By now, every team should proceed to developing the following set of drawings with priorities indicated:
drawings:
1.
- Site Plan with your building roof plan and outdoor area design (entry, earth retaining walls as design help to integrate the landscape, covered parking, trees, green….); scale 1’:1/32”
- Floor Plans; scale 1’:1/8”. Primary step: total ground floor plan of the entire project including all the spaces and exterior context; Drawings should start to include all lines that help us understand the integration of elements and systems: envelope, walls and structure centerlines, ceiling and projecting lines (do not include lighting; include only built-in furniture);
2.
- One significant building Longitudinal Section with site-context; scale 1’:1/8”
- One significant building Transversal Section with site-context; scale 1’:1/8”
- Two-Four main Elevations (N-S-E-W) with site-context; scale 1’:1/8”
- One special section through one space (the one of the structure, skin and light study), scale 1’:1/4”
3.
- site model which is actively used as a process model where the integration of the building is tested; scale 1’:1/8”
- Rendered Axonometric views of the entire building with details of façades or Envelope. Pay attention to the conjunction of different elements, joints, materials. The building should be rendered including your Site design
- One Rendered Axonometric view of the entire building in light gray and the structural system in color; (no Site, it is more like a diagram);
- One Rendered Axonometric view of the entire building in light gray and the mechanical system in color (red and blue), (no Site, it is more like a diagram);
- Rendered Section-Perspective with details of façade, structure (horizontal/vertical), and mechanical. Pay attention to the conjunction of different elements, joints, materials.
- Rendered light studies, light filtering solutions in one space (current assignment refined?).
-
Physical models:
- All previous Partial and/or schematic models.
- Final models should be in white color and/or shades of white (unless permission of your instructor to use other colors). Use colors only to reinforce a concept within your project or the integration with the site. Raster and/or perforate surfaces to obtain effects or surface differentiations.
Technology Assignments:
- Envelope 1 and 2 assignments with corrections, print in 18x18” format;
- Sustainability ideas, print in 18x18” format;
- Interior systems: at 1/2” = 1’-0” draw a “tell tale” floor plan of the one space which was the focus of the sectional model. Include all lines that help us understand the integration of elements and systems: envelope, walls and structure centerlines—black; floor pattern, built-in furniture and other room scale elements—blue; mechanical elements—green; and all ceiling elements, such as lighting—red. Compose a Legenda with all the materials you would like to apply;
- Interior rendered views with materials and colors.
-
Previous phases’ drawings should also be part of your presentation.
Booklet: print all your graphic material (early diagrams, site studies, drawings, renderings, pictures of your models, etc.) in pages 11x17” format and bind (spiral) them. This bind booklet represents the story of your project. Create a cover page layout with your name (team members), professor, studio number, semester, and year.
Pictures of your models. Some of them could be conceptual, represent details of your models, or a light condition, or a special angled point. Be creative.
During the next weeks, I will give additional suggestions or modify this list where necessary for every team depending on each teams specific design. The idea is to tailor this list in a way such that each design is represented according to its specific design intent. Each drawing needs to through a cycle of revisions, so the earlier you start the more refined it will be in the end.
Friday, October 30, 2009
Monday, October 19, 2009
Art > Components for geometric differentiation
Ace gallery
Look for Tara Donovan installations!
http://www.acegallery.net/artistmenu.php?Artist=8
Look for Tara Donovan installations!
http://www.acegallery.net/artistmenu.php?Artist=8
Christian R Pongratz
Sunday, October 18, 2009
1.8 Interiors-Light
PHASE 2: Explorations
ASSIGNMENT 1.8: Interiors_Light
Precedents: Architectural lighting.
Light is one of the most architecture’s important elements. Whether natural or artificial, light might accentuate or mask spatial properties, or make a place feel particular (safe, scary, sacred, soft, intimate, heavy, evanescent, etc.).
Consider the work of the following architects:
- Le Corbusier, Chapel at Ronchamp, France, 1959
- Louis Kahn, The Kimbell Art Museum, Fort Worth, Texas, USA, 1972
- Renzo Piano, Menil Collection, Houston, Texas, USA 1987
- Tadao Ando, The church of the light, Osaka, Japan, 1989
- Peter Zumthor, Thermal SPA, Vals, Switzerland, 1996
- Toyo Ito, Serpentine Gallery, London, GB, 2002
- Steven Holl, Planar House, Arizona, USA, 2005
-
Design reference:
- Luis Barragan Gilardi, House
- Diller & Scofidio, Blur
- Joel Sanders, Five minute bathroom, 24/7 Hotel room
- S. Sejima, Swimming Pool
- Zaha Hadid, Peak Club Hong Kong
- Emergent (T.Wiscombe), The Cell House
- Tom Leader Studio, Stone Pool, Azalea Springs Vineyard, Napa Valley
- Sheila Kennedy, Public Bathroom
Consider the work of the following artists:
- Donald Judd, (sculptor/artist), Chinati Foundation, Marfa, Texas, USA (Aluminum and concrete works)
- Dan Flavin (artist), Light installations at Chinati Foundation, Marfa, Texas, USA
Understand how light is treated and implemented into the selected building, how it gives new meaning and value to the spaces.
