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
Saturday, January 30, 2010
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)
Wednesday, March 11, 2009
Thursday, February 26, 2009
Task for next week_090303
See the attached for the second term tasks.
The 16 drawings are the minimum you should present at the coming crit when we will get a clearer picture on who will pass this year.
- written brief on your farm-restaurant project (100-150 words) --- recommendation
- describe the aim of your project and design approaches/methods
- again, clarify what to sell (cultural and spatial experience) and how to sell it
Term 2 tasks:
- workshop documents 1: networking game (field trip) – distinguish your task from the cowork
- workshop documents 2: block model making
- drawing 1: exploded axonometric of your kiosk (in a proper scale)
- separate components of your kiosk in a functional sense (prosthetic mechanism, cooking part,
serving part, envelop, moving mechanism etc.)
eg. Tingwei, your kiosk consists of a flour-dough production mechanism, a noodle
extracting mechanism, a cooking environment (interior), an envelop (exterior)
and moving mechanism
- drawing 2: site planning (1:250) to describe the strategy (aim, goal) of your farm-restaurant
- draw your own map showing wall fragments you chose with urban contexts (streets, buildings,
the Thames… ) your restaurant may engage with or influence on
- position the components of your kiosk in relation to the wall fragments
- drawing 3-6: axonometrics - the incorporation of kiosk components into farm-restaurant programmes
- think about the programmes below (farm, kitchen, dining area, toilets)
- draw out how each programme adopts a relevant kiosk component
eg. Paula, how do you interpret the egg-shape of your kiosk in your farm-restaurant?
Can you adopt the arrangement of the kiosk facilities (ingredient storage, sink,
chopping board, oven etc.) to the arrangement of the farm-restaurant programmes?
Where does the opening/closing mechanism occur in the farm-restaurant?
eg. Inga, how do you reuse the projection mechanism in your farm-restaurant?
- farm: consider what and how to grow – water source, soil and climate condition
assign a new function to a wall fragment and change its physical properties, if
necessary
- kitchen: how to prepare the farm product and your main dish?
- dining area: how the food is served?
what and how customers appreciate apart from the food?
- toilets: consider the effects of your food on metabolism (ig. digestion)
consider what else can the toilets provide
- drawing 8: site planning (1:250) to describe the strategy and tactics (methods) of your farm-restaurant
- draw your own map showing the layout of your programmes (farm, kitchen, dining area,
toilets)
- draw the connection/circulation between the programmes
- drawing 9-12: at least one section of each programme with a wall fragment and relevant urban contexts
--- reconsider the related culture of each programme
--- be inventive, as you were in designing a kiosk
- drawing 13-16: at least on plan of each programme with a wall fragment and relevant urban contexts
--- every drawing on a A3 or bigger paper
The 16 drawings are the minimum you should present at the coming crit when we will get a clearer picture on who will pass this year.
- written brief on your farm-restaurant project (100-150 words) --- recommendation
- describe the aim of your project and design approaches/methods
- again, clarify what to sell (cultural and spatial experience) and how to sell it
Term 2 tasks:
- workshop documents 1: networking game (field trip) – distinguish your task from the cowork
- workshop documents 2: block model making
- drawing 1: exploded axonometric of your kiosk (in a proper scale)
- separate components of your kiosk in a functional sense (prosthetic mechanism, cooking part,
serving part, envelop, moving mechanism etc.)
eg. Tingwei, your kiosk consists of a flour-dough production mechanism, a noodle
extracting mechanism, a cooking environment (interior), an envelop (exterior)
and moving mechanism
- drawing 2: site planning (1:250) to describe the strategy (aim, goal) of your farm-restaurant
- draw your own map showing wall fragments you chose with urban contexts (streets, buildings,
the Thames… ) your restaurant may engage with or influence on
- position the components of your kiosk in relation to the wall fragments
- drawing 3-6: axonometrics - the incorporation of kiosk components into farm-restaurant programmes
- think about the programmes below (farm, kitchen, dining area, toilets)
- draw out how each programme adopts a relevant kiosk component
eg. Paula, how do you interpret the egg-shape of your kiosk in your farm-restaurant?
