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REALIZED PROJECT

AWARDS

WORKSHOPS

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PROFESSIONAL EXPERIENCES

TRAVELS / ARCHITECTONIC FIELD TRIPS

INTERESTS

IT SKILS

24.09.1986Czech

TU Liberec FACULTY OF ART AND ARCHITECTURE- 6th year MIMAR SINAN UNIVERSITY of Fine Arts in Istanbul- semestral erasmus exchange programm 2010

English: fluentGerman: basic

Case for orchan in protestant church Trutnov(http://www.trutnovinky.cz/index.php?gid=18303)

2th prize(1st Prize not awarded) New centre of VELKÁ CHUCHLE-cooperation Jan Hora, Petr Burian-21competitors,2010(http://www.cka.cc/souteze/vysledky/komora)jury: Markéta Cajthamlová, Jan Aulík, Roman Brychta, Jan Sedlák, Jakub Fišer, Stanislav Fresl, David Vokurka, Jiří Vrzal

1st prize New district Pod Hády- competition for students of FUA TUL (2011)(http://bydleni.idnes.cz/misto-podnikatelskeho-baroka-chce-postavit-malou-vesnici-s-vezi-pxf-/architektura.aspx?c=A110702_193827_architektura_rez)jury: Sládeček, Pilař, Novák, Pech, Němcová

1st prize IDNES AWARD for the best 3d model YOUNG ARCHITECT AWARD 2010- project: Town Hall Troja- competition for young architects to 33 years- 26 competitors, 2010(http://www.youngarchitectaward.cz/2010/cz/Yaa_2010_vysledky.asp)- video: http://vimeo.com/user4586451/videosjury: idnes.cz

3th prize - KOMA - design of a small urbanism of modular housing units- competition for Czech and Slovak students of architecture- 36 competitors- cooperation Jan HORA (http://www.koma-modular-construction.cz/koma/files/userfiles/docs/cs-data-startovaci-bytove-domy-3-cena.pdf)jury: Ing. arch. Stanislav Babčan, Ing. Martin Hart, Doc.Ing.arch. Václav Dvořák, CSc., Ing. arch. Iva Poslušná, PhD., Ing. arch. Dagmar Nová, prof. Ing. arch. Bohumil Kováč, PhD., M. Arch. Ing. arch. Adam Gebrian

4th prize - competition of magazine “Bydlení IQ” for czech students of architecture-170 competitors-housing unit Vršovice - Three towers(http://www.bydleni-iq.cz/architektura-a-design/souteze/vitezkou-souteze-biq-je-petra-krobotova/)jury: Markéta Cajthamlová, Ondřej Císler, Michal Kunc, Michal Kuzemenský, Antonín Novák

1st prize (category: Housing) Ještěd f kleci 2010competition for students of Faculty of Art and Architecture TULproject: Housing units Vršovice - Three towers(http://www.archiweb.cz/news.php?type=&action=show&id=8148)jury: John Eisler, Michal Kuzemenský, Radek Šíma, Cyril Říha

11 SUDDENMARKET WORKSHOP - RAUMLABOURBERLIN - 3 day workshop10 RINTALA/FRANEK/KROUPA - TROJA meadow - workshop of students of FUA TUL, AAAD Prague, NTNU Trond-heim (Norway) - one week workshop in Prague10 EASA 2010 Manchaster09 Politecnico di Milano + FUA TUL, urban strategy Ustí nad Labem - 2 week workshop08 FUA TUL, urban strategy MGM Resort - Nanjing, China / Lead by Ivana Bendová (AAI architects)

11/12 studio Suchomel10/11 studio Haydar Karabey // studio Novák/Pilař/NěmcováBachelor thesis: Town Hall Troja - studio Fránek/Suchánek09/10 studio Šafer /Němcová08/09 studio Suchomel/Šípek/Masák07/08 studio Fránek/Suchánek06/07 studio Suchomel /Mach

07 - 08/11 Serhat Akbay (Turkey) (http://www.serhatakbay.com/)03 - 05/10 DaM / Doležal, Malinský (http://www.dam.cz/)10/08 - 5/09, 11/09 - 03/10 ADR / Lapka, Kolář (http://www.adr.cz/)2-6/08/ Aulík - Fišer architekti (http://www.studioa.cz/)

