credits.
images: googled from various internet sources
drawings: Tea Lim & Taeyoung Kim
Tuesday, September 21, 2010
2010-2011 Blurb-scape
credits.
images: googled from various internet sources
drawings: Tea Lim & Taeyoung Kim
Monday, June 7, 2010
Tuesday, February 16, 2010
Task - 4 Home-ranging for 100223
We will only talk about the task listed below next week:
Study model 1:500
Plan drawings 1:250
Section drawings 1:250
Wednesday, February 10, 2010
Task - 4 Home-ranging for 100216
Only one new task for next week - one perspective/axonomtric - see the image of Nathan's work above.
Prepare for a model (for tutorial on 23th this month).
- model - the whole premise of the centrepoint cut in two pieces
- decide how to cut (two ways available) - Tim, Sof or Grazina, send out relevant files (1:250) asap please
- book your slot for laser cut
- will discuss on your design next Tue
Saturday, January 30, 2010
Students' Work
Sof - Exploded pod mechanism
Adam - Visual Brief
Adam - Exploded pod mechanism & Site analysis
Adam - Visual Brief
Adam - Exploded pod mechanism & Site analysis
Task - Project 3a home-ranging: vertical hometown - phase I
project 3a. home-ranging: vertical hometown - phase I
So much preoccupied by the aesthetic value of pleasure, architects have repeatedly manifested the importance of play in the production of beauty, often creating controversial phenomena of painful play. Centre Point proudly advertises the cycle of creation and recreation, yet in an underdeveloped sense of modernism. Now, the built environment is the site to hatch a cocoon/cockpit. Your logic of habitation, still premature, undergoes a series of metamorphoses/transformations. The energy of growth slowly turns Centre Point into a playful place to live in. Your colleagues flock to the incomplete environment where all together play to work to play to shape a vertical hometown.
week 18. (Jan. 19)
drawing: exploded axonometric of pod
- catalogue (separate the components of pod and identify what each component is and does)
site analysis
-horizontal and vertical analysis of Centrepoint premise - context
week 19. (Jan. 25)
visual brief (four graphic statements in separate sheets)
1. profile
- characterise architects, who they are and what they do, based on your interest
- collage or drawing
2. programme - categorise programmes you provide based on 1 (what architects do)
- diagram of their activities and programmes
3. user group size - critical proposition on the size of architects’ community
- diagram - represent your proposition visually
4. area - critical proposition on the size of each programme based on 1, 2, 3
- diagram - represent your proposition visually
week 20. (Feb. 2)
catalogue: pod components - each component on one sheet of paper (min. A3)
- transform each component of pod considering the following:
1. week 18, 19 tasks
2. location to plant the component in the Centrepoint and its size (spatial/volumic growth)
3. forms
- Geometry - linear, curved, faceted
- System - types and variations
- Pattern - repetitive, fractal or graduated
- Facade - materials and manufacturing
week 21. (Feb. 9)
week 22. (Feb. 16)
week 23. (Feb. 23)
week 24. (Mar. 2)
week 25. (Mar. 9)
week 26. (Mar. 16)
crit
week 27. (Mar. 23)
crit
So much preoccupied by the aesthetic value of pleasure, architects have repeatedly manifested the importance of play in the production of beauty, often creating controversial phenomena of painful play. Centre Point proudly advertises the cycle of creation and recreation, yet in an underdeveloped sense of modernism. Now, the built environment is the site to hatch a cocoon/cockpit. Your logic of habitation, still premature, undergoes a series of metamorphoses/transformations. The energy of growth slowly turns Centre Point into a playful place to live in. Your colleagues flock to the incomplete environment where all together play to work to play to shape a vertical hometown.