• Refer to Pallasmaa’s reader “The Eyes of the Skin”.
The creation of order in a mutable and finite world is the ultimate purpose of man’s thought and actions. There was probably never human perception outside a framework of categories; the ideal and the real, the general and the specific, are ‘given’ in perception, constituting the intentional realm that is the realm of existence. Perception is our primary form of knowing and does not exist apart from the a priory of the body’s structure and its engagement in the world. This “owned body” as Merleau-Ponty would say, is the locus of all formulations about the world; it not only occupies space and time but consists of spatiality and temporality.”
• Alberto Pérez Gómez, "Architecture and the Crisis of Modern Science", Introduction.
Exercise
One of your project’s programmatic rooms will be considered to investigate light as an additional design tool.
Your chosen room is however a single unit associated with many units through an envelope, determined by the notion of a “deep surface” replacing traditional concepts of roof, floor and redefine the idea of a wall. Develop your strategy of how those units are divided in terms of opacity, transparency or translucency and such form individual functional spaces. The exercise will be based on this unit type with an up to 2’ ft. skin/floor/thickness and an inner void separated by other related adjacent spaces. Min. room height is 10’ ft.
Choose all four different days of the year (September 21, december 21, March 21, june 21) at 9.00am and at 12.00pm and at 6pm and locate your volume relative to NSEW.
For the purposes of this exercise, you are to use the longitude and latitude of Santa Fe, New Mexico.
Compose for your spaces some elementary digital diagrams that explain specific trajectories, how light enters or diffuses, vertical and horizontal openings, how solids and voids are defined through lights, lights and shadows, type of light, natural or artificial, etc.
Evaluate at least three (3) different narratives for the movement of light across the interior space during each of those days.
The exterior surfaces need to be “treated” in order to transmit light and interpret the notion of a “deep surface”; the other interior and /or some exterior surfaces are to receive that light/shadow. Consider the light in terms of its geometry and pattern: such as slots, pools, bands, stripes, zones, etc. Consider angular conditions of how light penetrates through adjacent surfaces.
Develop a three dimensional digital model showing how your partial building object/unit will need to be treated to articulate your light’s narratives. Develop the narrative via 2D study diagrams of the light trajectories and/ or a series of rendered transversal sections on a white surface. Choose the number, dimensions, and lengths of your “treatments” on the exterior skin.
On 11”x17” paper print the following:
- Series of 2D Diagrams of your “treatments”, etc., using the digital media preferred, on different chosen surfaces;
- Series of 2D Diagrams of the surfaces receiving the light (4 days in one year- 3 different hours each day);
- One (1) Axonometric view of your light unit simulation,
- Three (3) elevations (front views, top views of treated surfaces),
- Two (2) episodic transversal sections of spatial construction,
- Analog building light study with a physical model at a scale of: 1:10 (1 1/2"=1'-0").
Create a digital folder: LIGHT Study
Save all your drawings in the subfolders.
It is your responsibility to keep copies and traces of all the studio design process and phases.
Be organized and keep all your digital material in order on your computer.
Due on Fri, Oct. 30 Class discussion
ASSIGNMENT 1.8: Interiors_Light
Precedents: Architectural lighting.
Light is one of the most architecture’s important elements. Whether natural or artificial, light might accentuate or mask spatial properties, or make a place feel particular (safe, scary, sacred, soft, intimate, heavy, evanescent, etc.).
