LEARNING FROM YOUR PEERS - EXAMPLES OF OUTSTANDING PROJECTS - PROJECT 2

Hi all

As Professor Richard Johnson mentioned in a lecture sometime ago that
he learnt as much from his peers as he did from his tutors and
lecturers. Having a class of 160 means that there is a wide range of
ideas and skills to learn from. Hence, I ask you look at some of the
outstanding works from the year group as a whole, on which all the
tutors had a consensus in the parity meeting for Project 2

http://www.arch1201tranthientoanngo.blogspot.com/
http://arch1201nicholaspapas.blogspot.com/
http://arch1201-christhorp.blogspot.com/
http://tham-kah-mun.blogspot.com/
http://scottbeerarch1101.blogspot.com/
http://thomasleungarch1201.blogspot.com/
http://nickbrennan-arch1201-2009.blogspot.com/
http://sunnam-won-arch1201-2009.blogspot.com/
http://www.james-kim.blogspot.com/

Try to look at these works objectively and constructively examine the
different ways in which these students have addressed the same
project. This is the benefit of having a blog site, so please make use
of it.

PROJECT 3 STUDIO WEEK 12 MAP/ TASKS

Dear tute group please see the list of things to do for studio in Week 12

It is encouraging to see some interesting schemes develop over the last couple of weeks and the seriousness with which some of you have started to thinking of light and space, but more importantly of the design as a community of rooms. Here are is the MAP of where you should be at this stage

WORK ACCOMPLISHED

Narrative formed
Art selected
Site analysis complete
Scale drawing of the site complete
Initial plans (initial sequence of spaces, circulation, massing), sections (closed/open, connection between spaces, light conditions) and elevations (relation to context) at 1:100 scale
Initial Vignettes

WORK TO BRING TO STUDIO

A – Developed and drawn up plans sections and elevations 1:100
B – Working model 1: 200 showing massing and key compositional elements (and openings)
C – Matured Vignettes/ interior perspectives (See Blogposting http://anuradhachatterjee-arch1201-2009.blogspot.com/2009/05/project-3-vignettes.html) which show the sequence of spaces, qualities of light and habitation (displays, work, rest, administration, break out space or courtyard, and entry)
D – Competently discuss/answer questions about light, space, and habitation in terms of
Display (paintings and sculpture)
Creative work (Workshop)
Commercial space (Shop/Office)
Rest (bed-sit apartment)
Gathering and celebrating (Living area )
E – Test the scheme in relation to the site and context – Photomontages/section/elevation/model

DISCUSSION

Week 12 studio will revolve around the RESOLUTION of design solutions. I will help with this. Hence, if you do not work hard now to transcribe/explore/develop design ideas and sketches (to scale) developed by you or in collaboration with the tutor, you will find Week 12 a waste of time.

DELAYED

If for some reason you have made no progress in terms of your scheme in Week 11 my advice is to a) Recycle some of the ideas from Project 2 and develop them b) Base your project on one of the case studies. This background work COMPULSORY – please do not come expecting the tutor to provide you with a design solution on the spot!!

CRIT CONDITIONS

The conditions about the amount of work; format; and scale same as in Week 11

PROJECT 3 Vignettes

http://fbeunsw.wordpress.com/tag/design/

http://www.artnet.com/Galleries/Artwork_Detail.asp?G=&gid=424732382&which=&aid=423779127&wid=425669026&source=inventory&rta=http://www.artnet.com

http://www.ajvaid.com/04-rome-exchange-programme/

PROJECT 3 - OF INTEREST

Hi all

Please see the houses in this practice - you might find it interesting

http://www.pscohen.com/

Studio Week 11

COMPLETED WORK (You don't need to show me this but it is expected that you would have completed these tasks for studio Week 10)

• Site analysis
• Narrative formation (characters of the gallery owner, as well as the kind of art that is to be exhibited, kind of artists who would be using the workshop)
• Site selection
• Site visit
• Selection and analysis of case study