week 18. (Jan. 19)
drawing: exploded axonometric of pod
- catalogue (separate the components of pod and identify what each component is and does)
site analysis
-horizontal and vertical analysis of Centrepoint premise - context
week 19. (Jan. 25)
visual brief (four graphic statements in separate sheets)
1. profile
- characterise architects, who they are and what they do, based on your interest
- collage or drawing
2. programme - categorise programmes you provide based on 1 (what architects do)
- diagram of their activities and programmes
3. user group size - critical proposition on the size of architects’ community
- diagram - represent your proposition visually
4. area - critical proposition on the size of each programme based on 1, 2, 3
- diagram - represent your proposition visually
week 20. (Feb. 2)
catalogue: pod components - each component on one sheet of paper (min. A3)
- transform each component of pod considering the following:
1. week 18, 19 tasks
2. location to plant the component in the Centrepoint and its size (spatial/volumic growth)
3. forms
- Geometry - linear, curved, faceted
- System - types and variations
- Pattern - repetitive, fractal or graduated
- Facade - materials and manufacturing
week 21. (Feb. 9)
week 22. (Feb. 16)
week 23. (Feb. 23)
week 24. (Mar. 2)
week 25. (Mar. 9)
week 26. (Mar. 16)
crit
week 27. (Mar. 23)
crit
Thursday, January 21, 2010
Graphic examples
Site analysis examples (image from Future 16/17, p17)
Strategy diagrams (image from Future 16/17, p149)
1 profile - characterise architects, who they are and what they do, based on your interest
- collage or drawing (image from Future 16/17, p16)
2. programme - categorise programmes you provide based on 1 (what architects do)
- diagram of their activities and programmes (image from Future 16/17, p12-13)
3 user group size - critical proposition on the size of architects’ community
- diagram - represent your proposition visually
(image from AD Patterns of Architecture, p50)
4 area - critical proposition on the size of each programme based on 1, 2, 3
- diagram - represent your proposition visually (image from Future 16/17, ciudad p54)
Q & A II
Just a quick question regarding the visual brief,
week 19. (Jan. 25)
visual brief (four graphic statements in separate sheets)
1. profile - characterise architects, who they are and what they do, based on your interest
- collage or drawing
Q. Are these architects specifically for the practice I am creating at the centre point site?
A. Yes, in the future. But for now, create characteristics generic based on statistics, research etc. and at the same time specific in relation to your scheme.
Q. So could they have different characteristics, to the ones normally found with everyday architects?
A. Yes.
I attached some examples below to encourage you to think out of the box.
Do not make up purely from your imagination but RESEARCH some facts about the profession from surveys, statistics from journals, RIBA website, books and HIGHLIGHT some factors you can relate to your homely conditions/activities. Make headlines/manifesto, express them visually such as collage images or (photomontage) drawings(like a propaganda poster or advertisement).
(Part III books can also help – Architect’s job book or similar from http://www.pedr.co.uk/6home.asp?menu=7&sortorder=0&area=main)
e.g. 1 architects are manipulating people’s way of living. Therefore they need to learn how people are living now by having as much contacts/exposure as possible.
You can quote an interview like “I really believe that architecture is not the goal but the tool – human life is what you want to maximize the potential for. And in many literal ways our prime source of inspiration is trying to observe how life in the city evolves, and how the framework that we create for it should adapt to this evolution.” (Bjarke Ingels, BIG, Icon journal 079, p040.)
e.g. 2 architects chasing clients 4 hours, marketing and socializing 4 hours, talking to people 4 hours and…design 4 hours – 16 hours a day!
e.g. 3 a creative/crazy animal obsessed with something new.
e.g. 4 dreaming what he can’t afford to….
2 programme - categorise programmes you provide based on 1 (what architects do)
- diagram of their activities and programmes
Q.This is similar to the first question, that the programme is specifically for my practice at the centre point site,e.g.Start work at 10:00 - Lunch at 12:00 - back to work at 14:00 - finish work at 15:30?
A. We want you to challenge a conventional everyday routine of an architect, characteristics tamed and stereotyped to the stable profession.
Visually present the types of spaces you need to support the characteristics you defined above. Relate them to the key concept/ activities you have dealt with in the first and second projects.
week 19. (Jan. 25)
visual brief (four graphic statements in separate sheets)
1. profile - characterise architects, who they are and what they do, based on your interest
- collage or drawing
Q. Are these architects specifically for the practice I am creating at the centre point site?
A. Yes, in the future. But for now, create characteristics generic based on statistics, research etc. and at the same time specific in relation to your scheme.
