSE AUTHOR / NIEL GOW DATE RECORDED / 12 /13 / 2012ORIGINAL DATE RECORDED / 1895 FORM / OLE TYME FIDDLE TUNE / 6/8 IRISH JIG

    ECHO:

    PALACE OF FINE ARTS PRESIDIO GATE

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    PRECEDENT / TANGLEWOOD MODERN /1924 / LENOX, MA / WILLIAM RAWN ASSOCIATES / PROGRAM 5

    SITE AREA: 210 ACRE BUILDING FOOTPRINT (SIJI OZAWA HALL): 36,000 SQ FTCOST: $7.5 MILLION WHAT: THE TANGLEWOOD MUSIC CENTER IS A ESTATE OPENED IN 1924 WITH THE HOPESOF CREATING A MULTI USE MUSIC FACILITY INCLUDING INDOOR AND OUTDOORPERFORMANCE AREAS. PROVIDING A MULTITUDE OF FACILITIES WHERE STUDENTS AND FELLOWS COULD LEARN FROM THEIR EXPOSURE TO THE BOSTON SYMPHONYORCHESTRA. THERE ARE 13 DIFFERENT PERFORMANCE FACILITIES, LIBRARY, CAFE, GALLERIA, MUSIC STORE, AND VISITORS CENTER EACH FACILITY RANGES IN SCALE, MATERIALITY, ACOUSTICAL MAKE UP, AND INTERIOR/ EXTERIOR CONDITION. THE SEIJI OZAWA HALL ALLOWS SEATING FOR 1,200 INTERIOR AND 2,000 EXTERIOR.

    WHY: THE DIVERSITY AND SUCCESS OF TANGLEWOOD HAS BEEN A DRIVING FORCE IN CLASSICAL MUSIC. PLACING 20% OF ITS MEMBERS TO AMERICAN SYMPHONY ORCHESTRAS AND 30% OF ITS MEMBERS AS FIRST CHAIR PLAYERS. EACH OF THEFACILITIES AT TANGLEWOOD IS ARCHITECTURAL FINE TUNED FOR THE ACADEMY TO BE SO SUCCESSFUL. EACH OF THESE FACILITIES ARE GEARED TOWARDS DIFFERENT CLASSICAL MUSIC FORMS. I WANT TO APPLY THE SAME PRINCIPALS THAT EACH BUILDING HOLDS FOR 250 PIECE CLASSICAL ORCHESTRAS AND SCALE DOWN TO HOUSE MUCH SMALLER 3 PIECE VERNACULAR MUSIC GROUPS. THE RATIO BETWEEN PERFORMER AND AUDIENCE SHOULD REMAIN MAKING THE VERNACULAR MUSIC CENTER ROUGHLY 1/10 THE SIZE OF TANGLEWOOD.

    TANGLEWOOD LENOX, MASSACHUSETTS

    46.

    ARCHITECT / LAWRENCE HALPRIN

    ECHO:

    STERN GROVE MUSIC FESTIVAL WEST PORTAL

    PREFORMER / BELA FLECK AND THE FLECKTONESARRAGEMENT / BANJO, TABLA, BASS SONG / BIG COUNTRY AUTHOR / BELA FLECKDATE RECORDED / 06 / 25 /2000ORIGINAL DATE RECORDED / 06 /09 / 1998FORM / TRADITIONAL BLUEGRASS ARANGEMENT

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    PRECEDENT / SAN FRANCISCO JAZZ CENTER CONTEMPORARY / UNDER CONSTRUCTION/ CAVAGNERO / ACOUSTICS 6

    ECHO:

    PALACE OF FINE ARTSGRACE CATHEDRAL

    KALMANOVITZ HALL ODEON SFJAZZ

    STERN GROVE

    LOCAL ACOUSTICAL PRECEDENTS

    SITE AREA: .5 ACRE BUILDING FOOTPRINT: 13,000 SQ FTCOST: $30 MILLION ($3 MILLION ACOUSTICAL) WHAT:THE SF JAZZ CENTER IS RANGING FROM 200 TO 700 SEAT TRANSFORMABLEAUDITORIUM. THIS INCLUDES ADJUSTABLE, SEATING, DEFUSE, REFLECT, AND ABSORBING WALL CONDITIONS. DRAPE WALL SYSTEM COMPACTING SPACE TO ALLOW FOR DIFFERENT SCALE PERFORMANCE. PROGRAMMATICALLY THERE IS AN80 PERSON ENSEMBLE ROOM THAT NEEDS TO BE ACOUSTICALLY RATED FOR FIRE ENGINES FROM THE EXTERIOR AND ISOLATED FROM THE REST OF THE SPACE VIA A ACOUSTICALLY ROBUST FLOOR, WALL, AND CEILING CONDITION. THE SPACE ALSO HOUSES A MULTITUDE OF THEATER FEATURES INCLUDING DIGITAL LEARNING CENTER, CAFE, BOX OFFICE, LOBBY, RETAIL, GREEN, PRACTICE, OFFICE AND DRESSING ROOMS.

    WHY:BEING UNDER CONSTRUCTION, THE SAN FRANCISCO JAZZ CENTER WILL BE A HUMAN SCALE RESEARCH LABORATORY UNTIL ITS PROPOSED COMPLETION IN 180 DAYS. WORKING DIRECTLY WITH SAM MESIKEPP I HAVE BEEN ABLE TO LOOK THROUGH THE COMPLETE SET OF WORKING CONSTRUCTION DOCUMENTS AND THE WORKING REVIT MODEL FOR THE PROJECT. THIS INCLUDES ACCESS TO ALL OF THE LATEST TECHNOLOGY IN ACOUSTICAL ENGINEERING WALL, CEILING AND FLOOR ASSEMBLAGE DETAILS. THIS INCLUDED A PRESENTATION ON THE PROJECT DEVELOPMENT WITH THE PROGRAM NAVISWORKS. THIS PROGRAM ALLOWS FOR EACH SUB - CONTRACTOR TO CREATE A 3D MODEL OF THEIR JOB: I E. ELECTRICAL, HVAC, ETC. AND IMPORT INTO THE CREATED ARCHITECTURAL REVIT MODEL TO SEE HOW EVERYTHING IS ORGANIZED. IT IS THEN THE ARCHITECTS JOB TO SOLVE PROBLEMS OF OVERLAPPING WITH DIFFERENT SUB CONTRACTORS. THIS APPROACH, GIVES THE MOST EXTENSIVE LOOK TO HOW A HIGH PERFORMANCE BUILDING IS ASSEMBLED. WITH ITS BOX FORM THE SF JAZZ CENTER APPEARS SIMPLE, BUT UNDER THE HOOD IT IS ONE OF THE MOST COMPLEX PROJECTS IN ITS FIELD.

    SF JAZZ CENTER SAN FRANCISCO CALIFORNIA

    52.

    PREFORMER / ZAKIR HUSSAINARRAGEMENT / TABLASONG / INTERVIEW AUTHOR / BELA FLECKDATE RECORDED / 03 / 06 /2013ORIGINAL DATE RECORDED / 03 /06 /13FORM / TRADITIONAL TABLA

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    SITE ANALYSIS / STATIC / REGIONAL SITE ZOOM / DEMOGRAPHICS / MUSIC / CITY NODES 7

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    CORNELL UNIVERSITY

    ESTABLISHED - 1865 UNDERGRADUATE - 13,935

    GRADUATE - 7,004FACULTY - 1,564

    STAFF - 8,081OTHER - 1,313

    TOTAL - 31,899

    ITHACA COLLEGE

    ESTABLISHED - 1892AS ITHACA CONSERVATORY OF MUSIC

    UNDERGRADUATE - 6,200GRADUATE - 500

    FACULTY - 223 STAFF- 487

    TOTAL - 7001

    CAYUGA LAKE

    PEOPLE OF THE GREAT SWAMPLENGTH - 38.2 MI

    AVERAGE WIDTH -1.7 MIMAX DEPTH - 433 FT.