FOR STUDIO IN WEEK 11

• Building Plan (1:100) showing neighbouring buildings (one plot deep for the
plans and sections) - Separate Ground, First, Second and so on
• 1: 100 Building sections
• 1: 100 Building elevations
Note: You should make a template site plan section and elevation and
bring your Building plans on large tracings laid over the template (and some extra tracing for feedback session) - save time and money
• Working model 1: 200 (1: 100)
• At least 2 internal perspectives showing light quality of two galleries
These can be hand drawn or CAD
This is work in progress and will be evaluated as such


CRIT

Please keep in mind that the tutor can decide not to give you feedback if you do not have at least 80 percent of the above stated requirements to the right scale and in the right format. Incomplete work or lack of work or work that is not printed and on the laptop means that more time is spent in verbally trying to extract architectural ideas out of the student, thereby disadvantaging students who have indeed produced work. Xing clarified this issue in the beginning of the semester. Hence please take responsibility for your education. If your work is not printed or complete, we may ask you rectify that during the studio session. We are pretty firm about this.


BOOKING

I see a number of students always in the end – if you know who you are (and are interested in seeing me earlier in the day) – could you come to studio at sharp 2 to put your name down on the roster – I think this is fair.

GRADES

You all have your feedback sheets for Project 2 and I will individually email you the grades

IN PROGRESS

It is expected that the individual/group site model is in progress and this is separate from the work you show in studio (you may not bring this to studio - but it is expected that you upload progress photos on the blogsite).

A lot to do but I hope you are at least enjoying the project and learning a lot from it.

bestest

Anu

Project 3 References on Google Books

These are some really handy references on lighting and art - I suggest you at least study one of these books to be able to competently talk about these issues in your project
_______________________________
DAYLIGHT PERFORMANCE OF BUILDINGS BY MARC FONTOYNONT - GOOGLE BOOKS - A NUMBER OF CASE STUDIES - SEE CHAPTER ON MUSEUMS

LIGHTING MODERN BUILDINGS BY DEREK PHILLIPS -GOOGLE BOOKS - SEE CHAPTER ON DAYLIGHTING

LIGHT FOR ART'S SAKE BY CHRISTOPHER CUTTLE - GOOGLE BOOKS - READ THE CHAPTER DAYLIGHT TYPOLOGIES

Project 3 Strategy 3 - Examples

Note the different strategies for lighting circulation, sculpture and painting galleries - Can different conditions of lighting (both pragmatic as well as atmospheric) become the driving force of your project?

Project 3 Strategy 2- Examples

Could the public face of your building provide a series of steps, or a tactile surface, or juxtaposed balconies which could create an outer life of the building?

Project 3 Strategy 1- Examples

These are installations - not buildings - yet they address the idea of the void - and that the task of architecture is to connect the different edges of the void - could that help you think of your site as a void?

Project 3 Strategy 1 2 3

Key strategies

1

Architecture is a performance and the site is a three dimensional stage that the building must reach out and touch all parts of it – in other words, don’t think of the site as flat ‘pancake’ like graphic image – it is a three dimensional void – and it cannot be filled merely with a convention plan stacked on top of plan – especially because the building is of an intimate scale – so think of creative strategies through which your building can occupy this three dimensional void

The narrative for the project will prompt you about the parti of the building, which will inform how and the extent to which the groups of activities – Display (galleries and shop); Administration (storage, office) and Living are connected

2

This building will have an inner and an outer life – in other words, you not only have to deal with light and interiority (recall Project 2) but you also have an obligation towards providing a public ‘face’ to the building because it is in Newtown – so think of how your building reinforces or breaks the existing urban rhythm – think of the impact (positive or negative) your building will have on the urban environment – Thereby considering the project as consisting of two mini-projects – one about the interior/light/circulation and the other about a visual/tactile/ habitable threshold (surface).