11/Paris/Berlin/ Netherlands/ Turkey/ Georgia/Venice Bienale10/Kosovo/Manchaster - Liverpool/Sofia-Istanbul/Istanbul-Aleppo-Damascus-Beirut/ Venice Bienale09/Rome/Brussel-Gent-Bruggy/Frankfurt-Stuttgart/Malmo - Copenhagen/Graz-Ljubljana-Zadar-Dubrovnik-Bar/Uzhgorod-Cerna Gora / Krakow-Warszaw-Gdansk-Wroclaw/Venice Bienale-Zagreb-Days of Oris08/Berlin/Wien/Dresden/Tatry/Retezat/Shqiperia/Egypt07/Munchen, Macedonia, Kappadokia06/London, Kriti

architecture, travelling, hiking, film, music 3ds MAX, AutoCAD, Sketch Up, Photoshop, Ilustrator, In Design, Premiere, V-Ray, MS Office

I. Olbrachta 111 541 01 TrutnovCzech Republic

E-MAIL: [email protected].: +420 776 760 280WEB: issuu.com/veisser

[HO

NG

KO

NG

] Alte

rnat

ive

Car

Park

Tow

er

SQU

ARE

“SQUARE”

MO

VEAB

LE S

TAG

E

ENTRANCE EMPLOYEE

ENTRANCE VISITORS ENTRANCE LORRIES

SUPP

LY

TURNTABLE

SECTION A (1:750)

BATHS

BASKETBALLPLAYGROUNDS

TEMPORARYMARKETS

TENNISFITNESS

LIBRARY

CULTURE CENTRE

INDEPENDENT ISLANDS PAGODA HARBOUR CRANE

+ +

CARS

CARS

PUBS

ENTRANCE EMPLOYEE

CAR COMMING

CAR LEAVING

TWO CAR LIFTS IN BOTH LEGS1 LIFT HAVE 4 FLOORS, 8 CARS IN IT

PEOPLE

EXIT

PERSONAL LIFTS

ESCA

LATO

RS

TO “

ISLA

ND

”

TWO

OTH

ER C

AR L

IFTS

ENTRANCE

PAR

KIN

G S

YSTE

MCU

LTU

RE

CEN

TRE

BAT

HS

TEN

NIS

AN

D W

ELLN

ESS

RO

OF

TER

RAC

E

ROOF TERRACE

CONCEPT

pool

wellness

tennis

poolterrace

hall

escalator

sculpture gardengallerycafé

VSTUPN

Í H

ALA

2. LEVEL (1:500)

GROUND LEVEL(1:500)

- Great place on the square

WHAT ARE THE BASIC CHARACTERISTICSOF CZECH TOWNHALL?

PRAG

UE

CAST

LE V

IEW

Vrchlabí Turnov

- racional plan, irational view, tower

PLACE

Anti-flood wall

Praha-Troja have no squere. I rebuild empty spaces in the cen-tre. I try with my building define squere on one side and park - garden on other. Townhall is looking directly to Prague Castel

ENTERING

“GARDEN WITH LAKE

SMALL SQUAREMAIN ENTRANCE

SQUARE

ENTRANCE TO PARKING

PUBLIC SPACES

CONCEPTSHAPING

rela

x ro

omin

foce

ntre

and

sm

all l

ibra

ry

café

conf

eren

ce ro

om

rec

eptio

n, c

loak

s ro

omen

tran

ce h

all

lift

hal

l

offic

es

unde

rgro

und

park

ing

ENTRANCES

TOWNHALLSCANDINAVIAN

CULTURE CENTRE

THEATRE OF CHILDREN OF PRIMERY SCHOOL IS STARTING

MARKETCHILDRENS PLAYSHOW IT IS NOW...

“SMALL SQUARE”

TYPOLOGYPR

AGUE

CA

STLE

VIE

W

HALLHALL

ENTRANCE TERRACE

PR

AGU

E C

ASTL

E

1:3000

The Centre of small town Velka Chuchle (collaboration with Jan Hora)

The main concept is to design two different public spaces - municipal meadow on one side of stream, on other side town centre with square and important buildings.