    ITHACA NEW YORK

    AREA - 476 SQ. MI.POPULATION - 101,000

    MEAN TEMP - SUMMER - 78 FMEAN TEMP - WINTER - 32 F

    NAMED AFTER GREEK ISLAND OF ITHAKA

    ITHACA IS GORGES

    WATERFALLS - 100 WITHIN 10 MILES OF DOWNTOWN

    GORGES - 6 MAJOR 27 MINORHIGHEST WATERFALL

    EAST OF MISSISSIPPI -TAUGHANNOCK FALLS - 215

    NODE - 3

    NODE - 2

    NODE - 1

    0.25 MI

    M

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    K.

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    B.

    J.

    A. GRASSROOTS MUSIC FESTIVAL

    ANNUAL VERNACULAR MUSIC FESTIVAL

    B. RONGOVIAN EMBASSY 50 PERSON VENUE

    C. THE HAUNT 250 PERSON VENUE

    D. CASTAWAYS

    500 PERSON VENUE CLOSING - TAX PROBLEMS

    E. STATE THEATERRESTORED

    1,000 PERSON VENUE

    F. WVBR-FMHOME OF LIVE OLD TYME

    SUNDAY RADIO SHOW G. ITHACA FESTIVAL

    ANNUAL MUSIC AND ART FESTIVAL

    K.

    F.

    G. ITHACA FESTIVALANNUAL MUSIC AND

    ART FESTIVAL

    H. PYRAMID STUDIOSHOME OF I TOWN

    RECORDS CLOSING BECAUSE OF

    STRUCTURAL PROBLEMS

    I. ITHACA COLLEGE SCHOOL OF MUSIC

    450 STUDENTS

    J. CHAPTER HOUSE BAR200 PERSON VENUE

    K. TAUGANNOCK PARKSUMMER CONCERT SERIES

    L. WILLARD STRAIT HALLHOME OF LONGEST

    RUNNING FOLK RADIO PROGRAM IN COUNTRY

    BOUND FOR GLORY

    1.

    2.

    3.

    4.

    5.

    6.

    10 MI30 MI

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    SITE ANALYSIS / STATIC / ENVIRONMENTAL / REGIONAL MIDDLE DEVONIAN GLACIER / FREQUENCY / CIRCULATION / TRAJECTORY / FALLING WATER 8

    1,000

    - ADVANCEMENT AND RETREAT OF GLACIER GOUGE DEEP TRENCHES FORMING FINGER LAKES REGION.

    - GLACIAL ICE MELT DAMMING SEDIMENT CREATED VERY DEEP ELONGATED LAKES. STREAMS PLUNGED INTO LAKE FROM THE GLACIALLY STEEPENED VALLEY SIDES.

    - LATER LAKE LEVEL FELL, LEAVING A SERIES OF STEPS ON THE HILLSIDE.

    - STREAMS THEN ERODED DOWNWARD AS THE LAKE LEVEL CONTINUED TO DROP, FORMING GORGES AND DELTAS.

    MUSICIAN

    440 FREQU

    ENCY

    C-MA

    JOR SCA

    LE

    GLACIAL FLOW MODEL

    1/10 YEARS

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    ELEVATION CHANGE321 OVER 6.0 MILES

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    FALLING WATER

    A river watering the garden flowed from Eden

    Facilis descensus Averni

    In this room, the heat pipes just cough

    Seadeath, mildest of all deaths known to man. Old father ocean

    Two roads diverged in a yellow wood,And sorry I could not travel both

    Congealing Cocytus

    .. The sum of all the general rage felt by his whole race from Adam down.

    CIRCULATION / TRAJECTORY

    `

    REVERBERATION FREQUENCY

    MIDDLE DEVONIAN GLACIER

    DIRECTION OF GLACIALSHOVE

    LATERAL SHIFT LEFT

    SLIP NON LATERAL PARALLEL JOINTS

    SLIP LATERAL PARALLEL JOINTS

    STRESS TRAJECTORY

    LATERAL SHIFT RIGHT

    BASE OF RHINESTREET SHALE

    RESIDUAL STRESS

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    SITE ANALYSIS / MAPPING / LOCAL SITE CIRCULATION / ZONING / SITE OPTICS / SITE OBSCURA 9

    SITE

    1.

    3.

    2.

    4.

    5.6. 7.

    8.9.

    APPROACH VIEWS

    1. CAFE CULTURE2. DOWNTOWN CHANNELIZATION3. SUSPENSION BRIDGE4. NATURAL SHALE PATHWAY5. EXISTING GRADED ROAD6. NATURAL ROCK AMPHITHEATER7. HUMAN SCALE8. EXPOSED ROOT SYSTEM9. GLACIAL REMAINS

    CIRCULATION

    A. TCAT - BUS STOP 10 LINE - 0.15 MILES FROM SITEB. TCAT - BUS STOP 11 LINE - 0.2 MILES FROM SITEC. BICYCLE LANE - LOW TRAFFIC DESIGNATED LANES CONNECTING DOWNTOWN, CORNELL, AND ITHACA COLLEGE WITH SITED. SOUTH HILL RECREATION MULTI - USE PATH - 0.2 MILES FROM SITE

    5.

    6.

    7.

    8.

    9.

    1.

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    4.

    SITE OBSCURA ZONING

    A.

    B.

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    D.

    200

    SECTION 325-8: DISTRICT REGULATIONS CHARTP-1 USE DISTRICTUSE PERMITTED PRIMARY USES PERMITTED ACCESSORY USES OFF-STREET PARKING OFF-STREET LOADINGDIST. (See: General Notes) REQUIREMENTS 1 2 3 4 51. Public recreation. Accessory uses and service buildings for permitted 1. Public recreation: 1 space per 10 persons viewing Institutional: As set forth above and in2. Public and semi-public institution whose purpose is education except that uses, upon issuance of a special permit as set forth or participating. 325-21 For similar specific uses, subject alsoWithin 200 feet of a residential district, any use other than classrooms or in 325-9. 2. Institutional: As set forth above and in 325-20 for to 325-9.Living accommodations whichconform to the regulations of the adjacent similar specific uses, subject also to 325-9. P-1 residential district is permitted onlyby special permit of the Board of Appeals (See: 325-9)3. All municipal public buildings, facilities and functions.

    P -1 - CITY OWNED

    R -1 - RESIDENTIAL

    C -1 / B-1 COMMERCIAL/CIVIC

    BUSBIKEMULTI-USESTOP

    RESIDENTIAL COMMERCIAL

    SITE OPTICS

    SITE CIRCULATION

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    SITE ANALYSIS / STATIC / ENVIRONMENTAL / LOCAL RECREATION / [RE] CREATION 10

    1,000

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    CITY WATER SUPPLY

    CLIF

    F D

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    G -

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    AM

    [RE]CREATION

    $ % & *

    #

    !

