AHTEHHA borrows its name from the pseudonym under which Alexander, Leonid, and Victor Vesnin submitted their entry to the 1923 competition for the Palace of Labor, a project which gathered up ideas developed through stagecraft, graphic composition, and civil engineering in a forceful, new mode of architecture; an architecture whose immense impact was disproportionate to the slim set of drawings disseminated.

Under the name AHTEHHA, I am interested in looking more closely at representational processes—such as drawing and modeling—and their current relationship to the production of architecture via computational methods. The questions of authorship that design computation raises enable a possible detachment of architectural research into sub-architectures—systems or procedures—that oscillate between participation in a larger architectural program and dispersion into individual artifacts. At the same time, the facilitation of variable seriality means that unlike the art object, there is no singularity for these objects, rather all objects stand within a manifold of other objects with a shared trajectory or within many diverse sets of shared methods, even, or especially, when these connections are not immediately noticeable in their actualisation.