FINAL COMMENTS

Dear students

Please upload Project 3 on your blogsites - We need to have that up before Wed - for parity. Firstly, it is a folio submission and therefore it is not complete between now and Wednesday morning you risk losing marks for late submission. Secondly, your grades will be unmoderated - which might disadvantage you. Treat this as 'another' submission (I know - I hear "Oh no!") - and do the best job in terms of photographing your models and scanning/digitizing your drawings. If you did not do as well in the presentations - Now is your chance to make up for it - 15 percent is a good chunk. Could I also suggest that you CAPITALIZE the title of the blogpost for Project 1 2 and 3 so its easy for me to locate the projects.

I also wanted to say that I was impressed by the energy and patience of the group as a whole - Thanks for sticking around till the end through a freezing day and evening - and participating in the presentations!! I hope it was worth it and that you learned something from hearing other students present their schemes. I was very happy with the quality of the models and the ideas in the schemes - I thought maybe the drawings could have been better - But it is unrealistic to hope for more for such a short and complex project - I think most of you took some imaginative leaps in terms of light, view, scale, and siting - whether it worked is another issue - but I commend the fact that you were engaged with these issues. I also saw the beginning of what I would consider a 'professionally' constructed presentation - both verbally and graphically - and I hope you will keep pushing this as you progress through this degree - as a lot of architecture is not what you say but how you say it.

So congratulate yourselves and celebrate the end of a studio!

Anu

FINAL PRESENTATION TIPS AND REMINDERS

SUBMISSION REQUIREMENTS (PROJECT OUTLINE EXPLAINED FURTHER)


All the drawings are to be presented in A2 sheets.

Submit the following items of work:

1. Site plan showing the art gallery and its relationship with adjacent buildings and the street. 1: 500 or 1: 1000 – This is a small drawing and therefore it should be accompanied by some site analysis on an A 2 sheet.

2. Floor plans and sections (including the outdoor courtyard). 1: 100 – These are discrete plans – separate plans for separate floors – this is self evident but I have seen many students over the years compromise by combining floor plans! You will lose marks if you don’t do this. Remember that the floor plans and sections are poches not line drawings! So make them atmospheric.

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 – You should realise that as this is 1:50 it will need to be “animated” – people in silhouette, display, and some furniture if applicable

4. Sectional, architectonic model. 1: 100 – Model should be well crafted and glued together – Another self evident statement but you will lose marks for models that are not glued to the base or whose roofs are not glued down – Pay attention to the word “sectional” – the section is the only place where the model comes apart.

5. Interior perspective vignettes showing the main sequence of spaces. There should be at least 5-6. These should be to scale (I would say 1:50 or 1:100 – smaller than this would make it hard to read)


ADDITIONAL COMMENTS – VERY IMPORTANT – PLEASE READ


Colour – I prefer monochrome presentations but some students are good at using colour in their digital renderings. If you want to use colour, please make sure that they are not realistic. You will not gain points for using colour either. Most importantly do not use it as a decoration or if it is a minor part of your design.

Axonometric – Even though this is not mentioned as part of the submission requirement you may wish to make them – particularly if a sectional model does not completely explain your scheme.

Additional material 1 – The kind of art marketed by the dealer MUST BE presented along with the narrative for the architectural programme in an A2 format. This is important as this is the foundation for your design!

Additional material 2 – Case study – You would have studied at least one art gallery so you MUST please present your findings in a graphic form in an A2 format. Again this shows that you have done some research on the idea of displaying art and moving through a gallery – it forms the foundation of your design!

Text – on the site analysis sheet, case study, describing the art, narrative, space labels and street names, drawing conventions (Up, down, levels, first floor second floor etc) – NO OTHER TEXT is to be inserted in the presentation


IMPORTANT PLEASE READ


Guest critic – You will have one external guest critic for this submission in addition to Prof Xing Ruan so please treat this as a formal event – be prepared, be on time, come equipped with pins and tapes.

Presentation – You will speak for 7 minutes and the jurors will speak for a total of 8. Please prepare your presentation – write it down as a script of no more than 7 minutes – Which is not more than 800 words (with pause erms and aahs) – Do not present your design as if I already know it – Decide on what is the most significant part of the scheme and present that – it is unlikely you will have time to talk about everything – but tutors and jurors will look at your scheme again so that all that you have not had the chance to present will be picked up then. So be succinct and strategic in explaining the MOST IMPORTANT aspects of your scheme.

IMPORTANT Crit Schedule Studio Week 12

Dear tute group

This is the order in which I would like you all today (Let me know if
you can spot any mistake) - this is based on the numbers of times you
have had consultation with me and the level of difficulty you are
facing. I think this is equitable as a number of students (probably
shy or modest) always see me much later in the day leaving me with
little energy. Of course, this is subject to your timely attendance.
Hence, if you are not there to attend the crit on time, then you slide
right down to the list and I will keep seeing the students in the
order in the list. If you are progressing well, please come to the
studio and keep working there till your turn comes. Please be there at
2 sharp. I will take a break at around 4 for 15 -20 minutes to run to
another studio to collect some student works

Yuen,Adley Chun Kit 2
Awad,Yasmin Fayek 2 15
McGee,Samantha Jane 2 30
Chan,Chiu Yin 2 45
Li,Yao Ling Sam 3 00
ieong, andrew 3 15
Burraston,Joseph Bede 3 30
Borromeo,Michael Brian 3 45

BREAK at 4 00

Desai,Karl 4 30
Amirashairi,Amir 4 45
Butterworth,David Andrew 5 00
Aduldechachai,Thiradet 5 15
Aoukar,Joycey Rita 5 30
Argent,Matthew 5 45
Beer,Scott Brodie 6 15
Brennan,Nicholas Sean 6 30


bestest

Anu

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

PROJECT 2 TYPOLOGIES Part 2 (Parasite)

http://freshome.com/2008/03/03/add-an-additional-room-to-your-apartment/
http://tea-makipaa.eu/parasite.htm
P.A.R.A.S.I.T.E. PROJECT, designed by Dutch architects Kortknie Stuhlmacher Architecten

P A R A S I T E

PROJECT 2 SITING

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

STUDIO TASK WEEK 7

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

bestest

Anu