HO

USE

S

PLANS:

COTTAGE - COMMUNITY CENTRE TWO TOWERS - FLATSLATERN - CULTURE CENTRE

SECTIONS:

SMALL HOUSES

NOW

FUTURE

Three Towers Block of flats Prague - Vršovice

vchody do bytů

vchody do komercevjezdy do parkoviště

Místo, na kterém nikdy nebyl dům plánován, místo narušení urbanismu, založeného na blocích, arogantní dominantou ministerstva. Budova ministerstva tvoří bariéru, zeď, v okolí zanechává neřešený zbytkový prostor. Jedním z nich je řešený pozemek. Současný urbanismus umocňuje dominantnost budovy ministerstva. V případě zastavění okolních pozemků by mohlo dojít k jeho potlačení, k zkvalitnění veřejných prostor. Vhodné zahuštění centrálních částí Prahy je žádoucí, jako protiváha k negativní tendenci vysidlování Prahy do satelitů. Klíčem je nabídnout kvalitní městské bydlení. Kvalita bydlení = sousedství, potkávání, intimita, pěší dostupnost a blízkost služeb, jednoduchost a samozřejmost příjemného bydlení, co možná nejbližší vzdálenost mezi bytem a venkovním příjemným prostředím. Moje stavba chce být pevná, ale ne další zdí. Pohledová osa procházející skrz pozemek je zachována. Chce své obyvatele ochránit před záplavou nekvalitního veřejného prostoru. Uzavírá se do sebe, zároveň je však pootevřená a vlídná ke všem příchozím. Balkonky vystrčené jako periskop ponorky vyhlížejí zlepšení okolní situace. Stavba vytváří od okolí uzavřený, ale všem přístupný měřítkově přiměřený venkovní prostor – dvůr = centrální společný pros-tor pro všechny byty, teprve ze dvora se dá vstoupit do jednotlivých bytů, většina bytů má s dvorem vizuální kontakt. Místo pro společné i soukromé trávení času. Místo her dětí a letních grilování. Byty jsou založené na volném půdoryse, mnohdy se dají jednotlivé místnosti spojovat. Díky rozřezání hmoty bytovky jsou osvětleny z několika stran. Výhledy z obytných místností jsou jak do dvora, zahrady MŠ, tak do ulice. Nikdy nesměřují na přímo na ministerstvo. Celkem je v tomto bytovém domě 19 bytů. Část je mezonetových. V Parteru je umístěna kavárna obchod a ordinace. Kavárna má terasu při schodišti vedoucím na dvůr. „Poddvorkové“ parkoviště ve dvou úrovních má 20 stání. Konstrukce – železobetonový skelet vyplněný tepelně izolačními porobetonovými tvárnicemi Materiály – fasády do ulice pouze přetřeny tmavě šedou barvou sjednocující barvu tvárnic a stěrky zakrývající tepelnou izolaci na betonovém skeletu. Fasády do dvora: modřínové dřevo bez povrchové úpravy.