    $

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    &

    *

    atti

    c ap

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    tus of dreams A

    s the M

    yopic menopaus

    e mon

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    ome Stretch

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    the O

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    n

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    s graze Upon O

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    ron, Titani

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    re all

    cloaked

    in la

    ce Po

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    es gaze Drenched in

    the P

    rude pala ce

    O

    f H

    elios Hy

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    en ray

    s Tha

    t Twinkle St. Cecilia

    s Vac

    ant azure glaz

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    e Cel

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    pl

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    celib

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    r Not

    e An

    old

    an

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    POTTERS FALLS DAM THRESHOLD ONE

    SECOND DAM THRESHOLD TWO

    WELLS FALLS DAM THRESHOLD THREE

  • + CULTIVATION

    - ABRASION

    = SYNTHESIS BURL DERAILMENT

    ... ECHO

    g

    g

    C

    AD

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    g - gaze

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    2

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    3

    CONCEPT GLACIAL HARROW / TREE PROGRAM 11

    PARTI

    ONCE UPON A TIME, 380 MILLION YEARS AGO, SIX MILE CREEK GORGE WAS THE HOME OF THE MIDDLE DEVONIAN GLACIER. NOW, AMIDST ITS HOUSE OF RUIN , THE GLACIAL HARROW, HAS LEFT US A GEOLOGICAL THUMB PRINT OF THE MIDDLE DEVONIANS FREQUENCY.

    FREQUENCY IN MUSIC, IS THE ORDERING OF COMMON OCCURRENCES REPEATED WITHIN A FUNCTION OF TIME.

    SOUND OR SONG IS CREATED WHEN AN OBJECT CREATES FRICTION, THROUGH VIBRATION WITH THE AIR.

    SIX MILE CREEK IS THE REMAINS OR ARCHITECTURAL FORM OF THE MIDDLE DEVONIAN GLACIERS SONG.

    AFTER THE GLACIAL THAW, SIX MILE CREEK WAS PROGRAMED WITH DENSE FOREST AND A WATER SOURCE WHICH WILL EVENTUALLYIRRIGATE THE CITY OF ITHACA.

    CONCEPT GLACIAL HARROW

  • CALLIOPE HOUSE: TIME SIGNATURE : 6/8 - IRISH JIG TUNE

    VERNACULAR-

    a: Using a language or dialect native to a region or country rather than a literary, cultured, or foreign language.

    b: In music, vernacular is the arrangement of local musical dialects around traditional songs and how these songs are arranged with instrumentation and dance.

    THROUGHOUT HISTORY THE TERM CALLIOPE HAS REQUIRED ENERGY TO PRODUCE MUSIC. FOR HOMER IT WAS HIS LOVE, THE CIRCUS RINGLEADER STEAM, THE WARLORD OIL AND FOR THE SIRIN BREATH.

    MY THESIS ATTEMPTS TO SEE IF THERE IS AN ARCHITECTURE THAT CAN INVERT THIS PHENOMENON BY CREATING AN INSTRUMENT THAT USES MUSIC TO PRODUCE ENERGY.

    [HIS]TORY

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    CONCEPT EPIC / VERNACULAR 12

    1.

    28.30.

    REE ALPH

    A BET

    A Cross, the foiled daw

    nTracing the breaking w

    heelStretched upon St. CatharineLending D

    A illiterate

    Her ornam

    ental paneSheathed a Yellow

    ish Blue,O

    ccidental StainIve W

    andered neath the oceanThy Tar Baby ReassuredBut its the A

    ir who w

    as jealousW

    ith her nimbus O

    bscuredSo I thought it the bestJust to leave this w

    orldSo slipper-ally and SplinteredThe Ivory vine w

    indsRetracting upon a reverieW

    here Her Ivy does w

    hine:To-m

    orrow, and To-M

    orrow and To-m

    orrow

    Once upon a tim

    e.Tusks Tap trickle track pattedPatterning the parched ponys jaw

    sPeering panoram

    a pleat,seep the w

    ounds beneath her gauzeD

    eep, where D

    att a Dioram

    aD

    ew Perm

    eate Her a Flaw

    s.The Curse of the M

    ississippiW

    here Eddies Echoed her perfume

    Where the Bucked toothed Virgins

    Atrax M

    en-straight to Ma oooom

    But Wont you play the rest for m

    e?Sobs babble bobbes w

    oonO

    h the Arkansas Travelers

    With a face of cured H

    amReects lyres Liriopes, toc, hung so grandFathers hand, Tw

    ix, the Rowan w

    indow jam

    bPlay it yourself

    says heW

    urr hur numb son done sw

    amU

    nder a Lacquered Lenten lanternSilos Silhouette the H

    arvest worm

    As the return of the robins

    To Close their nal turnday-Break

    O, how

    their Caw bled

    A sound a gnom

    on could discernA

    nd the guest tickled RapeseedA

    s Lucifers sickle reapedSew

    In Pascals ebony cabinetA

    Pallid Peg-leg Weeps

    But Theres hope inside the alder groveW

    here his machinery m

    edicine sleepsThe H

    eroine Nym

    pho tracksSeven years of ScarsBut cant veil the stenchhatched plum

    beneath the mar

    Cause the High-m

    ans blades KnowLess than the journey-w

    ork of starsThat shed its radiance bright and farW

    ill pointed a path which led

    Low D

    own the kiddym

    ine chatterboxof a store-bought headBut the lids on the jars are just too tightTo hear w

    hat they saidSo like a cloud of urine, bellow

    Orions belt

    I forded the Nueces that penetrates the grand

    Corpus Christi carcass, liquid quick sandyW

    here the trinities just muddy rusty and dandy

    So La, la, la, le, please lend me your brazos

    Cause theres many a w

    omen, to gossip this landy.

    How

    the Panoptic pollutants palsiedPinocchios penicillin spum

    eTheir leagues cant fathomA

    Rabid slaver Neptune

    So, weve all w

    orried wonders

    Witch w

    icked wanders loom

    The ninth Alchem

    y, Aristotle sym

    phonyW

    hos drawing room

    so tenderly wrote

    A Chant for the Transhom

    o column Q

    uinnsW

    here children born with hairy coats

    Because it Seams that his storys

    Heavens w

    rath unto the kingdom it denotes

    Ode to The O

    edipal Opis

    Great devour of the road

    Eating villages for breakfastW

    itch Scarlet's doth forebode:)Crafting the shades urthonaTom

    b cough Oppened en code

    A M

    eaty-esh, invertebrates,disjointed chain of bonesThe Blood-purple Em

    press splatteredH

    er albino-clay monochrom

    eA

    nd a chance to mold that w

    icked-whale

    In an innite amount of form

    sThe W

    inds wind her leather bag

    Letters Found oating between

    The varlet abandoned wagons

    Mercury static appearllatticed m

    achineThat Retard the resonance of hisM

    yriad attic apparatus of dreams

    As the M

    yopic menopause m

    onsters,Som

    e Stretch the yolk in vainSom

    e Like the Om

    ahas cattle stock,O

    r even the autumn m

    ans grazeU

    pon Oberon, Titania and Puck,

    Theyre all cloaked in lacePorcelain Puppet PrancingRound the m

    aypoles gazeD

    renched in the Prude palaceO

    f Helios H

    ydrogen raysThat Tw

    inkle St. CeciliasVacant azure glazeThe Celestial Pirouette plotA

    tlas, the celibate sirens silence brokeScraw

    nally sheveled, objectifying their Note

    An old an gasp bound the cripplers joke

    While A

    lma gests m

    ost hystericalhistoricalSom

    n am bu lists w

    okeD

    o rhyme phone D

    elph si tuCom

    mands, tim

    e the sword her prod

    But the tender Roast beef mutton

    She musk polio nus Ball-odd

    Digesting m

    amas cham

    berScene behind her shroudN

    eurosis uncles and a golden bugO

    Hex I gonzo go com

    bD

    is lexical Logorithmic stanzas

    As am

    our crystallized Rome

    Dow

    n six seven eight nineAccents Jupiter acrostyxx,, hom

    e

    Yes-rosy ngers fecalShe raised her arm

    s in wrath

    So mythm

    aker, mythm

    akerPlease draw

    me a bath

    Be fore be low be tw

    een be neath,Be yond this dirty pathTo string along the seashellsA

    mazed at the am

    putees ropeM

    eanwhile M

    inos Meandering

    To Pool the Hypochondriacs hope

    Portinas prosthetic pattersPenal Pattrns to N

    yx Hypnos elope

    CirQuilling the M

    ary-go-RowO

    arso divides the thirty-fourth ActThe noise of Palinurus Stranded:Like the m

    asts of the Essex: CRACKA

    s the creamy-iris yaw

    nG

    asping, that Cat a ract

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    CONCEPT OCTAVE / BREATH 13.1

