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Barie Fez-Barringten

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Precinct Police Station in Bedford Styvestant Brooklyn
by Barie Fez-Barringten   

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Books by Barie Fez-Barringten
· Second Coming
· Twenty Years in Saudi Arabia (Introduction)
· Holy Spirit and I by Christina Fez-Barringten
· Where Christ is forbidden
· Legend
                >> View all

Category: 

Architecture

Type: 

Copyright:  1967
Non-Fiction

See larger image

Precinct Police Station in Bedford Stuyvesant Brooklyn
By Barie Fez-Barringten:AIA/NCARB/Yale M.Arch68’
The below are most of my original drawings as presented to the Yale theseis jury in 1967. These all drawn by hand by me with out the use of computers. Lieutenant Goodale of New York City's Police Headquarters spent his time to teach me about the policies and operations of precinct stations and then assigned me to spend a week at the precinct where I observed the works of the stations and rode in patrol cars.

On day we rode to street where the was a gun fight from one side to the canyon-like streets six storied tenements to the other.


I was told to get down and call for backup on the car phone which they handed me as the two officers darted off to deal with the situation.


After I complied I slithered along the pavement to a close phone booth to call my wife to five her may parting farewells and inform her what was going on.

So was my indoctrination to this design.


The whole reason I selected this project was at the encouragement of my former teacher and mentor Forrest Wilson who had traced my life from my earliest years growing up on the streets of the Bronx.

These episodes were daily occurrences when we lived on th East Bronx Simpson Street. I have put these and other such stories into a manuscript called :"Bronx Stardust".


All approximate 50 drawings filled the Yale University jury area and complicate the jury consisting of Vincent Scully, Sir James Stirling, Paul Rudolf, Charles Moore, Peter Millard, King Lui Wuu and Phillip Johnson.


It was Dr. Johnson who championed my project calling the jury's attention to the complete, comprehensive and coordinated documentation of my thesis as well as the above-excellent drawing and draftsmanship.

Unlike any of the jury members before coming to Yale I had designed skyscrapers, public works, multi family housing and High -end commercial interiors in Manhattan's competitive real estate market.

I had already designed a university under Edward D. Stone, office building under Khan and Jacobs and holy shrines under Frederick Kiesler.


Other pointed to the way one drawing spoke to the other and confirmed my then emerging theory that architecture was the making of metaphors.

As much as educators spoke of conceptual metaphors they did little to teach about the technical metaphor.It was both the technical and conceptual metaphor I choose to bring together in this micro project.

From site selection, site planning to the knitting together of program input from the community planning boards

and police the metaphor bridged, carried over and represented a new paradigm. None of this was lost to Phillip Johnson ,Vincent Scully and Paul Weiss.
The drawings are a study of the muti-dimensional characteristics of a work of architecture leaving no view or aspect to chance but all made part of the metaphor. In this description I shall leave you to read the drawings and learn the metaphor and its workings.

I can only hope it to be as much an aesthetic experience for you as it was for me, Lieutenant Goodale, and the jury.
Keep in mind this was all before computer aided design was even an embryo and when draftsmanship was appreciated for the art it actually was.
In fact my works was so well appreciated that when he published his book on the work of his office, Morris Lapidus included several of my drawings as examples.
www.bariefez-barringten.com



skip to main Precinct Police Station in Bedford Styvestant Brooklyn

By Barie Fez-Barringten:AIA/NCARB/Yale M.Arch68’

The below are most of my original drawings as presented to the Yale theseis jury in 1967. These all drawn by hand by me with out the use of computers. Lieutenant Goodale of New York City's Police Headquarters spent his time to teach me about the policies and operations of precinct stations and then assigned me to spend a week at the precinct where I observed the works of the stations and rode in patrol cars.

On day we rode to street where the was a gun fight from one side to the canyon-like streets six storied tenements to the other.

I was told to get down and call for backup on the car phone which they handed me as the two officers darted off to deal with the situation.

After I complied I slithered along the pavement to a close phone booth to call my wife to five her may parting farewells and inform her what was going on.

So was my indoctrination to this design.

The whole reason I selected this project was at the encouragement of my former teacher and mentor Forrest Wilson who had traced my life from my earliest years growing up on the streets of the Bronx.

These episodes were daily occurrences when we lived on th East Bronx Simpson Street. I have put these and other such stories into a manuscript called :"Bronx Stardust".

All approximate 50 drawings filled the Yale University jury area and complicate the jury consisting of Vincent Scully, Sir James Stirling, Paul Rudolf, Charles Moore, Peter Millard, King Lui Wuu and Phillip Johnson.