TŘI VĚŽE

BYTOVÝ DŮM PRAHA - VRŠÉVICE

ATELIER ŠAFER-ZEDNÍČKOVÁ

JAN VEISSER, 4.ROČNÍK

1.NP MĚŘÍTKO 1:200


ŘEZ A-A´ MĚŘÍTKO 1:200

ŘEZ B-B´ MĚŘÍTKO 1:200

TŘI VĚŽE








ŘEZ

A-A

´

ŘEZ B-B´

ŘEZ - SCHÉMA VSTUPU DO BYTŮ V SEKUNDÁRNÍCH VĚŽIČKÁCH

PŮDORYS - VSTUPY DO BYTŮ

MINISTERSTVO ŽIVOTNÍHO PROSTŘEDÍ

ZÁKLADNÍ ŠKOLA

ŠKOLKA

ZAHRADA ŠKOLKY

OBSLUŽNÝ VJEZD

VÝHLEDY OBÝVÁKŮ

VÝHLEDY LOŽNIC

SMĚR DOPRAVY

TOMUTO VÝHLEDU SE VŠECHNY OBYTNÉ MÍSTNOSTI VYHÝBAJÍ

10 M

STEVEN HOLL

DAVID ADJAYE

ŘÍMDUBROVNÍK

INSP

IRA

CE

MÍS

TOA

NA

LÝZY

KO

NC

EPT

ZÁK

RES

Y

DVŮR POHLEDY VE SMĚRU OSY

MATERIALY

POROBETON NATŘEN NA TMAVĚ ŠEDIVO

MDŘÍN

POZEMEK

DVŮR

VSTUPNÍ ZÓNA, TERASA KAVÁRNY

vchody do bytů



TŘI VĚŽE








TŘI VĚŽE








ŘEZ

A-A

´

ŘEZ B-B´




ZÁKLADNÍ ŠKOLA

ŠKOLKA

ZAHRADA ŠKOLKY

OBSLUŽNÝ VJEZD

VÝHLEDY OBÝVÁKŮ

VÝHLEDY LOŽNIC

SMĚR DOPRAVY


10 M

STEVEN HOLL

DAVID ADJAYE

ŘÍMDUBROVNÍK

INSP

IRA

CE

MÍS

TOA

NA

LÝZY

KO

NC

EPT

ZÁK

RES

Y


MATERIALY


MDŘÍN

POZEMEK

DVŮR


vchody do bytů



TŘI VĚŽE








TŘI VĚŽE








ŘEZ

A-A

´

ŘEZ B-B´




ZÁKLADNÍ ŠKOLA

ŠKOLKA

ZAHRADA ŠKOLKY

OBSLUŽNÝ VJEZD

VÝHLEDY OBÝVÁKŮ

VÝHLEDY LOŽNIC

SMĚR DOPRAVY


10 M

STEVEN HOLL

DAVID ADJAYE

ŘÍMDUBROVNÍK

INSP

IRA

CE

MÍS

TOA

NA

LÝZY

KO

NC

EPT

ZÁK

RES

Y


MATERIALY


MDŘÍN

POZEMEK

DVŮR


vchody do bytů



TŘI VĚŽE








TŘI VĚŽE








ŘEZ

A-A

´

ŘEZ B-B´




ZÁKLADNÍ ŠKOLA

ŠKOLKA

ZAHRADA ŠKOLKY

OBSLUŽNÝ VJEZD

VÝHLEDY OBÝVÁKŮ

VÝHLEDY LOŽNIC

SMĚR DOPRAVY


10 M

STEVEN HOLL

DAVID ADJAYE

ŘÍMDUBROVNÍK

INSP

IRA

CE

MÍS

TOA

NA

LÝZY

KO

NC

EPT

ZÁK

RES

Y


MATERIALY


MDŘÍN

POZEMEK

DVŮR


vchody do bytů



TŘI VĚŽE








TŘI VĚŽE








ŘEZ

A-A

´

ŘEZ B-B´




ZÁKLADNÍ ŠKOLA

ŠKOLKA

ZAHRADA ŠKOLKY

OBSLUŽNÝ VJEZD

VÝHLEDY OBÝVÁKŮ

VÝHLEDY LOŽNIC

SMĚR DOPRAVY


10 M

STEVEN HOLL

DAVID ADJAYE

ŘÍMDUBROVNÍK

INSP

IRA

CE

MÍS

TOA

NA

LÝZY

KO

NC

EPT

ZÁK

RES

Y


MATERIALY


MDŘÍN

POZEMEK

DVŮR


PLA

CE

AN

ALY

SES

DR

AFT

PHO

TOS

MATERIALS

LARCHVIEWS IN DIRECTION OF AXIS

PAINTED BLOCKS OF AAC

LOT

COURT

ENTRANCE AREA

THREE TOWERS

BLOCKSVILLASOLITAIRESGREEN

FOOTBALL STADIUM

MINISTRY

SCHOOL

KINDER-GARTEN

PALACE OF JUSTICE

VIEW AXISRESTAURANTS, SHOPS

KINDER-GARTEN

GARDEN

PRIMARY SCHOOL

ENTRANCE FOR LORRIES

MINISTRY OF THE ENVIRONMENT

THIS VIEW IS DANGEROUS DIRECTION OF

TRANSPORTVIEWS FROM

LIVING ROOMSVIEWS FROM BEDROOMS

The place, where the house has never been planned, the place of distortion of urbanism, based on blocks, nearby arrogant and dominating building of the Ministry. Ministry building is a barrier and around this buiding there is much unre¬solved empty space. On one part of it is my lot. Contemporary urban plan enhances the dominance of the Ministry. In the event of overbuilding of empty space, the building of Ministry would be stifled and public space would be nicer. Suitable thickening of central Prague is desirable to counterbalance the negative trend of displacement of Prague to satellites. The sollution is to offer a high-quality urban housing = Quality of neighborhood, encounters, intimacy, simplicity and commonplace of pleas-ant place to live. My building wants to be strong, but not to be a wall. View axis passing through the lot is preserved. My building wants to protect its residents from the „flood“ of poor-quality public space. It retreats into itself, while it is slightly open and friendly to all comers. Court = central common area for all flats. All entrances of flats are from the side of the court, most of the flats have visual contact with the court. Court is a place, where inhabit¬ants spent their free time. It is a place of chldren´s games and summer barbecues. Construction - concrete frame filled with blocks of AAC - facade to the street: blocks are overcoated dark gray. Facades of the courtyard: larch wood