Consider the work of the following architects:
- Le Corbusier, Chapel at Ronchamp, France, 1959
- Louis Kahn, The Kimbell Art Museum, Fort Worth, Texas, USA, 1972
- Renzo Piano, Menil Collection, Houston, Texas, USA 1987
- Tadao Ando, The church of the light, Osaka, Japan, 1989
- Peter Zumthor, Thermal SPA, Vals, Switzerland, 1996
- Toyo Ito, Serpentine Gallery, London, GB, 2002
- Steven Holl, Planar House, Arizona, USA, 2005
-
Design reference:
- Luis Barragan Gilardi, House
- Diller & Scofidio, Blur
- Joel Sanders, Five minute bathroom, 24/7 Hotel room
- S. Sejima, Swimming Pool
- Zaha Hadid, Peak Club Hong Kong
- Emergent (T.Wiscombe), The Cell House
- Tom Leader Studio, Stone Pool, Azalea Springs Vineyard, Napa Valley
- Sheila Kennedy, Public Bathroom
Consider the work of the following artists:
- Donald Judd, (sculptor/artist), Chinati Foundation, Marfa, Texas, USA (Aluminum and concrete works)
- Dan Flavin (artist), Light installations at Chinati Foundation, Marfa, Texas, USA
Understand how light is treated and implemented into the selected building, how it gives new meaning and value to the spaces.
• Refer to Pallasmaa’s reader “The Eyes of the Skin”.
The creation of order in a mutable and finite world is the ultimate purpose of man’s thought and actions. There was probably never human perception outside a framework of categories; the ideal and the real, the general and the specific, are ‘given’ in perception, constituting the intentional realm that is the realm of existence. Perception is our primary form of knowing and does not exist apart from the a priory of the body’s structure and its engagement in the world. This “owned body” as Merleau-Ponty would say, is the locus of all formulations about the world; it not only occupies space and time but consists of spatiality and temporality.”
• Alberto Pérez Gómez, "Architecture and the Crisis of Modern Science", Introduction.
Exercise
One of your project’s programmatic rooms will be considered to investigate light as an additional design tool.
Your chosen room is however a single unit associated with many units through an envelope, determined by the notion of a “deep surface” replacing traditional concepts of roof, floor and redefine the idea of a wall. Develop your strategy of how those units are divided in terms of opacity, transparency or translucency and such form individual functional spaces. The exercise will be based on this unit type with an up to 2’ ft. skin/floor/thickness and an inner void separated by other related adjacent spaces. Min. room height is 10’ ft.
Choose all four different days of the year (September 21, december 21, March 21, june 21) at 9.00am and at 12.00pm and at 6pm and locate your volume relative to NSEW.
For the purposes of this exercise, you are to use the longitude and latitude of Santa Fe, New Mexico.
Compose for your spaces some elementary digital diagrams that explain specific trajectories, how light enters or diffuses, vertical and horizontal openings, how solids and voids are defined through lights, lights and shadows, type of light, natural or artificial, etc.
Evaluate at least three (3) different narratives for the movement of light across the interior space during each of those days.
The exterior surfaces need to be “treated” in order to transmit light and interpret the notion of a “deep surface”; the other interior and /or some exterior surfaces are to receive that light/shadow. Consider the light in terms of its geometry and pattern: such as slots, pools, bands, stripes, zones, etc. Consider angular conditions of how light penetrates through adjacent surfaces.
Develop a three dimensional digital model showing how your partial building object/unit will need to be treated to articulate your light’s narratives. Develop the narrative via 2D study diagrams of the light trajectories and/ or a series of rendered transversal sections on a white surface. Choose the number, dimensions, and lengths of your “treatments” on the exterior skin.
On 11”x17” paper print the following:
- Series of 2D Diagrams of your “treatments”, etc., using the digital media preferred, on different chosen surfaces;
- Series of 2D Diagrams of the surfaces receiving the light (4 days in one year- 3 different hours each day);
- One (1) Axonometric view of your light unit simulation,
- Three (3) elevations (front views, top views of treated surfaces),
- Two (2) episodic transversal sections of spatial construction,
- Analog building light study with a physical model at a scale of: 1:10 (1 1/2"=1'-0").
Create a digital folder: LIGHT Study
Save all your drawings in the subfolders.
It is your responsibility to keep copies and traces of all the studio design process and phases.
Be organized and keep all your digital material in order on your computer.
Due on Fri, Oct. 30 Class discussion
1.7 interior_exterior
PHASE 2: Explorations
Process 1.9: Joint between exterior and interior
You should by now have a series of 2D and 3D parties that delineate the conceptual and schematic idea of your project through a field surface condition.
This field condition is characterized by a differentiated system that develops tectonics through a coherent and rich rule based organization.
Similar as to the baroque or rococo interior spaces, the new luxury is based on a layered complexity between material, pattern texture, apertures to structure. All of these operate on different correlated scales that inform each other.
In conjunction with the development of your design process, you should concentrate on two (2) important interior space types, each with different characteristics.