It was Dr. Johnson who championed my project calling the jury's attention to the complete, comprehensive and coordinated documentation of my thesis as well as the above-excellent drawing and draftsmanship.

Unlike any of the jury members before coming to Yale I had designed skyscrapers, public works, multi family housing and High -end commercial interiors in Manhattan's competitive real estate market.

I had already designed a university under Edward D. Stone, office building under Khan and Jacobs and holy shrines under Frederick Kiesler.


Other pointed to the way one drawing spoke to the other and confirmed my then emerging theory that architecture was the making of metaphors.

As much as educators spoke of conceptual metaphors they did little to teach about the technical metaphor.It was both the technical and conceptual metaphor I choose to bring together in this micro project.

From site selection, site planning to the knitting together of program input from the community  planning boards

 

and police the metaphor bridged, carried over and represented a new paradigm. None of this was lost to Phillip Johnson ,Vincent Scully and Paul Weiss.
The drawings are a study of the muti-dimensional characteristics of a work of architecture leaving no view or aspect to chance but all made part of the metaphor. In this description I shall leave you to read the drawings and learn the metaphor and its workings.

I can only hope it to be as much an aesthetic experience for you as it was for me, Lieutenant Goodale, and the jury.
Keep in mind this was all before computer aided design was even an embryo and when draftsmanship was appreciated for the art it actually was.
In fact my works was so well appreciated that when he published his book on the work of his office, Morris Lapidus included several of my drawings as examples.  

www.bariefez-barringten.com


Excerpt

Precinct Police Station in Bedford Styvestant Brooklyn
By Barie Fez-Barringten:AIA/NCARB/Yale M.Arch68’
The below are most of my original drawings as presented to the Yale theseis jury in 1967. These all drawn by hand by me with out the use of computers. Lieutenant Goodale of New York City's Police Headquarters spent his time to teach me about the policies and operations of precinct stations and then assigned me to spend a week at the precinct where I observed the works of the stations and rode in patrol cars.

On day we rode to street where the was a gun fight from one side to the canyon-like streets six storied tenements to the other.


I was told to get down and call for backup on the car phone which they handed me as the two officers darted off to deal with the situation.


After I complied I slithered along the pavement to a close phone booth to call my wife to five her may parting farewells and inform her what was going on.

So was my indoctrination to this design.


The whole reason I selected this project was at the encouragement of my former teacher and mentor Forrest Wilson who had traced my life from my earliest years growing up on the streets of the Bronx.

These episodes were daily occurrences when we lived on th East Bronx Simpson Street. I have put these and other such stories into a manuscript called :"Bronx Stardust".


All approximate 50 drawings filled the Yale University jury area and complicate the jury consisting of Vincent Scully, Sir James Stirling, Paul Rudolf, Charles Moore, Peter Millard, King Lui Wuu and Phillip Johnson.


It was Dr. Johnson who championed my project calling the jury's attention to the complete, comprehensive and coordinated documentation of my thesis as well as the above-excellent drawing and draftsmanship.

Unlike any of the jury members before coming to Yale I had designed skyscrapers, public works, multi family housing and High -end commercial interiors in Manhattan's competitive real estate market.

I had already designed a university under Edward D. Stone, office building under Khan and Jacobs and holy shrines under Frederick Kiesler.


Other pointed to the way one drawing spoke to the other and confirmed my then emerging theory that architecture was the making of metaphors.

As much as educators spoke of conceptual metaphors they did little to teach about the technical metaphor.It was both the technical and conceptual metaphor I choose to bring together in this micro project.

From site selection, site planning to the knitting together of program input from the community planning boards

and police the metaphor bridged, carried over and represented a new paradigm. None of this was lost to Phillip Johnson ,Vincent Scully and Paul Weiss.
The drawings are a study of the muti-dimensional characteristics of a work of architecture leaving no view or aspect to chance but all made part of the metaphor. In this description I shall leave you to read the drawings and learn the metaphor and its workings.

I can only hope it to be as much an aesthetic experience for you as it was for me, Lieutenant Goodale, and the jury.
Keep in mind this was all before computer aided design was even an embryo and when draftsmanship was appreciated for the art it actually was.
In fact my works was so well appreciated that when he published his book on the work of his office, Morris Lapidus included several of my drawings as examples.





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Books by
Barie Fez-Barringten



Second Coming

more..




Twenty Years in Saudi Arabia (Introduction)





Holy Spirit and I by Christina Fez-Barringten

Buy Options
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Where Christ is forbidden

Barnes & Noble, more..




Legend

Buy Options
Amazon, more..




Gibe

Buy Options
Amazon, more..




Architecture:the making of metaphors

Buy Options
Amazon, Barnes & Noble, more..



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