PHASE 3: Things to do: 04-28-09 Final Review and more
With AutoCAD:
- Site Plan with your building roof plan and outdoor area design; scale 1’:1/32”
- Floor Plans; scale 1’:1/8”. Drawings should include all lines that help us understand the integration of elements and systems: envelope, walls and structure centerlines, ceiling and projecting lines (do not include lighting; include only built-in furniture);
- One significant building Longitudinal Section with site-context; scale 1’:1/8”
- One significant building Transversal Section with site-context; scale 1’:1/8”
- Two/Four main Elevations (N-S-E-W) with site-context; scale 1’:1/8”
- One special section through one classroom, scale 1’:1/4”
With 3DStudio, FormZ, Rhino, others:
- Rendered Axonometric views of the entire building with details of façades (Envelope). Pay attention to the conjunction of different elements, joints, materials. The building should be rendered including your Site design
- One Rendered Axonometric view of the entire building in light gray and the structural system in color; (no Site, it is more like a diagram);
- One Rendered Axonometric view of the entire building in light gray and the mechanical system in color (red and blue), (no Site, it is more like a diagram);
- Rendered Section-Perspective with details of façade, structure (horizontal/vertical), and mechanical. Pay attention to the conjunction of different elements, joints, materials.
- Rendered light studies, light filtering solutions in one classroom.
Physical models:
- Model of the classroom bay at ½”=1’-0”
- Site model with context at 32”=1’-0”
- All previous Partial and/or schematic models.
- Final models should be in white color and/or shades of white. Use colors only to reinforce a concept within your project. Raster and/or perforate surfaces to obtain effects or surface differentiations.
Technology Assignments:
- Envelope 1 and 2 assignments with corrections, print in 18x18” format;
- Sustainability ideas, print in 18x18” format;
- Interior systems: at 1/2” = 1’-0” draw a “tell tale” floor plan of the classroom. Include all lines that help us understand the integration of elements and systems: envelope, walls and structure centerlines—black; floor pattern, built-in furniture and other room scale elements—blue; mechanical elements—green; and all ceiling elements, such as lighting—red. Compose a Legenda with all the materials you would like to apply;
- Interior rendered views with materials and colors.
Previous phases’ drawings should also be part of your presentation.
Booklet:
Print all your graphic material (early diagrams, site studies, drawings, renderings, pictures of your models, etc.) in pages 11x17” format and bind (spiral) them. This bind booklet represents the story of your project. Create a cover page layout with your name (team members), professor, studio number, semester, and year.
Pictures of your models:
Some of them could be conceptual, represent details of your models, or a light condition, or a special angled point. Be creative.
Digital organization:
CD/DVD with all files organized by phase 1, phase 2, phase 3 and Final (with only final drawings, renderings, pictures, etc.);
Additionally, drop all your files on our server space.
Important DATES:
Friday, April 24th: all drawings should be completed and printed out by 4.00 pm;
Monday, April 27th: Booklet, CD/DVD, files to the server, physical modeling should be completed by noon. Cleaning the studio, pin-up, studio space arrangement, all by 4.00pm;
Tuesday, April 28th: Final Review, starting at 8.30 am;
April 29th – April 30-May 01 – Competition boards and First Friday Exhibition at LUHCA- in our studio at 10.00am.
Wednesday, April 15, 2009
Tuesday, March 10, 2009
Technology 2/3
In the second phase we will ask that sustainability be addressed at first with specific diagrams that are followed up with details, which specifically address how the sustainability concepts are achieved technically.
The structural system will be modeled at the bay level, physically, in a manner that requires each piece to be fabricated by hand. For the review of the second phase a digital axon of the structural system will be required.
After the bay model has been completed it will be necessary to install the relevant piece of the mechanical system. For the review of the second phase a digital axon of the HVAC system will be required.
The envelope system determines how the building looks—its character and composition. The envelope will be added to the physical bay model and the digital model of the building. The specific details of the envelope system will be investigated at a larger scale both digitally and physically.
The interior systems of two public spaces will have to be carefully developed. Schematic details of the cabinets, doors, stairs and lighting will be required for the second presentation.
Sustainability
In preparation for a visit from nationally known architect and sustainability consultant, Peter Pfieffer (April 21), you are hereby instructed to look for specific concepts that you wish to apply to your building to make it more sustainable. Begin now to tie down specific site responses to sun and wind. Look at how the design of the envelope can add to the energy efficiency of your building. We will present these ideas initially as concepts on 18” x 18” boards (due March 30); but, to pass Peter’s view they will have to be backed up with specific analysis.
Structural system
For the third phase review a physical model of the classroom bay at ½”=1’-0” will be required (assigned March 25 due April 7). To this basic bay you will need to add a carefully crafted model of the envelope system including glazing. We will also use this model to check solar penetration. One of the reasons that windows in schools are blocked up is because direct solar penetration falling on desks and children is very distracting. The task is to bring in natural light but filter it in such a manner that it does not become a nuisance. A light penetration study will be required for the second phase review (March 24).
Mechanical system
Add the mechanical system to your bay model. How will you expose or conceal the mechanical elements? What do you have to do to accommodate the mechanical system in your design? Create a digital model of the mechanical system that illustrates how the system is integrated into the form of the building (second review March 24). Remember that integration is a key word for this semester.