Can you adopt the arrangement of the kiosk facilities (ingredient storage, sink,
chopping board, oven etc.) to the arrangement of the farm-restaurant programmes?
Where does the opening/closing mechanism occur in the farm-restaurant?
eg. Inga, how do you reuse the projection mechanism in your farm-restaurant?
- farm: consider what and how to grow – water source, soil and climate condition
assign a new function to a wall fragment and change its physical properties, if
necessary
- kitchen: how to prepare the farm product and your main dish?
- dining area: how the food is served?
what and how customers appreciate apart from the food?
- toilets: consider the effects of your food on metabolism (ig. digestion)
consider what else can the toilets provide
- drawing 8: site planning (1:250) to describe the strategy and tactics (methods) of your farm-restaurant
- draw your own map showing the layout of your programmes (farm, kitchen, dining area,
toilets)
- draw the connection/circulation between the programmes
- drawing 9-12: at least one section of each programme with a wall fragment and relevant urban contexts
--- reconsider the related culture of each programme
--- be inventive, as you were in designing a kiosk
- drawing 13-16: at least on plan of each programme with a wall fragment and relevant urban contexts
--- every drawing on a A3 or bigger paper
Sunday, February 22, 2009
Crit @Gensler
When: 9.30am-5pm 24th Feb
Where: Gensler London Office
Aldgate House, 33 Aldgate High Street
London EC3N 1AH
9:30am Reception at ground level
9:30-9:45am Office tour
9:45-10:00am Pin-up & intro
10:00-1:00pm Introduction
Asma
Anna
Chris
Tingwei
Vipin
Wei
Inga
Ivon
Demetris
1:00-1:30pm Lunch break
1:30-4:30pm
Nick
Prashant
Dave
Paula
Sam
Selam
Mentor
Kemi
Naveed
4:30-5:00pm Wrap-up session
The crit at the Gensler next Tuesday (24th) will be the time to expose yourselves to a practical environment,
a preliminary stage you will eventually step on right after academic experience.
You may hardly get this kind of chances to get comments on your work from a group of leaders of the world biggest architecture firm.
Better, they have keen academic perspectives as well.
Commit yourself first of all on the tasks (13 drawings), without which you will suffer.
Prepare your presentation - from the beginning of the year up to now - 5 minutes max.
Key terms, again, are - what you are selling and how you sell them - as architecture designers.
Bring all the work, including the first term projects.
We are meeting in the lobby at 9:30.
Anyone who will not come, let Tae know asap.
Where: Gensler London Office
Aldgate House, 33 Aldgate High Street
London EC3N 1AH
9:30am Reception at ground level
9:30-9:45am Office tour
9:45-10:00am Pin-up & intro
10:00-1:00pm Introduction
Asma
Anna
Chris
Tingwei
Vipin
Wei
Inga
Ivon
Demetris
1:00-1:30pm Lunch break
1:30-4:30pm
Nick
Prashant
Dave
Paula
Sam
Selam
Mentor
Kemi
Naveed
4:30-5:00pm Wrap-up session
The crit at the Gensler next Tuesday (24th) will be the time to expose yourselves to a practical environment,
a preliminary stage you will eventually step on right after academic experience.
You may hardly get this kind of chances to get comments on your work from a group of leaders of the world biggest architecture firm.
Better, they have keen academic perspectives as well.
Commit yourself first of all on the tasks (13 drawings), without which you will suffer.
Prepare your presentation - from the beginning of the year up to now - 5 minutes max.
Key terms, again, are - what you are selling and how you sell them - as architecture designers.
Bring all the work, including the first term projects.
We are meeting in the lobby at 9:30.
Anyone who will not come, let Tae know asap.