entrances into flats

entrances into officesentrances into parking

SEC

TIO

N A

SECTION B

LEVEL 00 plan 1:250

SECTION A 1:500 SECTION B 1:500

LEVEL 02 plan 1:250

LEVEL 04 plan 1:250

LEVEL 07 plan 1:250LEVEL 08 plan 1:250

LEVEL 06 plan 1:250

LEVEL 03 plan 1:250

LEVEL 01 plan 1:250

8 parking places

storestore

café

shop

surgery

12 parking places

19 cellars

sands

kitchen

duplex

duplexview into living space

view into living spaceview into

living space

duplex

duplexduplex

duplex

MO

SQU

E -

MEE

TIN

G W

ITH

TR

ADIT

ION

WOMAN

MAN

WOMAN MAN

WHY?- BETTER USAGE OF LOTS, HIGHER DENSITY- CLOSENESS OF DIFERENT TYPOLOGIES AND ATMO-SPHERES- MOSQUE IS INTEGRATED WITH THE CITY, IN THE SAME TIME IT IS CALM PLACE- IN FIRST LEVEL SPACE FOR CULTURAL FACILITY (LI-BRARY, CAFE, LECTURE HALL)

MAIN PRINCIPLES:

MOSQUE IN CALMLY SECOND FLOOR

MOSQUE LIKE SHELTER

COURT INTEGRED PART OF MOSQUE

ROOF:

ARCHETYP: DOME - DOME IS SYMBOL OF GOT´S UNITY

PROBLEM: IN BIGGER MOSQUES ARE ANOTHER SMALL DOMES, LIKE IN CHRISTIAN CHURCHES. IN CHURCH THEY ARE SANSTIFIED OF ST. PEAPLE. IN MOSQUE IS SYMBOLIC MEANING OF OTHER DOMES WEAK.

I TRY TO DESIGN ROOF IN ANOTHER WAY, BUT SAVE THE SYMBOLIC

!IN CENTRAL PLAN THERE IS LOSING THE MOST INPORTANT THING IN THE MOSQUE - DIRECTION TO MEKKA

I USE ARABIC TYPOGRAPHY

BUSSINES

MOSQUE

EQUALITY: MAN AND WOMAN SIDE BY SIDE

HISTORICAL EXAMPLE: SULTAN KHAN

- TRADITIONALY PROTECTED SPACE- MOSQUE IS BUILDING, WHICH NEVER CONFORM TO NEIGHBOURHOOD.- FROM OUTSIDE FORTRESS, FROM INSIDE PROTECTED GARDEN.

HISTORICAL EXAMPLE: CORDOBA

- FIRST MOSQUES HAD ONLY SPACE OF COURT, THE SPACE WAS DIVIDED TO PRAYER HALL AND COURT BY PROGRESS, BETWEEN QIBLAH WALL AND COURT SET IN BARRIER. MY MOSQUE CAN JOIN THESE TWO SPACES

1

2

3

MOSQUE

CULTUR CENTRE

COURT - BACK WALL OF PRAYER HALL IS PUSHED UP

COURT

1. LEVEL

ENTRANCE OF MOSQUE

ENTRANCE OOF CULTURAL CENTRE

VIEW OF CAMERAS

1

3

2

3. LEVEL 1:400 4. LEVEL 1:4002. LEVEL 1:400

SECTION1:200

Leading EdgeHistorical and Natural Center of University of California, Santa Barbara

playing-field s of university

cars

bicycle path, footways

public space

public space

officesoffices

wclibrary

lecture hall

art gallery

student residence building

historic Campbell Barn - art gallery

2 school roomslabortory

wclaboratory

lecture hall

art gallery

The new ecological and historical center is (situated) in a neighborhood of a historic barn. My concept revolves around the idea of underlining its importance. I don’t want to over-shadow it. The architecture of building and building materials refers to the orientation of the center - the ecology and history. Exploring traditions, a certain moderation and humili-ty is com¬mon to these disciplines. The land is situated on the dynamically changing outskirts, where is no fixed point. My building has ambition to become a real social center of the area. The build¬ing creates a pleasant semi-closed public space. Atrium should be a quiet place for reading and relaxing. The complex is open for everyone. Lockable at night. Materials: frame - wood, in¬sulation: straw (visible from exterior), corten. The complex is divided into 6 separate “straw blocks”. Communications are covered by openable corten panels. Plants are everywhere.