    DOREMEFA SOLASI

    OCTAVE -nounA series of eight notes occupying the interval between (and including) two notes, one having twice or half the frequencyof vibration of the other

    SYNCHYSISnoun

    a hyper-baton so violent as to confuse the meaning of a sentence.

    2. A complicated, interlocking word-order pattern in early Latin verse, demonstrated by Virgil and his contemporaries.

    3. Following the rhetorical structure: ABAB

    HORN

    HOLLOW

    DRUM

    LABYRINTH

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    TELEMACHIAD ODYSSEYNOSTOS

    A D O C O D ASI LA SO FA ME RE DO

    EPIC

    CHIASTICOCTAVE

    M(OTHER)

    SON

    UMBILICALS

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    CONCEPT PILGRIM / 3/4 WALTZ 13.2

    PILGRIMnoun

    A wanderer; a traveler; particularly, one that travels to a distance from his own country to visit a holy place, or to pay his devotion to the remains of dead saints

    CHIASMUS

    noun

    grammatical constructions, or concepts are repeated in reverse order.

    2. Following the rhetorical structure: ABCDEFGFEDCBA

    A B

    B A

    HAMLET

    TREE ALPHABET

    WINTER SOLSTICE DAWNSATURNALIA

    PILGRIM

    COLLECTIVE

    NADIR ITHACA

    42.4406

    C

    AD

    O

    AD

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    CIRCULATION : 3/4 WALTZ

    COLLECTIVE (STATIC)

    ECLIPSES BOTH THE SUN AND MOON

    PILGRIM IN TIME

    PILGRIM(STATIC)

    NW TOWARDS TWILIGHT

    SE TOWARDS DAWN

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    2.

    4.

    5.6. 7.

    8.9.

    A.

    B.

    C.

    D.

    PILGRIMnounA wanderer; a traveler; particularly, one that travelsto a distance from his own country to visit a holy place,or to pay his devotion to the remains of dead saintsCHIASMUSnoungrammatical constructions, or concepts are repeated in reverse order.2. Following the rhetorical structure: ABCDEFGFEDCBA

    ITHACA42.4406

    NADIR

    COLLECTIVE

    PILGRIM

    HAMLET

    NW TOWARDSTWILIGHT

    ECLIPSES BOTH THESUN AND MOON

    SE TOWARDSDAWN

    COLLECTIVE(STATIC)

    PILGRIMIN TIME

    TREE ALPHABET PILGRIM

  • A Cross,, the ffoileddawn Tracing the eeeebreabb kinng wheelStretched upon St. Cathaarine LendingDA iDA iilliterate Her illit t Hornnamental pane Shheathed a Yellow-issh Blue, Occiden-tal Stain Ive wan-dered neath the ocean Thy TarBaby Reassured But its the Air who was jealous With her nimbusWith her nimbusObscured So Ithought it thebest Just toleave this world So slipper-ally and SplinteredThe Ivory vine

    nwinds Retractinng eupon a reveriee

    Where Her IvyWWWhere er IvWherWWWW e Her Ivyvydoesddddddd whine: To-

    mmmorrmmmm ow, andoToToTo-ToToToTT Morroow

    ananand anannn To---ommmorrmmmmm oow OOOncue e e ue ueee uuponaaa aa tiaaaa a me

    TTuskTTTTTTTu s Tap tricttttrttrtt kle track

    pattpppppppp ed Pattern-ingiiinininin the parched ponyss

    jawsjajjajajajajajjjjj Peering panorama pleat, jjseep the wounds beneath her gauze

    Deep, wwhere Datt a Diorama Dew Peermeate Her a p FFFlaaws. The Curse of tooo he Mississippi Where edddies echoed her perfume Wheere the Bucked toothed Virgins Atrax Menoo -

    strass ight to Ma ooooom But wont you play the resst for me? Sobs babble bobbes woonstsOhO the Arkannsas TravelersWith a face of cured Ham Reflects lyres lirioppppppesp , too, too, to, c,c,c,c,ccccc,O

    A CAA Cross, hhhhhthe ffffooiled dawn Tracing the breaking

    wheel Strretched upon St. Catharine Leending DA illiterate Her nornamentall pane Sheathed a Yellowish BBlue, Occidental Stain Ive wann-sdderedddddd d neath tthe ocean Thy Tar Baby Reasssured But its the Air who wass jealous oWWWithWWWW her nimbuus Obscured So I thought it thhe best Just to leave this woorld

    So sSo sSSo sSooSooSo lippliplippppeer-aally lylly lly lyy and aaaanaaaaann Splintered The Ivory vine winds Re-tracttttt ting upon a reverie Where

    HHHHHHer Ivy does whine: To-wmorrow, and To-Morrowwwwwwmorrow and To Morroww anw anw anw anw annww nnd ddd ddd dw anaaaaaaaa d

    u To-morrow Once e e ue e eee upon a timtimtimtimtimtimtimmme.e.e.e.eee.eTusks Tap trictttt kle eeee eeee ttract k

    pattpppppppppppppppp ed PPPPattPPPPPPPPPPPPPPPP erning the parched ponys jaws PPeer-

    ing panorama pleat, seep the wounwounwounwounwounwounwounwowounnwwwww uwww ds bdddddd eneaeaneaneaneaeneneanneath her ggauze

    DeepDeepDeepDeepDeepDeepDeepDeepDeepDDDeD , wheeere eeee Dattt a Diorama Dew D PermPermPermPermPermPermermermmPerPer eatee Her a Flaws. The

    CursCursrsrsCursrsCurrrsr e oe oe ofe oe oe ofe oofe o thee Mississippi Where eddies echoed her perfumeeddie ees eee ceddieddddd eees eeeee cchoed her perfumechoed her perfume

    WheWheheWheeheerheheeheeeWW e tthe Bucked toothed ViVViVirgVVVVV inss Atrax Men-straighttto Mtttt a oooom But wontyyouyyyyyyy play the rest formme?mmmm Sobs babblebobbbbbbbbbbb ees woon Oh theArkArArAArkaArAAArkrr nnsas

    TraTraTravTraTraTraTraraTrra eleersWith a faceof coff cf cf cf cf cf ff uredd Ham Re-

    yflececectecececflececeecece s lyrres lirlirilirilirlirlililir opes, toc, hung soo

    grangragragragragraggrgrgragrgragraraggrrraragra d FathFathFathFathFathFathFathFathhFathFatFathFathhaFathathaathththatathhattttheerseeeeeeeeeeee s

    handhandhandhandhhanhandhandhandhandndhandhandhandhhandhaandandhandhandhanndhannanhandndh dddnddhanddddh dnddh ddd,,,,,, ,,,, ,, ,,,,,,TwixTwixTwixTwixTwixTwixTwixTwTwixTwTwixTwixTwixTwix, tht, ththththththhhhh, th, ththh, ththhtthhtthheeeeeeeeeeeeeeeee eeeeeeeeeeee e