Tuesday, February 17, 2009
Tut_090217 & Task_090224
Tasks for 090224
Complete the followings drawings:
- at least one plan and one section of each programme
--- (farm, kitchen, dining area, toilets - each together with a wall fragment) - 1:100
- one site plan with all the programmes and connections/curculation - 1:250
- at least one detail of each programme (farm, kitchen, dining area, toilets) - 1:10
--- all together, at least 13 drawings
Tea
Vipin
Now you're dealing with the architectural scale- explore spaces, a sequence of architectural spaces, its experience.
Expland the wall with the new topography you bring through horizontal, vertical movements
The choreography of the roofscape will start with the London wall and be unfolded and shape the in-between spaces.
Selam
your dining space will explore diverse vertical relations with the water surface. Can this be related to the ecology of the fish you're farming? Also the geometry starts with that of the London wall, whether radial or focal.
The sense of protection, intimacy, privacy, secureness, ...your enclosed dining space needs to achieve this as well as the water experience. The 'water wall' will contribute to it. It's quite a ritual getting to the dining space. London wall provides the territory to it. Toilets, the reception, the kitchen...all are segregated if you define them as secular.
Dave
Hygiene, clean, simple, pure, controlled, ....back to your scheme. Your dining space is in a way a show-room... or a haven to some people who hate doing or seeing all back of house stuffs. The kitchen- again, a showroom warming the half cooked noodels quickly with its granduer space - will become a part of it. You need to hide the toilets, supports below while elevating the dining space 'above'. Be carefule with your farming, minimise the footprint using an intelligent system through the whole process.
Kemi
Your restaurant is to be truly 'urban. You're bringing the nature back to busy bankers by serving a food which does not need any cooking process or artificial treatment - healthy and sustainable. But to achieve this your farming is crucial. The farm environment which are going to be inserted to the urban setting and transform it, needs to be designed properly - no assuming or sketchy but factual, engineered. Define the spatial sequence and experience of customers, a connection to farming.
Mentor
An opening of the London wall is a gear, a hinge, a pivotal point. All the circulation needs to organised around this point. Look at Carpenter Center by Le Courbusier in Harvard University. Design a space of connection, a circulation space...not a formal game but more networking of different functions and routes.
Wei
You need to think about the logic supporting your design- the shape/form, the position, the distance, ... The sensorial experience of the sound is your selling point. Deal with all the components as 'sound sources', all the spaces are sound-catchers, manipulating devices, maximising the sound effect.
Tingwei
Know what you're doing. Be clear with the components you're dealing with. Can't say you do not know what they are or what they do. The components are working with their functions - not from a formal analogy.
The choreography of the kiosk is now extended to a seasonal cycle of activitieis - growth, harvest, milling, rolling doughs, ... noodles using newly harvested wheats, 1 month stored wheats, ....you're offering noodles with the sense of seasons.
Farming and storing system of wheats are crucial.
Anna
Design the sequence of the smell experience. according to the levels - strong but broad, vacuum, intense but condense and local...
Nick
It's a game of negotiating the territories with your neighbors, between lobsters and customers, between staffs and lobsters/customers...between London wall and the aquariums. Use the model to adjust its parts depending on the contexts they are touching. Define the spaces, the circulations, the experiences, the levels, ...with precision.
Sam
Use the correctly scaled volume. Read carefully Tea's sketch. Think about the circulation around. Define the relationship between each function and London wall - above, under, next to, with 1m distance whatever - this needs to come from you design intent.
I might ask some of you to send photos/images of the drawings midway, so don't put them off to the last minute.
Tae
Complete the followings drawings:
- at least one plan and one section of each programme
--- (farm, kitchen, dining area, toilets - each together with a wall fragment) - 1:100
- one site plan with all the programmes and connections/curculation - 1:250
- at least one detail of each programme (farm, kitchen, dining area, toilets) - 1:10
--- all together, at least 13 drawings
Tea
Vipin
Now you're dealing with the architectural scale- explore spaces, a sequence of architectural spaces, its experience.