Q. So could they have different characteristics, to the ones normally found with everyday architects?
A. Yes.
I attached some examples below to encourage you to think out of the box.
Do not make up purely from your imagination but RESEARCH some facts about the profession from surveys, statistics from journals, RIBA website, books and HIGHLIGHT some factors you can relate to your homely conditions/activities. Make headlines/manifesto, express them visually such as collage images or (photomontage) drawings(like a propaganda poster or advertisement).
(Part III books can also help – Architect’s job book or similar from http://www.pedr.co.uk/6home.asp?menu=7&sortorder=0&area=main)
e.g. 1 architects are manipulating people’s way of living. Therefore they need to learn how people are living now by having as much contacts/exposure as possible.
You can quote an interview like “I really believe that architecture is not the goal but the tool – human life is what you want to maximize the potential for. And in many literal ways our prime source of inspiration is trying to observe how life in the city evolves, and how the framework that we create for it should adapt to this evolution.” (Bjarke Ingels, BIG, Icon journal 079, p040.)
e.g. 2 architects chasing clients 4 hours, marketing and socializing 4 hours, talking to people 4 hours and…design 4 hours – 16 hours a day!
e.g. 3 a creative/crazy animal obsessed with something new.
e.g. 4 dreaming what he can’t afford to….
2 programme - categorise programmes you provide based on 1 (what architects do)
- diagram of their activities and programmes
Q.This is similar to the first question, that the programme is specifically for my practice at the centre point site,e.g.Start work at 10:00 - Lunch at 12:00 - back to work at 14:00 - finish work at 15:30?
A. We want you to challenge a conventional everyday routine of an architect, characteristics tamed and stereotyped to the stable profession.
Visually present the types of spaces you need to support the characteristics you defined above. Relate them to the key concept/ activities you have dealt with in the first and second projects.
Wednesday, January 20, 2010
Task for week 18 (19 Jan) and week 19 (25 Jan)
Bring all the work (week 18 and 19).
Tutorial this Friday in the maritime from 1:00.
week 18. (Jan. 19)
drawing: exploded axonometric of pod
- catalogue (separate the components of pod and identify what each component is and does)
site analysis
-horizontal and vertical analysis of Centrepoint premise - context
week 19. (Jan. 25)
visual brief (four graphic statements in separate sheets)
1. profile - characterise architects, who they are and what they do, based on your interest
- collage or drawing
2. programme - categorise programmes you provide based on 1 (what architects do)
- diagram of their activities and programmes
3. user group size - critical proposition on the size of architects’ community
- diagram - represent your proposition visually
4. area - critical proposition on the size of each programme based on 1, 2, 3
- diagram - represent your proposition visually
Bring your portfolio next Tuesday (25 Jan)- we'll individually discuss how to improve your folio. Table discussion of your new tasks (week 18, 19) will be held by Tea at the same time next to the follow-up table.
Adam Bell 10.15am
Martin Cannings 10.30am
Scott Lawrence 10.45am
Tim Watts 11.00am
Grazina Pleckauskiene 11.15am
Sohail Sarwar 11.30am
Ar Ching Tse 11.45pm
Lewis Hatrull 12.00pm
Cedric Engele 12.15pm
Jenna Killeen 12.30pm
Ka Ming Leung 12.45pm
Nathaniel Burrows 1.00pm
Nathan Siewart 2.00pm
Lee Feasey 2.15pm
Elisha Bembridge 2.30pm
Sofoklis Giannakopoulos 3.00pm
Becci Standley 3.15pm
Gulizar Sevin 3.30pm
Jenifer Ly 3.45pm
Josh Browning 4.00pm
Vin Moonosawiny 4.15pm
Zoe Mavromati 4.30pm
Tutorial this Friday in the maritime from 1:00.