SIT

E

historic Campbell Barnsite planSanta Barbara

dDIA

GR

AM

STE

XT

section: 1:500

seco

nd fl

oor p

lan

1:50

0

grou

nd fl

oor p

lan

1:5

00

historic Campbell Barn - art gallery

student residence building

View from behind of historical barn to the main public space. On the left there is studetś housing. Solar panels are on the roofs

square

studentś housing is in front

oen

ing

of th

e sk

inH

ALL

Atrium is embosomed with galleries . Solar panels are on the roofs.

gallery

atrium

generative art

The art piece is based on work of Zdenek Sykora and Stanislav Zippe. Randomly directed by author‘s creativ-ity. I wrote a script which generates automatically an abstract painting. One was repainted carefully /in details/. I cre¬ated generative endless animation, which should be played beside the paint. Between this

duality arising from the same, there should be a relationship - tension.

v a r x : N u m b e r = 0 ; t h i s . c r e a t e E m p t y M o v i e C l i p ( " c a r a " , t h i s . g e t N e x t H i g h e s t D e p t h ( ) ) ; t h i s . c r e a t e E m p t y M o v i e C l i p ( " c a r a 2 " , t h i s . g e t N e x t H i g h e s t D e p t h ( ) ) ; m n o z s t v i = 1 ; x = 1 ; d o b a = n e w A r r a y ( ) ; d o b a i = 0 ; w h i l e ( d o b a i < 3 0 ) { d o b a [ d o b a i ] = 1 3 ; d o b a i + + ; } c a r a . o n E n t e r F r a m e = f u n c t i o n ( ) { i f ( x = = 1 ) { _ r o o t . x = 2 ; b a r v a 2 = 0 x 0 0 0 0 0 0 ; s i r k a = M a t h . f l o o r ( M a t h . r a n d o m ( ) * 2 0 ) ; v i d i t e l n o s t = M a t h . f l o o r ( M a t h . r a n d o m ( ) * 7 0 + 2 0 ) ; s i r k a 2 = M a t h . f l o o r ( M a t h . r a n d o m ( ) * 2 0 ) ; v i d i t e l n o s t 2 = M a t h . f l o o r ( M a t h . r a n d o m ( ) * 7 0 + 2 0 ) ; x x = n e w A r r a y ( ) ; x x i = 0 ; w h i l e ( x x i < 7 ) { x x [ x x i ] = M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 4 2 4 - 2 0 0 ) ; x x i + + ; } y y = n e w A r r a y ( ) ; y y i = 0 ; w h i l e ( y y i < 7 ) { y y [ y y i ] = M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 6 8 - 2 0 0 ) ; y y i + + ; } c a r a . l i n e S t y l e ( s i r k a , b a r v a 2 , v i d i t e l n o s t ) ; c a r a . m o v e T o ( x x [ 0 ] , y y [ 0 ] ) ; c a r a . l i n e T o ( x x [ 1 ] , y y [ 1 ] ) ; c a r a . l i n e T o ( x x [ 2 ] , y y [ 2 ] ) ; c a r a 2 . l i n e S t y l e ( s i r k a 2 , b a r v a 2 , v i d i t e l n o s t ) ; 2 c a r a 2 . m o v e T o ( x x [ 3 ] , y y [ 3 ] ) ; c a r a 2 . l i n e T o ( x x [ 4 ] , y y [ 4 ] ) ; c a r a 2 . l i n e T o ( x x [ 5 ] , y y [ 5 ] ) ; c a r a 2 . l i n e T o ( x x [ 6 ] , y y [ 6 ] ) ; } e l s e { c a r a . c l e a r ( ) ; c a r a 2 . c l e a r ( ) ; t h i s . c r e a t e E m p t y M o v i e C l i p ( " c a r a 2 " , t h i s . g e t N e x t H i g h e s t D e p t h ( ) ) ; t h i s . c r e a t e E m p t y M o v i e C l i p ( " c a r a " , t h i s . g e t N e x t H i g h e s t D e p t h ( ) ) ; p = n e w A r r a y ( ) ; p i = 0 ; w h i l e ( p i < 1 4 ) { p [ p i ] = M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 0 ) ; p i + + ; } t r a c e ( " d o b a " + d o b a ) ; s = n e w A r r a y ( ) ; s x = 0 ; s y = 1 ; j = 1 4 ;

