Monday, April 27, 2009

PROJECT 2 TYPOLOGIES Part 2 (Parasite)
P.A.R.A.S.I.T.E. PROJECT, designed by Dutch architects Kortknie Stuhlmacher Architecten


Sunday, April 26, 2009


You are probably at a stage when you would need to consider (or reconsider) carefully the siting of the building - and ask yourself whether the site should be a part of the model - if not - why - it is not about whether the tutor wants to see the site in the model or whether the 250 X 250 will allow for it - but how best to indicate it graphically (not verbally) as a part of the overall story.

Nevertheless, you need to be clear about whether your project is

1 set on the side of a cliff face

2 set in a valley

3 submerged into a sloping hill or cut into it to join two roads at an upper or lower level

4 bridging a creek or a river

5 set at the waterfront (harbour or river)

6 inserted into an existing urban fabric or a building or set in an empty carpark

These are very exciting possibilities and even though it is a generic site it is will have some impact on the CONDITIONS and DESIRES of

a movement
b view
c light

Thursday, April 23, 2009


Dear Tute Group

For next Wednesday please bring the following

1 Final drawings plans sections and axonometric (all POCHE)
2 ONE sample of what the submission drawing will look like (this is because presentation wise our group was a little bit weak last time so I want to make sure I know what you are attempting - Please look at the link I have posted on the blogsite about
3 Working model (1:100) or Final Model in Progress

IMPORTANT: For students whose have had one or less consultation please bring between 1-3 design solutions so the Studio session can be fruitful (this is not whimsical - we as students and tutors are pressed for time therefore having more than one option means that the tutor can tell you what works and what doesnt )

The scale is 1: 50 for students working with small structures 1-2 rooms The scale is 1: 100 for students working with larger/more expansive schemes

IMPORTANT: You will need to get your scale approved before you go into 'production mode'
We will follow the roster system again and make sure everyone gets a fair go



Tuesday, April 21, 2009


Hi all

This week you should start to think what kind of architectural type your project corresponds to. You could say: "Must I define my building along these lines...I am designing a work/living space". However, we argue that this is too vague a definition. It has a strong functional undercurrent and it automatically tends towards the design of domestic space.
Hence, it is suggested that you think of the TYPE. It is a suggestion of course but it will give your project A HIGH DEGREE OF DEFINITION in terms of light and view.

The possible types are:
C A V E / B U N K E R


H A B I T A B L E _B R I D G E
M A Z E/ L A B Y R I N T H

Studio Week 6

Dear all

At the request of some students, we will run the studio from 2 pm - Please be there at the start if you want feedback
Students who are struggling with this project are especially encouraged to attend
Please bring all the process work to receive feedback


Sunday, April 19, 2009

Project 2 What your blogsite should look like

Please see the variety of investigations that all of you should be engaged in at this stage
I know you are busy but if you upload then I can comment on your work before studio
The blog is a place of sharing work and not just uploading your folio

Models from Australian Pavilion Venice Architecture Biennale

See these models for inspiration
You can also see a short video on
The catalogue has more images

Enter Architecture, Redfern Housing Prototype. Photo: Byron Keane. Model: Tom Spalding, Envizage Australia.
Super Colossal, Cubby Conglomerate.
Mulloway Studio, Contemplative Space.
Chenchow Little Architects, Pitched Roof House. Photo: Phillip Hayson. Model: Chenchow Little.

Exquisite model and overall process in Project 2 in 2008

For exquisite model and overall process in Project 2 in 2008

See for the drawings and other views of the model

Here are some images

Standards - Model and Drawing

Dear all

Examples within the year group

For excellent presentation standards see

Model and drawings (notwithstanding the coloured diagrams)

Model and drawings (notwithstanding the coloured diagrams) -

Line work

Model making Books (taken from Ainslie Murrays 2008 blogsite)

James Angus, James Angus, Sydney: MCA, 2006.

James Angus, Mikala Dwyer, Emily Floyd, Ronnie Van Hout, Ricky Swallow, Still Life: The Inaugural Balnaves Foundation Sculpture Project, Sydney: AGNSW, 2003.

Tim Hawkinson, Tim Hawkinson, Sydney: MCA, 2007.

Wolfgang Knoll and Martin Hechinger, Architectural Models: Construction Techniques, London: BT Batsford, 1992.
Criss Mills, Designing With Models: A Studio Guide to Making and Using Architectural Design Models, New York: John Wiley & Sons, 2000.

Karen Moon, Modelling Messages: The Architect and the Model, New York: Monacelli Press, 2005.

Toshiko Mori (ed.), Immaterial, Ultramaterial: Architecture, Design and Materials, New York: Harvard Design School and George Braziller, 2002.

Callum Morton, More Talk About Buildings and Mood, Exhibition Catalogue, Sydney: MCA 2006.

National Sculpture Prize & Exhibition 2005, Canberra: NGA, 2005.

Susan Norrie, Daniel von Sturmer, Callum Morton, Venice Biennale 2007 Australia, Sydney: Australia Council for the Arts, 2007.

Tom Porter and John Neale, Architectural Supermodels, Oxford: Architectural Press, 2000.

Verlag Anton Pustet, Scale Models of the 20th Century, Basel, Boston, Berlin: Birkhauser, 1999.

Albert Smith, Architectural Model as Machine, Oxford: Architectural Press, 2004.
Martha Sutherland, Modelmaking: A Basic Guide, New York: W W Norton & Co, 1999.