3

This project is still about light and interiority – Hence when studying Art Galleries (and I hope that you are), you must understand the different lighting conditions for paintings, sculptures and photographs
Paintings may require diffused light and avoidance of direct/focussed light
Sculptures are three dimensional objects and they may need focussed light to appreciate its three dimensional form?
Photos may require another kind of light condition – a lighting that simulates the intense light and shade of the medium?
Circulation passages can have more directional light – like “light at the end of the tunnel” or a “pattern of lights to guide movement”
Similarly the workshop, office, bedsit and living may require different light conditions (overexposed? In contrast to the art works)

REMINDER AND ADVICE ABOUT PROJECT 3 - 1

Hi all

In case you have neglected to look at the handout or forgotten the contents, the final submission will consist of

drawings presented in A2 sheets.

1. Site plan showing the art gallery and its relationship with adjacent buildings and the street. 1: 500 or 1: 1000
2. Floor plans and sections (including the outdoor courtyard). 1: 100
3. One room in plan and section (rendered, showing the quality of light in the room, and with at least one art object in it). 1: 50
4. Sectional, architectonic model. 1: 100
5. Interior perspective vignettes showing the main sequence of spaces.

This needed emphasis as some of you will now start to build your site models, and only a handful of students on Wed Week 10 had 1:100 drawings even though I had included it as part of the things to do (Some students even told me they could not do this because the plan would not fit on an A3!!!) Working at the right scale (rather scales, as one would also make conceptual sketches initially as well as throughout) is crucial - your design will not resolve or mature at a scale smaller than this (1:100).

I will send through a list of things needed for Studio Week 11 shortly - Adhering to it is in your best interest as the quality of the feedback (and therefore your progress) will depend on it. There are only two more weeks to go before the final submission.

best

Anu

PROJECT 3 STUDIO WEEK 10 TASK

Dear tute group

As we discussed in the studio, you need to have finished the following groundwork before coming to studio in Week 10

1 site selection
2 site analysis in line with the images on the blogsite - drawing sketches photomontages must be printed and brought to class for presentation - these should show the environmental (light/shade), physical (heights/ densities/widths/ rhythm of shop fronts/), visual (features of surrounding buildings, materiality/ texture), experiential (sound/ambience), spatial (pause spaces versus spaces for rapid movement), and other facets you have come across
3 formation of narrative from the programme
4 1: 100 drawing of the site and the surrounding - you have the dwg and the pdf - but as some adjustments need to be made (or not) please do that as a group otherwise the group model will be useless
5 A selection of case study discussed in the lecture (if you missed the lecture - the slides will be up tomorrow) - the list is on the blogsite - and collection of photos, plans, sections, elevations of your chosen case study

All this groundwork must be complete before Studio next week. Make sure nothing is on the PC - that everything is printed/copied

So we will start the studio with presentations of site analysis - this should take one hour. For the remaining hour, I would like to do desk crits - to discuss your case study, narrative, ideas for dealing with the site, and initial sketches and strategies for design.

I know this might seem overwhelming but as the project is another rapid one you will need to stay focussed on the task and I am confident you will do well. Do not miss studios - because there arent many to miss!! However, if you missed the studio this week - you will need to check with your mates - It will be hard to recapsulate that discussion in an email.

I am happy to stay till after 6 but the studio must start at sharp 2

This all seems clear, I think

best and see you on Wed

I will be in touch with more details about the site models after I talk to Xing tomorrow.

Anu

PROJECT 3 PREPARING FOR SITE VISIT

Please study these drawings and your analysis of the site must be based on this







Prepared by Bernard Whitcher

PROJECT 3 SITE VISIT WEEK 9

Hi all

Please be there in the studio at 2 sharp (not 2 15 or 2 30) and after a brief feedback session we will head off to the site

Attendance in both parts of the studio is NOT OPTIONAL

This is especially for students who have struggled with Project 2 and who would benefit from this one on one feedback session.

And it is crucial that we visit the site together so that you can ask questions.

See you in class

Please come prepared with sketchbooks, pencils, site plan (also accessible on the master site), a camera, and tape measure as you might need to start measuring up the site for an accurate site plan.

Anu