The Visual, the Epic, and Pasternak’s ‘Devjat’son pjatyj god’

In this study I consider the role of poetic description in Pasternak’s ‘Deviat’sot piatyi god’ (‘1905’) in the context of the genre of the poema. Descriptive passages in poetic narratives, as a rule, provide a static setting for a protagonist’s actions. In the absence of any single hero in Pasternak’s poema, topography itself begins to move. I examine the categories of stasis and motion, central to ‘1905’, at the intersection of the visual and the verbal. The idea of reanimating the events of the first Russian revolution twenty years after the fact borders on the ekphrastic in places, where the poet transposes techniques and genres from the visual arts into a verse epic. Finally, I suggest that aesthetic perception itself is the dominant principle in the poema, as opposed to documentary faithfulness, which is traditionally emphasized in the scholarship on this work.

Playground Series

Playground is intended to open a window into a world, however familiar it may first appear, that resonates with one of our universal compassions and the icons of contemporary life: the act and ritual of taking photographs. This project aims to magnify the extraordinary in the ordinary, revealing facial expressions, gestures or body language of the subjects behind their own visual recording device. It is about the drama of people in their private moments, when their face or body language reveals the most hidden parts of their inner world in public places. The interplay between private and public, individual and social are the main inhabitants of this photographic project.

Invisible

Invisible is a series of mixed-media work and a 4-minute video which intend to start a conversation on the notions of exoticism, Orientalism, otherness, hybridism and the western perceptions of a homogenous Islamic cultural identity.

Evaluation of the Design of Komendant's Cycloidal, Thin Shell Roofs At the Kimbell Art Museum Using Finite Element Analysis

The analysis of Komendant's design of the Kimbell Art Museum was carried out in order to determine the effectiveness of the ring beams, edge beams and prestressing in the shells of the roof system. Finite element analysis was not available to Komendant or other engineers of the time to aid them in the design and analysis. Thus, the use of this tool helped to form a new perspective on the Kimbell Art Museum and analyze the engineer's work. In order to carry out the finite element analysis of Kimbell Art Museum, ADINA finite element analysis software was utilized. Eight finite element models (FEM-1 through FEM-8) of increasing complexity were created. The results of the most realistic model, FEM-8, which included ring beams, edge beams and prestressing, were compared to Komendant's calculations. The maximum deflection at the crown of the mid-span surface of -0.1739 in. in FEM-8 was found to be larger than Komendant's deflection in the design documents before the loss in prestressing force (-0.152 in.) but smaller than his prediction after the loss in prestressing force (-0.3814 in.). Komendant predicted a larger longitudinal stress of -903 psi at the crown (vs. -797 psi in FEM-8) and 37 psi at the edge (vs. -347 psi in FEM-8). Considering the strength of concrete of 5000 psi, the difference in results is not significant. From the analysis it was determined that both FEM-5, which included prestressing and fixed rings, and FEM-8 can be successfully and effectively implemented in practice. Prestressing was used in both models and thus served as the main contribution to efficiency. FEM-5 showed that ring and edge beams can be avoided, however an architect might find them more aesthetically appropriate than rigid walls.