Sophia Vyzoviti, Supersurfaces: Folding as a method of generating forms for architecture, products and fashion, Corte Madera: Gingko Press, 2006.

Sophia Vyzoviti, Folding Architecture: Spatial, Strucutral and Organisational Diagrams, Corte Madera: Gingko Press, 2003.

Modelling supplies (taken from Ainslie Murrays 2008 blogsite)

Artlink Art Supplies
3 Chard Rd Brookvale
ph: (02) 9939 7633

Art Smart Discount Art Supplies
50 Ethel St Seaforth
ph: (02) 9949 7477

Art On King
199- 201 King St Newtown
ph: (02) 9516 2342

Bondi Road Art Supplies
179-181 Bondi Rd Bondi
ph: (02) 9387 3746

Burwood Art Supplies
246 Burwood Rd Burwood
ph: (02) 9747 6222

Campus Art Store
Cnr Greens Rd & Napier St Paddington
ph: (02) 9331 7474

2- 8 Phillip St Parramatta
ph: 1800 227 116

88 Walker St North Sydney
ph: (02) 9957 5678

93 York St Sydney
ph: (02) 9299 4151

21 Atchison St St Leonards
ph: (02) 9439 4944

Janet’s Art Supplies
145 Victoria Ave Chatswood
ph: (02) 9417 8572

Hurstville Art & Drafting Supplies
23 MacMahon St Hurstville
ph: (02) 9570 4138

North Shore Art Supplies
10 George St Hornsby
ph: (02) 9476 0202

Oxford Art Supplies
221- 225 Oxford St Darlinghurst
ph: (02) 9360 4066

Parkers Art Supply
3 Cambridge St The Rocks
ph: (02) 9247 9979

The Art Scene
912 - 914 Victoria Rd West Ryde
ph: (02) 9807 6900

Project 2 Composition, Craft, Opening

As you develop your design for project 2, keep in mind the idea of composition and craft

Composition - Like I have noted before, you will need to show competence with architectonic composition using strategies of folding, stacking, carving, shifting, arranging, repeating, thickening, layering of planes and linear elements.

Craft - Craft is not merely a neat model but also clarity in thinking through the formal strategies - You need to think of how to use the model making materials and what they signify in terms on inhabitation

Window - Think inside out

Have a look at some of these first year example from another university in Australia - very similar in approach if not in scale to your project - to see how some of them have used these strategies to create habitation

Example of folding

Example of repeating
Example of layering

Example of thickening

Monday, April 13, 2009

PROJECT 2 - Precedents Compositional Strategies

Hi all

This is a very reductive BUT helpful categorization of the works of these architects

1. Architecture of solid planes and light
Luis Barragan
See - An interactive website

2. Architecture as a composition of linear elements
Shigeru Ban

Wednesday, April 8, 2009

PROJECT 2 What to do next

Dear all

You have made a very good start in Week 5 with writing a narrative from the painting

As you begin to look for architectural manifestation for this narrative keep in mind a few things

1 The rooms designed by you is not a literal translation of the rooms in the painting

2 You need to be aware of FORMAL vocabulary of contemporary architecture in order to attempt the project with some competence and confidence - so please look at the images and the list of architects I have uploaded and look for others

3 You should also keep in mind that this is not exclusively a form making exercise - it is an exercise in forming interior spaces - Hence please stay away from monumental and conspicuous forms for their own sake

4 Even though this is not a form making exercise, there will be significant emphasis on form because composition of forms is essential to the formation of enclosure and composition of forms will often produce interesting conditions of gaps/openings/void/shafts/chasms that might provide the light/view quality you want

So, you might need to think of COMPOSITIONAL strategies like folding, stacking, carving, shifting, arranging and so on - Please Look at CHING'S FORM SPACE AND ORDER for inspiration/revision

See the Assessment Criteria to be on track

5 Also, please work at a scale of 1: 50 as it is hard to discuss enclosure and materiality at a scale smaller than this. Model is very important - Start to think of materiality in terms of the three model making materials

6 Please also think of a number of design options and try not to be too precious about the scheme at this stage - this will allow you to change and transform it freely.

I will send more information about what is expected in the next studio.

Till then please

1) update project 1 blogsite
2) start uploading your research and works in progress for Project 2 - This is essential so I can follow your progress

very best


'Openings' in Architecture - II

1 Sangath, B. V. Doshi, Ahmedabad, India - Consider the use of vaults in a semi-subterranean structure

2 Berlin Holocaust Memorial, Peter Eisenman

3 student project?

4 Tadao Ando, Collezione
See more in 5 Kunihiko Hayakawa's Labyrinth
See more in
6 Arakawa's Reversible Destiny House
See more in

Examples 2 - 6 show the emphasis on a labyrinthine layout - What role do openings have in this?

hasan fathy's works might be an inspiration for students working with the idea of a cavernous quality and with massivness. Note how the thickness of the wall is emphasized through the arches, the in-built furniture and its connections with windows.

Nakagin Capsule Tower
For students interested in the idea of stacking modules with openings to create a multidirectional enclosure

Origami inspired house, Tokyo, Yasuhiro Yamashita, Atelier Takuto
This house emphasizes the idea of folding. It shows how the strategy of folding can create strategically placed openings that are integrated into the fabric of the structure - It is not a simple subtraction from the mass of the building.

Window Less House
Light can be diffused through the use of courts, paths, gaps and bridges - Similar to Geoffrey Bawa House in which courtyards provide majority of the light coming into the habitable spaces

Another example of stackable forms that allow the creation of a multidirectional composition