week 18. (Jan. 19)
drawing: exploded axonometric of pod
- catalogue (separate the components of pod and identify what each component is and does)
site analysis
-horizontal and vertical analysis of Centrepoint premise - context
week 19. (Jan. 25)
visual brief (four graphic statements in separate sheets)
1. profile - characterise architects, who they are and what they do, based on your interest
- collage or drawing
2. programme - categorise programmes you provide based on 1 (what architects do)
- diagram of their activities and programmes
3. user group size - critical proposition on the size of architects’ community
- diagram - represent your proposition visually
4. area - critical proposition on the size of each programme based on 1, 2, 3
- diagram - represent your proposition visually
Bring your portfolio next Tuesday (25 Jan)- we'll individually discuss how to improve your folio. Table discussion of your new tasks (week 18, 19) will be held by Tea at the same time next to the follow-up table.
Adam Bell 10.15am
Martin Cannings 10.30am
Scott Lawrence 10.45am
Tim Watts 11.00am
Grazina Pleckauskiene 11.15am
Sohail Sarwar 11.30am
Ar Ching Tse 11.45pm
Lewis Hatrull 12.00pm
Cedric Engele 12.15pm
Jenna Killeen 12.30pm
Ka Ming Leung 12.45pm
Nathaniel Burrows 1.00pm
Nathan Siewart 2.00pm
Lee Feasey 2.15pm
Elisha Bembridge 2.30pm
Sofoklis Giannakopoulos 3.00pm
Becci Standley 3.15pm
Gulizar Sevin 3.30pm
Jenifer Ly 3.45pm
Josh Browning 4.00pm
Vin Moonosawiny 4.15pm
Zoe Mavromati 4.30pm
Friday, January 15, 2010
Q & A
From: Taeyoung Kim
Sent: 16 January 2010 00:59:50
To: ...
4 attachments | Download all attachments (2.6 MB)
exploded ...jpg (519.6 KB), anlaysis.jpg (747.2 KB), pod 1.jpg (715.3 KB), pod 2.jpg (658.5 KB)
...
Your pod lacks a logic that explains how you came up with such a gemetry or mechanism. The reason is you haven't gone through an analysis process.
Let's say.. your postures diagram. You cartoonlike sketch was not developed to diagrams or drawings where you can precisely test the angles, curves, lengths or widths and extract prototypes of the geometry. Other than imagining and drawing extreme yogas in your mind, you can get pictures taken of different postures and draw analysing the relationship between vertical/diagonal/horizontal lines of you body parts - arm, leges, spine etc. Attached are a couple of examples. See pod images.
By doing this, you can generate some surface prototypes which you can transfer to the pod interfaces. When asked how you come up with such a form, then you can simply point out the diagrams showing the analysis of your postures. The corners you highlighted when you felt high pressures can be reinforced by rather bic curvatures or materiality.
So should your site analysis be worked out that way. To install your pod, you need to understand what the site condition is - which part is most noisy, mostly vibrated by residents' movement ...then you can decide if you use them and manipulate, by reflection, interruption, absortion etc...this can form your strategy. See the image, analysis as a graphic example.
Research how travelling sounds or noise levels are drawn in a section or plan. Then analyse the plan of the CP tower and draw the noise level plan or sound travelling plan as a visual analysis, which will tell you the location you can possibly plug in your pod depending on your strategy.
For the exploded pod...read exploded mechanism jpeg...see the differences are. Good to understand whichever you choose.
If you have any part unclear...don't hesitate to bother me.
Taeyoung
--------------------------------------------------------------------------------
From: ...
To: taeyoung kim
Subject: RE:
Date: Fri, 15 Jan 2010 18:12:48 +0000
Hi Tae,
Regarding your recent email, I was just wondering what the visual analysis was supposed to be?
Many thanks,
...
Sent: 16 January 2010 00:59:50
To: ...
4 attachments | Download all attachments (2.6 MB)
exploded ...jpg (519.6 KB), anlaysis.jpg (747.2 KB), pod 1.jpg (715.3 KB), pod 2.jpg (658.5 KB)
...
