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
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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)