    RowaRowaRowaRowaRowaRowaRowaRowaRowaRowaRowaannnnnnnnnnnnnnnnnwindwindwindwindwindwindndwindndwindwindndndow jow jow jow jow jow jow jow jow jjow jow jowow wwoww owwow joowwwowow jw jow jjjjamamambamamammamamamamammmmmammmmmb

    PlaPlPlaPlaPlaPlaPlaPlaPlaPlaPlaP aPlaPPlPllalPlalaPllaay itity ity ity itiy iiy ity ity ityyy ity itityy youryouryourouryouryouyouryouyouyouyouy rselfselfselfselfselfselfelfelffselfselfsele sasasasasa ys hys hys hys hys hs hhs hys hhhe eeeeeeeee

    h bwurr hur numbh b

    A CrAAAA oss, the fooiled dawn Tracing the bbreaking

    wheel Stretched upoon St. CathCathathCathhCatCatCathCathCathCathCathCatCatCathatatharinarinarinarinarinarinarin Le Lee LeLLe Lendinndndinndinndinnding DAg Dg DAg DADAg DA illillilliteriteriteritertee ----

    A Cross, the foiled dCross, the foiled ddawn Tracing thedawn Tracing thebreaking wheel SStretched upon St. Catharine Lendinng DA illiterate Herornamental panee Sheathed a Yellowish Blue, Occidental Stain Ive wanderedneath the ocean Thy Tar Baby Reassured But its the Air whho was jealous With hernimbus Obscured So I thought it the bestJust to leave this world So slipper-ally annd Splintered The Ivory vine

    ywinds Retractingg upon a reverie Where Her Ivyy doesowhine: To-morrow, and To-Morrow and To-moorrow

    O tti

    gg pp

    Once upon a ttime.pTusks Tap trickle track patted Patterning the pparchedeponys jaws Peering panorama pleat, seep thee wounds be-

    neath her gauze Deep, where Datt a Diorama Dew Perme-

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    ARCHITECTURAL DRAWINGS SITE PLAN / 1 - 1/32 14

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    GILES STREETEGILES STREE

    1 - 1/32

  • SGILEGILEGILES SSSSTREETREETREET

    A Cross, the foiled dawn Tracing thhe breaking wheel Stretcheed

    upon St. CCatharine Lending DA illiteraate Her ornamental pane Shheathed a Yellowish Blue, Occidental Stain Ive wandereed neath the ocean Thy Tarr Baby Reassured But its

    the Air who was jealouus With her nimbus Obscureed So I thought it the best Just to leave this world So slipper-ally and Splintered The Ivory vine winds RRetracting upon a reverie WWhere Her Ivy does whine: Too-morrow, and To-

    Morrow and To-morrow Once upon a time. Tuusks Tap trickle track patted Patterning the parched poonys jaws Peering panoramma pleat, seep the wounds bbeneath her gauze Deep, wwhere

    DDattt a Diorama Dew Permeate Her a Flaws. The Curse of thhe Mississippi Where eddiess echoed her perfume Wherre the Bucked toothed Virgiins Atrax Men-straight to Ma oooom But wont you play the rest for me? Sobs babble bobbes woon Oh the Arkansas TravelersWith a face of cured Ham Reflects lyres liriopes,sstras igsstras igght to Ma oooom But won tght to Ma oooom But wontt you play the rest for me? t you play the rest for me? Sobs babble bobbes woonSobs babble bobbes woon Oh the Arkansas Traveler sOh the Arkansas TravelerssWith a face of cured Ham RsWith a face of cured Ham RReflects lyres liriope s, Reflects lyres liriopes

    ttoct , huung so grandFaatha ers hand, Twix, the Rowan window jamb Plaaaaay ity ity ity itity ity y iy ity ity youryouryouryyouououy ursssssselfseeee says he

    wurrwwuwuwwwuwuwu huur numb son done swam UUnder a Lacquered Lenten laantern SiloSSSSSSS s Silhouette the Harvvest worm As the return of the robins To

    closccc e their final tturn day-Break O, how their Caw bled Asounssss d a ggnomon could discern And tthe guest tickled

    RaRRapeseed As LA ucifers sickle reapedd Sew In Pascals ebononyon cabcababinetineinen A

    Pallid Peg-leg weeps But theres hope insnsidns e thee alder erer grovgrovgro e-WherWW e his machineery medicine sleepeps ep

    The Heroine Nyympho tracks vSeveSeSSS en years of Scararsara But cant vveil thestench hatchhed plumbe--- hneatnnnnn h thhhee mae r Cause thhe

    High-maans blades KKnowKKKK Less than the journey-work of stsstars That sheds its radiance bright and far Will

    cpoinpp ted a path whicch led Low Down the kiddyy-mine chatterbox of a sstore-bought head But the lids

    oon the jars are just tooo tight To hear what they said So like Oa ca cla caaaaaaa oud of urine, bellow OOrions belt I forded the Nueeces that dpenepenenpeppep nepepepeppppppp tratrarr es tes tee he gh randpeneeneenetratrrr es tes he grandd CorCorCorpus pupu Christi carcass, liqud Corpus Christi carcass liquuid quick sandyuid quick sandy

    WherWherWherWWWWWWWWWWW e the the the tre trrinitinitnitieies just muddy rusty and daandy So La, la, la,ele, e, e,e, ll pleapleaeaplease leend me yyyyour brazos Cause ttheres many a

    womewowww n, to gossippp this landy. How tthe Panoptic pollutants epalspppppp ieed Pinoooocchicchicccchios o penicillin spuume Their leagues cant tfatfffff thom A RabRabRabid id sid laver Neptunne So, weve all worried wonn-dersddddd WitWitWitWitch wch wch wch wicked wanderss loom The ninth Alchemy, AAr-

    istoii tle ll symmpm hony Whos drawing room so tenderly wrotwwwwwww e A CChanC t for the TTrans-homo column Quinns

    WherWWWWWWWW e ce che c ildren bornn with hairy coats Because ittSSeammSSSSS mSSSSS mS s thss at his storyys Heavens wrath unto the king-domom ddomdddddddd it denotes Odde to The Oedipal Opis Grreat ddevodddddddddddd urer of the rooad Eating villages for breakk-ffafastfffffffffffaff Witch Scarllet's doth forebode:) Craftinngttthhe tttththttttt shades urthoona Tomb cough Oppened een cccccodeccccc A Meaty-flesh, invertebrates, dis-joinjjjjojoojjojj ted chain of bbones The Blood-purple EEEEmprEEEE ess splattereed Her albino-clay mono-ccccchrocccccc meAnd a chaance to mold thatwwwwicwickwicwwwwww ed-whale In awwwicwickwwwwww ed-whale In aan infinite amount of an infinite amount offffformformfffformfffff s The Winds wind her leather

    bbbagbagbagbbbagbbbbbbbb Letters Founnd floating betweenTTTTTheheTTheT eTTTTT vvarlvv et abandonned wagons Mer-

    ccccuryryrycccc ryccc stststas tic appearllatticed machineTTTTThattTTTT tTTTT RRetRR ard the resonnance of his