Expland the wall with the new topography you bring through horizontal, vertical movements
The choreography of the roofscape will start with the London wall and be unfolded and shape the in-between spaces.
Selam
your dining space will explore diverse vertical relations with the water surface. Can this be related to the ecology of the fish you're farming? Also the geometry starts with that of the London wall, whether radial or focal.
The sense of protection, intimacy, privacy, secureness, ...your enclosed dining space needs to achieve this as well as the water experience. The 'water wall' will contribute to it. It's quite a ritual getting to the dining space. London wall provides the territory to it. Toilets, the reception, the kitchen...all are segregated if you define them as secular.
Dave
Hygiene, clean, simple, pure, controlled, ....back to your scheme. Your dining space is in a way a show-room... or a haven to some people who hate doing or seeing all back of house stuffs. The kitchen- again, a showroom warming the half cooked noodels quickly with its granduer space - will become a part of it. You need to hide the toilets, supports below while elevating the dining space 'above'. Be carefule with your farming, minimise the footprint using an intelligent system through the whole process.
Kemi
Your restaurant is to be truly 'urban. You're bringing the nature back to busy bankers by serving a food which does not need any cooking process or artificial treatment - healthy and sustainable. But to achieve this your farming is crucial. The farm environment which are going to be inserted to the urban setting and transform it, needs to be designed properly - no assuming or sketchy but factual, engineered. Define the spatial sequence and experience of customers, a connection to farming.
Mentor
An opening of the London wall is a gear, a hinge, a pivotal point. All the circulation needs to organised around this point. Look at Carpenter Center by Le Courbusier in Harvard University. Design a space of connection, a circulation space...not a formal game but more networking of different functions and routes.
Wei
You need to think about the logic supporting your design- the shape/form, the position, the distance, ... The sensorial experience of the sound is your selling point. Deal with all the components as 'sound sources', all the spaces are sound-catchers, manipulating devices, maximising the sound effect.
Tingwei
Know what you're doing. Be clear with the components you're dealing with. Can't say you do not know what they are or what they do. The components are working with their functions - not from a formal analogy.
The choreography of the kiosk is now extended to a seasonal cycle of activitieis - growth, harvest, milling, rolling doughs, ... noodles using newly harvested wheats, 1 month stored wheats, ....you're offering noodles with the sense of seasons.
Farming and storing system of wheats are crucial.
Anna
Design the sequence of the smell experience. according to the levels - strong but broad, vacuum, intense but condense and local...
Nick
It's a game of negotiating the territories with your neighbors, between lobsters and customers, between staffs and lobsters/customers...between London wall and the aquariums. Use the model to adjust its parts depending on the contexts they are touching. Define the spaces, the circulations, the experiences, the levels, ...with precision.
Sam
Use the correctly scaled volume. Read carefully Tea's sketch. Think about the circulation around. Define the relationship between each function and London wall - above, under, next to, with 1m distance whatever - this needs to come from you design intent.
I might ask some of you to send photos/images of the drawings midway, so don't put them off to the last minute.
Tae
Thursday, February 12, 2009
Critic_090217
Three more weeks before Easter break and only two weeks afterwards.
Someones already got 3% deduction from the final mark due to absence.
Excuses bring up excuses good enough to ignore that you will fail.
No more warning from this poing on.
Read carefully the tasks (8 drawings) I emailed you last week and complete them.
tutorial tomorrow (Friday) at 1:00.
crit next Tuesday in the Gensler at 9:30
- anyone who cannot or will not come, let Tae know asap at least not to screw up the group activity
- everyone else, email your project brief and some images to her asap
Someones already got 3% deduction from the final mark due to absence.
Excuses bring up excuses good enough to ignore that you will fail.
No more warning from this poing on.
Read carefully the tasks (8 drawings) I emailed you last week and complete them.
tutorial tomorrow (Friday) at 1:00.
crit next Tuesday in the Gensler at 9:30
- anyone who cannot or will not come, let Tae know asap at least not to screw up the group activity
- everyone else, email your project brief and some images to her asap
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