Your pod lacks a logic that explains how you came up with such a gemetry or mechanism. The reason is you haven't gone through an analysis process.
Let's say.. your postures diagram. You cartoonlike sketch was not developed to diagrams or drawings where you can precisely test the angles, curves, lengths or widths and extract prototypes of the geometry. Other than imagining and drawing extreme yogas in your mind, you can get pictures taken of different postures and draw analysing the relationship between vertical/diagonal/horizontal lines of you body parts - arm, leges, spine etc. Attached are a couple of examples. See pod images.
By doing this, you can generate some surface prototypes which you can transfer to the pod interfaces. When asked how you come up with such a form, then you can simply point out the diagrams showing the analysis of your postures. The corners you highlighted when you felt high pressures can be reinforced by rather bic curvatures or materiality.
So should your site analysis be worked out that way. To install your pod, you need to understand what the site condition is - which part is most noisy, mostly vibrated by residents' movement ...then you can decide if you use them and manipulate, by reflection, interruption, absortion etc...this can form your strategy. See the image, analysis as a graphic example.
Research how travelling sounds or noise levels are drawn in a section or plan. Then analyse the plan of the CP tower and draw the noise level plan or sound travelling plan as a visual analysis, which will tell you the location you can possibly plug in your pod depending on your strategy.
For the exploded pod...read exploded mechanism jpeg...see the differences are. Good to understand whichever you choose.
If you have any part unclear...don't hesitate to bother me.
Taeyoung
--------------------------------------------------------------------------------
From: ...
To: taeyoung kim
Subject: RE:
Date: Fri, 15 Jan 2010 18:12:48 +0000
Hi Tae,
Regarding your recent email, I was just wondering what the visual analysis was supposed to be?
Many thanks,
...
Wednesday, January 13, 2010
Task - 19 January
For next Tuesday tutorial, do the following:
drawing: exploded axonometric of pod
catalogue:
- arrangement of plans of pod elements
- arrangement of sections of pod elements
graphic manifesto: poster
- visually capture your strategy to plug in the pod elements in Centrepoint premise
The site analysis is important in feeding your stragegy for an installtion of the pod. Your stragety should come from the understanding and analysis of the physical, cultural and social conditions of the site - Center Point with respect to your pod elements.
In summary, bring your visual analysis diagrammes (not sketches. if you want to use any images or photos, use them as a base and add lines, arrows, tones whatever- trace/outline key ideas.) showing how your strategy was developed.
drawing: exploded axonometric of pod
catalogue:
- arrangement of plans of pod elements
- arrangement of sections of pod elements
graphic manifesto: poster
- visually capture your strategy to plug in the pod elements in Centrepoint premise
The site analysis is important in feeding your stragegy for an installtion of the pod. Your stragety should come from the understanding and analysis of the physical, cultural and social conditions of the site - Center Point with respect to your pod elements.
In summary, bring your visual analysis diagrammes (not sketches. if you want to use any images or photos, use them as a base and add lines, arrows, tones whatever- trace/outline key ideas.) showing how your strategy was developed.
Sunday, December 20, 2009
Portfolio prepap
The portfolio should catch the eyes by putting very strong visual stuffs at certain stages.
*1. Visual brief : visually explained research/analysis:
Brief in sketch/collage/photomontage - eyecatching first page with a short manifesto.
*2. Include the visual documentation of the whole design process:
Exploration of diverse medium in the process – high resolution model photos, sketches on top of cad drawings, sketches with a photomontage,…
Visually present what you learn from a research through analysis - diagram, photos, sketches...
Include the preliminary schemes which were developed before finalising the design to show how you tested your ideas to get to the current proposal. But clearly mark the stages to avoid the confusion.
*3. For every drawing, apply different lines - thick, thin, dot
*4. Do show the site contexts in every final drawing
*5. All drawing tasks but highlight the most important drawings such as:
Section drawings of a device – partially coloured, sketched, shaded, textured with the choreography of a body to emphasise the homely condition a device improves/changes and the spatial experiences it offers.