    MyriMMM iM iMMMMMMM adad aada ttic apparatuss of dreams AsAs Athettttttttttttt MMyopM ic menopausse mon-sstererers es s, Some Stretch the yolk in vin viniiii ain Some Like the OOmahas cattle stock, Or

    even the autumn mmansgrazgrazgrazrarazrazazaazazze Upon Oberoon, TitaTitaTitatania niania ia aaniaaaia and Puck,

    TheyTheyTheyeyeyeyeyeeyyyyre re re rrr alall alalaalall cloaked innlacelacelacellll PorPorPorPorcelacelacelacelacelacelacelacelaelacelacelace aain iniininininininnnnnPuppPuppPuppPuppuppuppPupppPuppPuppuppPuppPuppPuP et PPet PPet Pet Peteeeetet Peet Pet PPrancrancrancranccancancccanca ing ing inging ngnging inginnginin

    RounRounRounRou dd thd thd thd thdd thd thd thd thd thd the e e e eee eeeeeeeeeMaypMaypMaypMMM oleoleoleole s gas ze zezeeeze

    Drenched in theDreneDrenDrenD chedhedchedcheddh iniiniiiin theDrenDrenDrr chedchedhhededhchedhedh dcheddehe in thePPPPrudPrududde pae pae pallacelaceaceace Of Of ffffffOfOf HeliHeHeliiHHHHHeHH os os ososdHydHyHydH drdrrogenogenogenn rayrayrays Ths Ths ThThat Tat TTat Tat TTTTTTTwwinkwwwww le eecSt. t CecCeCecciciilialialias Vas Vas VaVaaVaVaaVaaacantcantcacanantcantcantcancantcacant azuazuazuazaazaazaaaazazz re gre gre ggggge ggggglazeeeeeeeee TheTheTheTheheehhhheheeeeee PCeleCeleCeleCeleCeleCCCCeCeleCeCeleeleeleel stiastiaaaaal Pl Plll PPiPiPiPiPiPiPPPirouerouourouroueroueorourouerororr tte tte tte tt plotplotploto AtlaAtlaAtlaAtlaAtlaAtlatltltlatlalas, ts, ts, ts, tts, tts, the ce e ce ce e cee ce ce elielieelieeelieeeeee --sbatebatebatebate sirsirsirsi ens ens ens ssssilesilesilesilesilence nce ce brokbrokbrokkke Se Se Se Scrawcrawcrawwwwwwwc wwwwnanalnallnallnalnanallnallnallnalnallallnallnalnalnna y y yyyy eshevshevshevsheveledeledeled, ob, ob, objejejeectectectifyiifyifying tng tng theirheirheir NotNotNote Ane Ane An oldololo

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    A Cross, the fooiled Tdawn TTracing the breaking wheel Stretched nuponuuu St. Catharine Lennding DA illiterate Her ornaamental epanepppp Sheathed a Yeellowish Blue, Occidental Sttain Ive

    wandww ered neath the ocean Thy Tar Baby Reeassured But witsi the Air who wwas jealous With her nimbus ObscuredhSo ISSS thought it thhe best Just to leave this wworld

    So slipppppper--ally and Splin-

    ACrosCC s, the foiled daupon St. CatharinSheaSS thed a Yellowish Blue, Occidental Stain I ve wandered neath

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    Trracing the breaking TTTwwheel Stretched wwwuppon St. CatharineuuLending DA illitLeLeending DA illitending DA illitLL -errate Her ornaee -mmental panemmShheaeaeeaaaaththththhthhththhtSS h

    awn Tracing the breeaking wheel Stretched e Lending DA illiteratee Her ornamental pane wish Blue Occidental Stain Ive wandered neath

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    ARCHITECTURAL DRAWINGS ROOF PLAN / 1 - 1/16 15

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    ARCHITECTURAL DRAWINGS ROOF SKIN / 1 - 1/8 16

    eA CrA oss, the foiled dawn Tracing the breaking wheeel on St. Catharine Lending DA illiterate Her ornamental pane Sheathed a YellowishStStreStSStrSSStrtt tched upoon St. Catharine Lending DAA illiterate Her ooornamental pane Sheathed a YellowishnBlueB , Occidental Stain Ive wandered neath the oceann Thy hy Tar TaTaTarTaraTar Baby Reassured But its the AAir who was jejeaj lous With heer nimbus Obscured So I

    thout ght it the best Just tto leave this worldeSo sS lipper-ally and Splinterred The Ivory vine winds Reetrtrrt act- ring ing iningngng g upon a reverie Wherereree Her Ivy does whinne: To-morrow, and To-Morrrow and

    To-mTToToTo orrow Once upon aa time.hTuskTuTuTuT s Tap trickle track ppatted Patterning the parchhhhed sppppppponynynypopoponponpon s jaws Peering panoraama pleat, seep the woundss beneath her gauze Deep,

    wherwhww e Datt a Dioraama Dew Permeate Her a Flllaws. TTTThe TTTTTT Curse of the Mississippi Where eddies echoed her perfume Where the Buuckedtoottootootooo hed Virgiins Atrax Men- ostraight to Ma oooom Buut wont you play the rest foor me? Sobs babble bobbes woon Oh

    thetheththettheth AAArkAA ansas pTTravelersWith a face of curred Ham Reflects lyres lirioppes, toc, hung so grandFathFathFathFathFathhersersrs hanhanand, d,F thhh h d TTwTTTTTwix, the Rowan window jami th R i d j mb Play it yourselfsays hb Pl it lf he

    ewuwurrwu hur numb son done swamm Under a Lacquered Lenteen lantern Silos Silhouette the Harvest worm AsOthe ttthe tttthtttt rretur rrn of the robins To close theeir final turn day-Break OO, how their Caw bled A souund a gnomon could dis-

    cerncccccc Andd the guest tickled RapeseeeddAs LAAAAAAAA uciferrs sickle reaped Sew In Pascals ebony cabinet A Pallidd Peg-leg weeps But theress hope inside the alder grovve-

    WWWherWWWWWW e hiss machinery medicine sleeppseTTThe TTTTTTTT HHeroH ine Nympho tracks Seven years oof Scars But cant veil the steench hatched plumbeneathh the mar Cause the High-mmans blades hKnowKnowKKKKKKKnowKKKK Less than the journey-work of stars TThat shed its radiance brighht and far Will pointed a paath which led Low Down thhe kiddymine tchatchachchch terbterbter ox of f a store-bought head But the lids on the jars are just ttoo tight To hear what they said So like a cloud of urine, bellow Orions

    beltbebebebe I foordbeltbbbb I fI fI ffordooo ded thd e NuNN eces that penetrded the Nueces that penetrrates the grand Corpus Chrrates the grand Corpus Christi carcass, liquid quick sanisti carcass liquid quick sanndy Where the trinities just ndy Where the trinities just muddy rusty andmuddy rusty andhdanddddadadada dddy Soy Sy Sy La,a,, lala,la la, le,le pleeeaase lennd me your brazozos z CCCause thhhheres many a women, to goossip this landy. How the PPanoptic pollutants palsiedmPPPPPPinoPinPinPinPin cchicchicccchios os oss penipenen cillin sn spumpp e Their llleagueagueagug ees ce ant fathommmm A Rabid slaver Neptune SSo, weve all worried wonders Witch wicked wanders

    loommmlooloolooloo TheTheTT ninninnn th Ath Ah lchelchechec mmmmmy, mymym ArisArisAristotlltotlee symphony Whoosoo drawing room so tenderly wrote A Chant for the Trrans-homo column Quinns WherWWWW e che che c ildrildrren ben ben boooornrnrn with hairy coats Becauseeee it Seams that his storys HHeavens wrath unto the kinngdom it denotes Ode to Thhe Oedi-