Special attention should be paid to the following themes:
-The public resonance of the building, the exterior/interior correlation and expression;
-relationship landscape-transition-envelope-transition-interior space
1.A place of many experiences and events: experimenting, socializing, etc. (Reception, lounge, relaxation spaces..)
2.A space with a particular condition: experiencing oneself, one’s mind & body, relaxing (treatment rooms),
where both will employ specific scale, orientation, light, form, accessibility, view, placement (threshold, spine, core, in between, etc.), spatial relationship with other spaces (inside or outside)
The surface strategy implies operations on several scales. A local scale discusses surfaces partitioning, material and texture all important also for the next lighting exercise.
The global scale differentiates the envelope as surface enclosure of single units and then enlarged on the assembly of several units to form a cluster. The program and its spaces enter here on the scale of global differentiation and determines the phenotype of the overall organization. The program also necessitates to determine any connections or possible combinations and spatial variety of rooms, of voids, of voids and rooms.
Explore the ambiguity of voids as negative spaces and/or solids of the envelope surface.
Investigate ideas for clustering through patterns of voids or strategic voids: you could involve the exterior landscape, or consider the space in between rooms, or public spaces (communal, semi-public) flowing into your individual rooms. Instead your larger communal space (interior or exterior) could be a surface or a volume within the volume generated by the building.
Think about a diagram of densities (of units/of voids). The arrangement of the spaces could create completely secluded voids, or slightly open or completely open spaces (interiors or exteriors).
Study how the spaces interlock the units; idea of adjacency involving lighting conditions, air, transparency, opacity, protection, structure…, as organization of the internal and external spaces.
Exercise
Your drawings document and explain a particular nature or an architectural quality of those 2 spaces. Focus on strategies that imply operations of assembly of units and joining of spaces
Consider:
-not same repetition but similar with difference
-organization malleable
-gradient differentiation
Surface strategies:
-sharp edge, soft edge
-small grain versus large
-transparent versus opaque
-thickened versus thinned
Use the media technique that you feel more confident with.
The spatial narratives or intuitions will be printed in 2 color-pages of size 11x17, one page for each space. Space should be represented in plan, sections and through axos.
Complete and rethink your drawings through a parallel investigation with physical study-models. The models should not be the exact replication of your drawing. It should contain the idea of the sectional-volumetric exploration as another of the project’s generators.
Scale of the sectional model: > 1:100 (1/8"=1'-0").
Due on Fr, Oct. 23 Class review
Process 1.9: Joint between exterior and interior
You should by now have a series of 2D and 3D parties that delineate the conceptual and schematic idea of your project through a field surface condition.
This field condition is characterized by a differentiated system that develops tectonics through a coherent and rich rule based organization.
Similar as to the baroque or rococo interior spaces, the new luxury is based on a layered complexity between material, pattern texture, apertures to structure. All of these operate on different correlated scales that inform each other.
In conjunction with the development of your design process, you should concentrate on two (2) important interior space types, each with different characteristics.
Special attention should be paid to the following themes:
-The public resonance of the building, the exterior/interior correlation and expression;
-relationship landscape-transition-envelope-transition-interior space
1.A place of many experiences and events: experimenting, socializing, etc. (Reception, lounge, relaxation spaces..)
2.A space with a particular condition: experiencing oneself, one’s mind & body, relaxing (treatment rooms),
where both will employ specific scale, orientation, light, form, accessibility, view, placement (threshold, spine, core, in between, etc.), spatial relationship with other spaces (inside or outside)
The surface strategy implies operations on several scales. A local scale discusses surfaces partitioning, material and texture all important also for the next lighting exercise.
The global scale differentiates the envelope as surface enclosure of single units and then enlarged on the assembly of several units to form a cluster. The program and its spaces enter here on the scale of global differentiation and determines the phenotype of the overall organization. The program also necessitates to determine any connections or possible combinations and spatial variety of rooms, of voids, of voids and rooms.
Explore the ambiguity of voids as negative spaces and/or solids of the envelope surface.
Investigate ideas for clustering through patterns of voids or strategic voids: you could involve the exterior landscape, or consider the space in between rooms, or public spaces (communal, semi-public) flowing into your individual rooms. Instead your larger communal space (interior or exterior) could be a surface or a volume within the volume generated by the building.
Think about a diagram of densities (of units/of voids). The arrangement of the spaces could create completely secluded voids, or slightly open or completely open spaces (interiors or exteriors).
Study how the spaces interlock the units; idea of adjacency involving lighting conditions, air, transparency, opacity, protection, structure…, as organization of the internal and external spaces.