w h i l e ( j > 0 ) { i f ( d o b a [ s x ] > 1 2 ) { p o s u n = n e w A r r a y ( ) ; p o s u n i = 0 ; w h i l e ( p o s u n i < 1 4 ) { p o s u n [ p o s u n i ] = M a t h . f l o o r ( M a t h . r a n d o m ( ) * 4 ) ; p o s u n i + + ; } } d o b a [ s x ] - - ; i f ( d o b a [ s x ] = = 0 ) { d o b a [ s x ] = 1 3 } s w i t c h ( p o s u n [ s x ] ) { c a s e 1 : s [ s x ] = p [ s x ] s [ s y ] = p [ s y ] b r e a k ; c a s e 2 : s [ s x ] = - p [ s x ] s [ s y ] = - p [ s y ] b r e a k ; c a s e 3 : s [ s x ] = - p [ s x ] s [ s y ] = p [ s y ] b r e a k ; d e f a u l t : s [ s x ] = p [ s x ] s [ s y ] = - p [ s y ] ; } j - - ; s x = s x + 2 ; s y = s y + 2 ; } s i r k a = M a t h . f l o o r ( M a t h . r a n d o m ( ) * 2 0 ) ; s i r k a 2 = M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 0 ) ; t r a c e ( " s " + s [ 1 3 ] ) ; x x [ 0 ] = x x [ 0 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 0 ] ; y y [ 0 ] = y y [ 0 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 1 ] ; x x [ 1 ] = x x [ 1 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 2 ] ; y y [ 1 ] = y y [ 1 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 3 ] ; x x [ 2 ] = x x [ 2 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 4 ] ; y y [ 2 ] = y y [ 2 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 5 ] ; x x [ 3 ] = x x [ 3 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 6 ] ; y y [ 3 ] = y y [ 3 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 7 ] ; x x [ 4 ] = x x [ 4 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 8 ] ; y y [ 4 ] = y y [ 4 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 9 ] ; x x [ 5 ] = x x [ 5 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 1 0 ] ; y y [ 5 ] = y y [ 5 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 1 1 ] ; x x [ 6 ] = x x [ 6 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 1 2 ] ; y y [ 6 ] = y y [ 6 ] + M a t h . f l o o r ( M a t h . r a n d o m ( ) * 1 1 - 5 ) + s [ 1 3 ] ; m e z i = 0 ; w h i l e ( m e z i < 6 ) { i f ( x x [ m e z i ] < - 2 0 0 ) { x x [ m e z i ] = - 2 0 0 ; }

i f ( x x [ m e z i ] > 1 2 2 4 ) { x x [ m e z i ] = 1 2 2 4 ; } i f ( y y [ m e z i ] < - 2 0 0 ) { y y [ m e z i ] = - 2 0 0 ; } i f ( y y [ m e z i ] > 1 0 0 0 ) { y y [ m e z i ] = 1 0 0 0 ; } m e z i + + } c a r a . l i n e S t y l e ( s i r k a , b a r v a 2 , v i d i t e l n o s t ) ; c a r a . m o v e T o ( x x [ 0 ] , y y [ 0 ] ) ; c a r a . l i n e T o ( x x [ 1 ] , y y [ 1 ] ) ; c a r a . l i n e T o ( x x [ 2 ] , y y [ 2 ] ) ; c a r a 2 . l i n e S t y l e ( s i r k a 2 , b a r v a 2 , v i d i t e l n o s t 2 ) ; c a r a 2 . m o v e T o ( x x [ 3 ] , y y [ 3 ] ) ; c a r a 2 . l i n e T o ( x x [ 4 ] , y y [ 4 ] ) ; c a r a 2 . l i n e T o ( x x [ 5 ] , y y [ 5 ] ) ; c a r a 2 . l i n e T o ( x x [ 6 ] , y y [ 6 ] ) ; } } ;

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