    tpal papappa OpisOpisOpisOpis Gr Gr Greeeeat eaea devourer of the road Eattinngn villages for breakfast Witch Scarlet's doth forebbode:) Crafting the shades uurthona aTombmbmbToTombToT coucoucoo ggh Oppened en code A Meaaty-fl-fl-flesh, invertebrates, dissjointed chain of bones Thee Blood-purple Empress splattered Heraalbibial ialbalal nono-cclay monochromeAnd a chaance ttto mooo ld that wicked-wwhale In an infinite amountt of forms The Winds wind her leather bag

    nLettLeLeLeLe eers Found floating betweennn Thn ThTT e varletrr abandoned waggons Mercury static appeaarllatticed machine That Rettard the resonance of fhihihihh s Myriad attic apparatus oooff ff drf drf drd eamseamsamsam As A the Myopic menopause monsters, Some SStretch the yolk in vain Somme Like the Omahas acattccacacaca le stock, Or even ththhhe ae aauttumnt manans graze Upon OOberon, Titania and Puck, TTheyre all cloaked in lace Poorcelain Puppet PrancinggRounRoRoRoRo d the Maypolles ggazezez Drerer nchenchenchenc d indd the Prudee palace Of Helios Hydrogeen rays That Twinkle St. Ceciilias Vacant azure glaze Thee pCeleCeCCeCe stial Pirouettte pplotttAtlaAtlalAtl s, thee ce eelibe ate sirenss silence broke Scrawnally sheveled, objectifying theiir Note An old an gasp lbounbobbb d the crrrriippllers jokejokjokk Whiiiile Alma gests most hysterical-historical SSomn am bu lists woke Do rrhyme phone Delph si tuCoom-

    mandmmmm s, timeme me the hehe h sworsworword hed her ppprod But the tender Roast beef muttonTThe musk polio nus Ball-odd Digesting mamas chambber-nScenSSScSc e behinndndd her shrhrh oud Neurosis unccles and a golden bug O Heex I gonzo go comb Dis lexxical Logorithmic stanzas Ammourecrcryscrcrcr tallizeed RomesDownDDDD ssix seven eight nnine Accentts Jupiter acrostyxx,, homeYes-rosy fingers fecal

    SheSSSS raised her arms inn wn rath So mythmaker, mythmaker Pllease draw me a bathBe fore be low be tween be neath, Be yond this dirty pathTo string along the seashells BBBe fBBB fB fore be low bbbbe twtwtween be nef b l bb t b eath, Be yond this dirty patth B d thi di t thTo string along the seashehT t i l th hellsll

    AAAAAAmazed at the ame ame amputepp es rope Meanwhile Minos Meanndering Pool the Hypochonndriacs hope Portinas prosstheticpattpppp ers Penalaa PaPattP rns to Nyx Hypnos elopeCCCirQCC uilling ng gg ththe het Mary-go-RRow Oarso divides the thirtyy-fourth Act The noise of Paalinurus Stranded: Like thee masts oooof to he Essesexs : CRACK As the creamy-iris yawn Gasping, that Cat a ract A Crosss, the foiled dawn Tracinng thebbbreabb kinngn wheel Stretcheed upon St. Catharine Lendding DA illiterate Her ornammental pane Sheathed a Yellowish BBBlueBB , , Oc, cidental Stain Ive wandered neath the occean Thy Tar Baby Reassurred But its the Air who wass jeal-ooouss oo s With her nimbus OObscured So I thought it thhe best Just to leave this wworld SSSo o soSS lipper-ally and Splintered The Ivory vine windds Retracting upon a reveriie Where Her Ivy does whinne:

    MTTTTo morrow, and To MTTTTo-o-moT orrow, and To-MMorrow and To morrow OMorrow and To-morrow OOnce upon a time. Once upon a time.TTTTuusskT s Tap trickle track patted Patterning the paarched ponys jaws Peering panorama pleat, seep the wwowounwwoo ds beneath her gauze Deep, where Datt a Diorama Dew Permeate HHer a Flaws. The Curse of thheMMMMissMMM issippi Where eddies echoed her perfume Where the Bucked toothedd Virgins Atrax Men-straighht

    wttotoo Mt a oooom But wwont you play the rest for mme? Sobs babble bobbes wwoon Oh the ArkansaseTTrTT avT a elersWith a facee of cured Ham Reflects lyrres liriopes, toc, hung so graand ,FFFFaathFa ers hand, Twix,, the Rowan window jamb Play it yourselfsays he

    nwwwwurr hur numb sonn done swam Under a Lacquered Lenten lantern Silos Silhouette the Harvest nwwwwworm As the returnn of the robins To close their final turn day-Break O, how their Caw bled A ossssoouno d a gnomon coould discern And the guestt tickled Rapeseed

    AAAAAAs Lucifers sickle reeaped Sew In Pascals ebony cabinet A Pallid Peg-leg wweeps But theres hhhhhopeh inside the aldder groveWhere his machineery medicine sleepsThTTTThe h Heroine Nymphho tracks Seven years of Sccars But cant veil the stenchh hatched plumppplumppplumumbeneath the mmar Cause the High-mans bblades KnowLess than the joourney-work of starssss s TTThat shed its raadiance bright and far Will pointed a path which led Low Down the

    kiddkiddkkkkk ymyminymm e chatterboox of a store-bought head BBut the lids on the jars are jjust too tight To hTTTTTo hToo ear ear r ear what they saiid So like a cloud of urine, bbellow Orions belt I forded the Nueces

    thattttthatthat penpenpenenetraetraetretrates the grrand Corpus Christi carcass,, liquid quick sandy Where tthe trinities justjustjjjju mudmudmudu dy rdy rd usustyus and ddandy So La, la, la, le, pleasee lend me your brazos Cause theres

    many a women, to gossip this landy. How the Panoptic pollutants palsied Pinocchios mmanyanymm yany a wa wa wwooomen, to gossmanymanymmm a wa woomeno to gosssip this landy. How the Pansip this landy How the Panoptic pollutants palsied Pinoptic pollutants palsied Pinnocchios nocchiospppennip nn cillcillcillin in sn in ppumep Their leeagues cant fathom A Rabidd slaver Neptune So, weve all wor-

    riedrrr wowonwonderdersd Witch wickeed wanders loom The ninthh Alchemy, Aristotle symphony WWhoWWW s drs drs drdrawinawinawinawing room so teenderly wrote A Chant for thhe Trans-homo column Quiinns

    WWWWWWWherWWWW e chchchildrildrdildren born with hhairy coats Because it Seamms that his storys Heavenswwwwwwwrath ununnto tto tto tt he kingdom it ddenotes Ode to The Oedipaal Opis Great devourereer or ofr of hthtttthe roaddd EatEatEatEa ining in villages for bbreakfast Witch Scarlet's ddoth forebode:) Craftiningin the ashassss ades urthurthurthrthona oo Tomb cough Oppened en code A Meatyy-flesh, invertebrates,s,s, dis-

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    rRRetaRR rrd td td tthe rhh esonance of his Myriad attic apparatus of dreamms AsMthe ttthe thh MMMMMyoyopyo ic menopause monsteers, Some Stretch the yolk in vain eSomSomeSSomS ee Like the Omahas cattle sttock, Or even the autumn mmans egrazggrazgrazg ee Upon Oberon, Titania andd Puck, Theyre all cloaked iin