Exercise
Your drawings document and explain a particular nature or an architectural quality of those 2 spaces. Focus on strategies that imply operations of assembly of units and joining of spaces
Consider:
-not same repetition but similar with difference
-organization malleable
-gradient differentiation
Surface strategies:
-sharp edge, soft edge
-small grain versus large
-transparent versus opaque
-thickened versus thinned
Use the media technique that you feel more confident with.
The spatial narratives or intuitions will be printed in 2 color-pages of size 11x17, one page for each space. Space should be represented in plan, sections and through axos.
Complete and rethink your drawings through a parallel investigation with physical study-models. The models should not be the exact replication of your drawing. It should contain the idea of the sectional-volumetric exploration as another of the project’s generators.
Scale of the sectional model: > 1:100 (1/8"=1'-0").
Due on Fr, Oct. 23 Class review
Tuesday, October 6, 2009
material system
form and material
Each team needs to develop a material system with specific morphological features that is dynamic enough to respond to several performance criteria. The design process is guided by the following critical steps:
• a computational model which describes the basic geometric parameters derived from the initial concept study through a set of simple rules. Points, Lines, Splines, surfaces as a dataset.
• A physical model or component, which facilitates the exploration of potential material characteristics that relate to structural and environmental conditions. Since it is built as a series of many components which can change in several dimensions, the questions of surface apertures for light, access, circulation, courtyards, gardens, integration with the landscape etc.. can be easily simulated.
This setup is to be kept flexible enough in its configuration so as to be able to adapt to further differentiation through a process where in feedback material physicality and digital framwork inform each other.
In a next step, additional parameters can be integrated into the digital framework, such as constraints from actual materials (size restrictions of manufacturing), specific fabrication parameters, logics of assembly, orientation of individual spaces, programmatic issues, site specifics, internal light conditions etc..
Be reminded on the general concepts driving your design. Examples indicated were:Inversion, Incongruity and Continuity but you may suggest your own.
For the Friday review (october 9), each team needs to have gathered enough support to sustain their concept and design intent, proven by digital and physical mockups illustrating the adaptation possibility of their parti as described above.
Each team needs to develop a material system with specific morphological features that is dynamic enough to respond to several performance criteria. The design process is guided by the following critical steps:
• a computational model which describes the basic geometric parameters derived from the initial concept study through a set of simple rules. Points, Lines, Splines, surfaces as a dataset.
• A physical model or component, which facilitates the exploration of potential material characteristics that relate to structural and environmental conditions. Since it is built as a series of many components which can change in several dimensions, the questions of surface apertures for light, access, circulation, courtyards, gardens, integration with the landscape etc.. can be easily simulated.
This setup is to be kept flexible enough in its configuration so as to be able to adapt to further differentiation through a process where in feedback material physicality and digital framwork inform each other.
In a next step, additional parameters can be integrated into the digital framework, such as constraints from actual materials (size restrictions of manufacturing), specific fabrication parameters, logics of assembly, orientation of individual spaces, programmatic issues, site specifics, internal light conditions etc..
Be reminded on the general concepts driving your design. Examples indicated were:Inversion, Incongruity and Continuity but you may suggest your own.
For the Friday review (october 9), each team needs to have gathered enough support to sustain their concept and design intent, proven by digital and physical mockups illustrating the adaptation possibility of their parti as described above.
Monday, October 5, 2009
project references
FOA Novartis Underground Park/ Yokohama Port terminal
http://www.f-o-a.net
Spuybroek Fresh Water Pavilion
Osterhuis Salt Water Pavilion
Thomas Heatherwick East Beach Café, GB
Toyo Ito/ Crematorium in Kakamigahara/ Vivo City/ competitions for concert/opera halls: Brussels, Taichung
http://www.toyo-ito.co.jp/
Sanaa/ century museum of cotemporary art/ learning center ecole polytechnique federale Lausanne
http://www.sanaa.co.jp/
Reiser Umemoto/ BMW Plant at Leipzig/ BMW Event + Delivery Center/ West Side Convergence/ IIT Student center/ Watergarden for Jeff Kipnis/ Yokohama Port Terminal
http://www.reiser-umemoto.com/
Fernando Meniz/ Jordanék Music Hall/ Auditorium and Congress Center in Morro Jable/ Auditorium in Los Llanos/ Cultural center for the North East of Tenerife Icod de los Vinos/ etc..
/ http://www.menis.es/
Unstudio/ the museum of middle eastern art/ browse through MOVE (3 books series)
http://www.unstudio.com
Zaha Hadid/ works
Ingenhoven und Partner/ Stuttgart Station
http://www.ingenhovenundpartner.de/
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