Section drawings of a pod – partially coloured, sketched, shaded, textured with the choreography of a pod to emphasise the spaces it generates, the relationship it changes with respect to the home and the spatial experiences it creates.
*6. Final model photos, 3D:
Be picky with your choice of colours particularly for the 3Ds.
*7. A2 or two joined A3 size three dimensional drawings:
‘Wow’ shot showing how the device/pod changes the home, what it looks like, what the spatial experience is. Try to combine 3D and sketches to balance between soft and hard touches if you’re not confident in your 3D skill.
*1. Visual brief : visually explained research/analysis:
Brief in sketch/collage/photomontage - eyecatching first page with a short manifesto.
*2. Include the visual documentation of the whole design process:
Exploration of diverse medium in the process – high resolution model photos, sketches on top of cad drawings, sketches with a photomontage,…
Visually present what you learn from a research through analysis - diagram, photos, sketches...
Include the preliminary schemes which were developed before finalising the design to show how you tested your ideas to get to the current proposal. But clearly mark the stages to avoid the confusion.
*3. For every drawing, apply different lines - thick, thin, dot
*4. Do show the site contexts in every final drawing
*5. All drawing tasks but highlight the most important drawings such as:
Section drawings of a device – partially coloured, sketched, shaded, textured with the choreography of a body to emphasise the homely condition a device improves/changes and the spatial experiences it offers.
Section drawings of a pod – partially coloured, sketched, shaded, textured with the choreography of a pod to emphasise the spaces it generates, the relationship it changes with respect to the home and the spatial experiences it creates.
*6. Final model photos, 3D:
Be picky with your choice of colours particularly for the 3Ds.
*7. A2 or two joined A3 size three dimensional drawings:
‘Wow’ shot showing how the device/pod changes the home, what it looks like, what the spatial experience is. Try to combine 3D and sketches to balance between soft and hard touches if you’re not confident in your 3D skill.
Wednesday, September 16, 2009
Thursday, May 7, 2009
Tuesday, April 7, 2009
Task_Term 3
term 3.
length: 5 weeks (inc. Easter break)
The following tasks are to explore the effects of your farm/restaurant make on the wall fragments and the site context.
Through the tasks you are also to refine the spatial qualities of farm, kitchen, dining area and toilets.
- drawing 1-4: (site) plans or perspective describing the influence of your farm-restaurant on the site
context (1:250)each plan should describe the climate/weather factor – spring, summer, autumn, winter describe how the whole site area including farm-restaurant changes in accord to seasons
- drawing 5-8: at least four sections of above plans/perspective (1:250)
--- drawing 1-8 should also describe the “prosthetic” relationship between your project and the site
- drawing 9-12: at least one perspective of the interior of each programme
(farm, ketchen, dining area, toilets) (in proper scale to fit on A3)
describe how users experience each space
describe the “prosthetic” relationship between the wall fragments and programmes
- drawing 13-16:at least one detail plan of each programme, describing materials, mechanism, structure
- particularly where the wall fragments and programmes meet (1:10)
- model 1: model of farm/restaurant (A2)
length: 5 weeks (inc. Easter break)
The following tasks are to explore the effects of your farm/restaurant make on the wall fragments and the site context.
Through the tasks you are also to refine the spatial qualities of farm, kitchen, dining area and toilets.
- drawing 1-4: (site) plans or perspective describing the influence of your farm-restaurant on the site
context (1:250)each plan should describe the climate/weather factor – spring, summer, autumn, winter describe how the whole site area including farm-restaurant changes in accord to seasons
- drawing 5-8: at least four sections of above plans/perspective (1:250)
--- drawing 1-8 should also describe the “prosthetic” relationship between your project and the site
- drawing 9-12: at least one perspective of the interior of each programme
(farm, ketchen, dining area, toilets) (in proper scale to fit on A3)
describe how users experience each space
describe the “prosthetic” relationship between the wall fragments and programmes
- drawing 13-16:at least one detail plan of each programme, describing materials, mechanism, structure
- particularly where the wall fragments and programmes meet (1:10)
- model 1: model of farm/restaurant (A2)
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