The Passage: FINAL REVIEW REQUIREMENTS

01: MODEL

Construct your final model @ 1/4”=1’-0” (this model should fit easily into your context model)

02: DRAWINGS

_1 Site Plan at 1/4”=1’-0”
_4 Sections at 1/4”=1’-0” (Label where these are taken on the plan)
_2 Perspectives showing important moments along the path
_1 (or more) Diagram(s) to explain your design

****The drawing set is VERY important to your overall presentation. Think about how you will pin-up the drawings at your review. Make sure to label all of your drawings and to give each drawing plenty of white space around it.

03. STATEMENT

Write a one (1) paragraph statement that clearly and concisely describes your project from concept to development to details. Read this statement aloud. Refine and rehearse it. This will serve as the introduction to your project and verbally explain your intentions throughout the 4 week design process.


04: PROCESS WORK

For the final presentation of project 2 be prepared to discuss the evolution of your project. It is VERY important that you bring ALL of your process work to the review and plan to pin-up your most relevant process models and/or drawings.

*****Everyone should arrive early with the first three people pinned up by 7:10pm.
We will email a pinup order to the class on Wednesday night.*****

My design intentions are to create TWO different paths within the site. The final destination is to be a space where people can look at the view, not an object. My objective is to give the people an opportunity to choose which path they want to take.

study concept

Domes of layers of different densities are enclosed by an encapsulating form. The different densities are created by the gathering of material, height and layers. Density differential determines the circulation, by creating different experiences within the site ( dark, heavy, intimate, embracing vs. light, open, airy, atmospheric ).

Study concept

The Void spreads around the entire site through the translucent arches. The accommodation of the sculptural loops form different spaces and at the same time imply the movement and circulation within the space. The grain on the model is reflected by the implied paths that direct your way in and out.

Design Intentions

I imagine a field of vertical elements that create a main path, yet will vary in densities that lead to carved voids. The site will enhance the dramatic experience as the topography changes, which will inspire visitors to enter and explore.

Homework Due 10.27.11

01. Develop your model in relation to the site

The last two classes we have studied formal systems and their abilities to organize and manipulate an abstract compositional field. Throughout these studies we have been thinking about the potential that these systems have for human occupation and the different types of spaces we can create. Now we will work on the design of a sequence of spaces on a sloped site. Use the design work you did last week to begin to construct the site.

Build a site model at 1/4”=1’ out of chipboard. (Refer to the drawing below). Use something sturdy such as wood as a base for your site model. 

Make a series THREE exploratory models at 1/4"=1'. Each time you finish a model place it in your site. What parts are successful? Unsuccessful? Use this information to inform your next study.

Some issues to consider:
-Scale of your system with regard to the site and the occupant
-Approach, procession, entrances, exits
-Variation with your site, different kinds and sizes of spaces
-Transitions between spaces
-Are the spaces programmed? contemplation space, gathering space, activity

02. Blog

Write 50 words that explain your design intentions. Draw a simple diagram that illustrates your statement. Post this statement and the diagram to the blog by Monday (10/24) @ midnight.

This statement should be seen as a work in progress. We can update throughout the design process leading up to the final review.

The Power in Simplicity

Here are some projects that we like because they use simple, repetitive forms to create multiple spaces that inspire people to move through in, out, around and through them. All of these projects rely on a single architectural element that they deploy in different ways. When confronted with these systems, we see that what appears simple, actually has a front and a back, a top and bottom, and an inside and outside. The joy of exploring an object becomes more rewarding.

Daniel Buren, Palais Royal, Paris

Daniel Buren, Palais Royal, Paris

Daniel Buren, Palais Royal, Paris

Donald Judd, Marfa, TX

Donald Judd, Marfa, TX

Chris Burden, Urban Light, Los Angeles

Chris Burden, Urban Light, Los Angeles

Richard Serra

Richard Serra

Work AC, PS1, New York

Work AC, PS1, New York

Work AC, PS1, New York

MOS, PS1, New York

MOS, PS1, New York

Homework due 10.21.11

01: Model

Incorporate elements of 3 different models from last week’s studies into one 12”x12” model. Refine the material language that you were working with last week so that you can start to explore changes in scale, density, direction or spacing. Continue to use to organizational systems that were discussed last week (field, grain, edge, path, object, void). Start to think about how systems can be linked together or connect to each other. 

01:Drawings

Drafting is crucial to the process of design. Since you are still designing your project, do not feel bound to your model when you are drafting. If you find a more interesting way to work something out, then draw it! You can incorporate drawn illuminations into future models. Draw your model at 1”=1”. 

2 Plans >>> Ground & Roof

4 Sections >>> Put a scaled figure in each (decide how big you think this person should be)

2 Elevations

1 Diagram >>> Hard lined that abstracts and further explains your design intentions

Woodshop Training

Please attend shop training this WEDNESDAY at 5:45pm.
This training will be an invaluable tool for you as you move forward as a student and an architect.

Maya Lin, Flow

Homework Due 10.14.11

The Field

A surface or background....a wide or open expanse....a limited or marked off area...a distribution in a region of space.

As we find out yesterday, field's are easier to recognize than define. For our purposes, a field is an undifferentiated collection of elements that fill a space (or our 6x6 square). This is the background from which we can begin to tease out other compositional techniques. In class, our most basic example of a field is a sheet of graph paper. 

The lines run in both directions, no line is more important than another. The net result of a field is nothing. When you squint, figures disappear, the lines blur and in the end you are looking at a the semblance of a solid shape.

A honeycomb is another example of a field. The hexagonal pattern in a honeycomb is another type of grid that lacks directionality and maintains consistent spacing throughout. In these photos you notice that regardless of zoom, the pattern maintains its regularity.

Architects, landscape architects and Interior Designers use fields in a variety of ways to organize a space.  The Holocaust Memorial in Berlin by Peter Eisenman uses the abstraction of a gridded field of stones to create a powerful and evocative space. There is no one way to enter or exit the space. Instead the space must be discovered. The edge between the city and memorial is intentionally blurred. As you descend into the site you become surrounded by the giant rock pillars. This project is both landscape and architecture. Exterior and interior. This is an example of the rigorous deployment of a simple formal system that creates multiple opportunities for viewing and experience.

Class Tonight

Can everyone please try to bring something to cut with (knife or scissors), a ruler, and glue to class tonight (gluestick preferred but liquid will work too). Sorry for the late notice, I will try to bring some extras for people to share.

Thanks!!

Cardboard Chair Final Review