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    aThaTTTT at Twinkle St. Cecilias Vacannt azure glaze The CelestiallPPPPPPPiroPi uette plotAtlas, the celibbate sirens silence broke

    ScraScScrScS wnally sheveled, oobjectifying their Note An old oololoo an gasp bouund the cripplers joke

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    DDigegeDDD -ststinsss

    1 - 1/8

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    ARCHITECTURAL DRAWINGS ROOF STRUCTURAL / 1 - 1/8 17

    0' 2' 4' 8' 16'

    A Cross, the foiled dawn Tracing the breaking wheeel pon St. Catharine Lending DA illiterate Her ornamentaStretched uppon St. Catharine Lending DDA illiterate Herer oer rnamentaal pane Sheathed a YellowisshBlue, Occidental Stain Ivve wandered neath the ocean Thy Baby Reassured But its the Air who was jealous With Tar BBaby Reassured But its the Air who wassss jjealous With her nimbus Obscured So I thought it the best Jusst to leave this world So slipper-ally and Splinteered The Ivory vine winds RReeetract- hing upon a reveerie Whereree Her Ivy does whhine: To-morrow, and To-Moorrow andTo-morrow Once uponn a time.

    Tusks Tap trickle trackk patted Patterning the parrcchc ed rama pleat, seep the wounds beneath her gauze Deepononyoppp s jaws Peering panorama pleat, seep the wounds beneath her gauze Deeep, where Datt a Dioorama Dew Permeate Her a Flaws. ssippi Where eddies echoed her perfume Where the BThe Curse of the Mississsippi Where eddies echoedd her perfume Where the BBucked

    toothed Virgins Atrax Men- But wont you play the rest for me? Sobs babble bobstraight to Ma oooom BBut wont you play the rest for me? Sobs babble bobbbes woon Oh thee Arkansas u TravelersWith a face of cuured Ham Reflects lyres lirioopes, toc, hung so grand

    Fathhher ser sere hand, FathFathFat ers hand mTTTwix, the Rowan window jamTwix the Rowan window jammb Play it yourself saysmb Play it yourself says hehem Under a Lacquered Lenten lantern Silos Silhouettewwuw rr hur numb son done swam Under a Lacquered Lentten lantern Silos Silhouettee the Harvest worm Asheir final turn day-Break O, how their Caw bled A sthe the the retturn of the robins To close their final turn day-Break O, how their Caw bled A sound a gnomon could dis--

    ecern Annd the guest tickled Rapeseeedascals ebony cabinet A Pallid Peg-leg weeps But thereAs Luciffers sickle reaped Sew In Paascals ebony cabinet A Pallid Peg-leg weeps But therees hope inside the alder grrove-eWhere hhis machinery medicine sleeeps of Scars But cant veil the stench hatched plumbeneaThe Heroine NNympho tracks Seven years of Scars But cant veil the sstench hatched plumbeneaath the mar Cause the Highh-mans blades

    s That shed its radiance bright and far Will pointed a pKnoKnowKnKn Less thaan the journey-work of starss That shed its radiance brigght and far Will pointed a ppath which led Low Down the kiddymine t the lids on the jars are just too tight To hear what thechathatatterbttt ox oof a store-bought head Butt the lids on the jars are justt too tight To hear what theey said So like a cloud of uriine, bellow Orions etrates the grand Corpus Christi carcass, liquid quick sabelteltelt I fI o prded the Nueces that pene g petrates the grand Corpus Ch , q qhristi carcass, liquid quick sa y jandy Where the trinities jus y yst muddy rusty andend me your brazos Cause theres many a women, to dananndnndy Soyy La, la, la, le, please leend me your braarazoszos CauCauCause tttheres many a women, to gossip this landy. How thee Panoptic pollutants palsieed ddme Their leagues cant fathom A Rabid slaver NeptunePinononocchios penicillin spumme Their leagugugues cant fathoom oo A Rabid slaver Neptunee So, weve all worried wonnders Witch wicked wanders emy, Aristotle symphony Whos drawing room so tendloomoomoom The ninth Alcheemy, , , ArisAristotlotltotlee symphony WWhhoshh drawing room so tendderly wrote A Chant for the Trans-homo column Quinnnsborn with hairy coats Because it Seams that his storysWhWWherW e children bborrnrn with hairy coats Becauusses it Seams that his storyss Heavens wrath unto the kingdom it denotes Ode to TThe Oedi-reat devourer of the road Eating villages for breakfastpal palpal Opis Grrreeat devourer of the road EEattting villages for breakfast Witch Scarlet's doth foreebode:) Crafting the shadess urthona ugh Oppened en code A Meaty-flesh, invertebrates, dTomTomTomb couououugh Oppened en code A Meeaaaty-flesh, invertebrates, ddisjointed chain of bones The Blood-purple Empress ssplattered Her-clay monochromeAnd a chance to mold that wickedalbialbialbilb no-clay monochromeAnd a chaana ce to mold that wickedd-whale In an infinite amount of forms The Winds windd her leather bagters Found floating between The varlet abandoned wLettters Found floating betweeeeeen The varlet abandoned wwagons Mercury static appeearllatticed machine That RRetard the resonance of fffhis Myriad attic apparatus of dreams As the Myopic mhhis Myriad attic apparatusus ous of dreams As the Myopic mmenopause monsters, Somee Stretch the yolk in vain Some Like the Omahas

    ncattle stock, Or even tn thn ee autumn mans graze Uponn Oberon, Titania and Puck,, Theyre all cloaked in lace Porcelain Puppet PrancingdRound the Maypoolo ess gaze Drenched in the Prudde palace Of Helios Hydroggen rays That Twinkle St. Ceecilias Vacant azure glaze Thhe

    Celestial Pirouettee plotAtlas, the celibate sirens silence broke Scrawnallly sheveled, objectifying their Note An old an gasp bound the ccrcc ipplers joke While Alma gests most hysterical-historicall Somn am bu lists woke Doo rhyme phone Delph si tuCCom-

    manddds, tiimeii e the sword her prod But the tender Roast beef muttonnThe musk polio nus Ball-oodd Digesting mamas chammber-Scenee e behhind her shroud Neurosis uncles and a golden bug O Hex I gonzo go comb Dis leexical Logorithmic stanzas AAmour

    crysrysrysstallized RomenDoDowno n six seven eight nine Accennts Jupiter acrostyxx,, hommeYes-rosy fingers fecal

    SShShehe raised her arms in wrath SSo mythmaker, mythmaker Please draw me a bathBe fore be low be tween be neath, Be yond this dirty pathTo string along the seashells BeBeBeee fe ore be low be tween be ne fe ore be low be tween be nneath, Be yond this dirty paneath Be yond this dirty paathTo string along the seashathTo string along the seashhellshells

    rAmAmazAm ed at the amputees rrope Meanwhile Minos Meeandering Pool the Hypochondriacs hope Portinas proostheticppattp ers Penal Pattrns to Nyx Hypnos elopeCCirQC uilling the Mary-go-Row Oarso divides the thirrty-fourth Act The noise of Palinurus Stranded: Like thhe masts

    sofof toof he Essex: CRACK Ass the creamy-iris yawn Gaspping, that Cat a ract A Crooss, the foiled dawn Traccing the bbreab king wheel Stretched upon St. Catharine Lennding DA illiterate Her ornaamental pane Sheathed a Yeellowish

    nBBlueB , Occidental Stainn Ive wandered neath the ocean Thy Tar Baby Reassuured But its the Air who was jeal-soous oo With her nimbuss Obscured So I thought it tthe best Just to leave thiss world

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