Envelope system
The only way to understand the envelope of a building is to detail it at a scale that its configuration is a pregnant issue. Using pencil on gridded paper, carefully spliced, draw the full wall section of your building at 1 1/2”=1’-0”. Do not use cut lines. Also draw a plan detail at the same scale that includes one bay and a corner. This will be an in-class exercise March 31 and April 2.
Interior systems
At 1/2” = 1’-0” draw a “tell tale” floor plan of the classroom. Include all lines that help us understand the integration of elements and systems: envelope, walls and structure centerlines—black; floor pattern, cabinets and other room scale elements—blue; mechanical elements—green; and all ceiling elements, such as lighting, sprinkler, speakers, and projection equipment—red. Note, in order to do this you will have to layout all the wall elevations of the room. This is a phase three exercise that will begin April 8.
The second phase of the design of your building is the most important. It is the phase that determines how sophisticated your design will be.
In the second phase we will ask that sustainability be addressed at first with specific diagrams that are followed up with details, which specifically address how the sustainability concepts are achieved technically.
The structural system will be modeled at the bay level, physically, in a manner that requires each piece to be fabricated by hand. For the review of the second phase a digital axon of the structural system will be required.
After the bay model has been completed it will be necessary to install the relevant piece of the mechanical system. For the review of the second phase a digital axon of the HVAC system will be required.
The envelope system determines how the building looks—its character and composition. The envelope will be added to the physical bay model and the digital model of the building. The specific details of the envelope system will be investigated at a larger scale both digitally and physically.
The interior systems of two public spaces will have to be carefully developed. Schematic details of the cabinets, doors, stairs and lighting will be required for the second presentation.
Sustainability
In preparation for a visit from nationally known architect and sustainability consultant, Peter Pfieffer (April 21), you are hereby instructed to look for specific concepts that you wish to apply to your building to make it more sustainable. Begin now to tie down specific site responses to sun and wind. Look at how the design of the envelope can add to the energy efficiency of your building. We will present these ideas initially as concepts on 18” x 18” boards (due March 30); but, to pass Peter’s view they will have to be backed up with specific analysis.
Structural system
For the third phase review a physical model of the classroom bay at ½”=1’-0” will be required (assigned March 25 due April 7). To this basic bay you will need to add a carefully crafted model of the envelope system including glazing. We will also use this model to check solar penetration. One of the reasons that windows in schools are blocked up is because direct solar penetration falling on desks and children is very distracting. The task is to bring in natural light but filter it in such a manner that it does not become a nuisance. A light penetration study will be required for the second phase review (March 24).
Mechanical system
Add the mechanical system to your bay model. How will you expose or conceal the mechanical elements? What do you have to do to accommodate the mechanical system in your design? Create a digital model of the mechanical system that illustrates how the system is integrated into the form of the building (second review March 24). Remember that integration is a key word for this semester.
Envelope system
The only way to understand the envelope of a building is to detail it at a scale that its configuration is a pregnant issue. Using pencil on gridded paper, carefully spliced, draw the full wall section of your building at 1 1/2”=1’-0”. Do not use cut lines. Also draw a plan detail at the same scale that includes one bay and a corner. This will be an in-class exercise March 31 and April 2.
Interior systems
At 1/2” = 1’-0” draw a “tell tale” floor plan of the classroom. Include all lines that help us understand the integration of elements and systems: envelope, walls and structure centerlines—black; floor pattern, cabinets and other room scale elements—blue; mechanical elements—green; and all ceiling elements, such as lighting, sprinkler, speakers, and projection equipment—red. Note, in order to do this you will have to layout all the wall elevations of the room. This is a phase three exercise that will begin April 8.
The second phase of the design of your building is the most important. It is the phase that determines how sophisticated your design will be.
Friday, March 6, 2009
PHASE 2: Things to do for 03-24-09 Review
With AutoCAD:
- Roof Plan with site and outdoor area design; scale 1’:1/32”
- Floor Plans; scale 1’:1/8”
- One significant building Longitudinal Section with site-context; scale 1’:1/8”
- One significant building Transversal Section with site-context; scale 1’:1/8”
- Two main Elevations (N-S) with site-context; scale 1’:1/8”
- One section through one classroom, scale 1’:1/4”
- One section through one big space at your choice, scale 1’:1/4”
With 3DStudio, FormZ, Rhino, others:
- Rendered Axonometric views of the entire building with details of façades (Envelope). Pay attention to the conjunction of different elements, joints, materials.
- One Rendered Axonometric view of the entire building in light gray and the structural system in color;
- One Rendered Axonometric view of the entire building in light gray and the mechanical system in color (supply red and return blue);
- Rendered light studies, light filtering solutions in one classroom.
Partial physical model of a significant portion of your building, representing envelope, structure, materials, in scale 1’:1/4”
With AutoCAD:
- Roof Plan with site and outdoor area design; scale 1’:1/32”
- Floor Plans; scale 1’:1/8”
- One significant building Longitudinal Section with site-context; scale 1’:1/8”
- One significant building Transversal Section with site-context; scale 1’:1/8”
- Two main Elevations (N-S) with site-context; scale 1’:1/8”
- One section through one classroom, scale 1’:1/4”
- One section through one big space at your choice, scale 1’:1/4”
With 3DStudio, FormZ, Rhino, others:
- Rendered Axonometric views of the entire building with details of façades (Envelope). Pay attention to the conjunction of different elements, joints, materials.
- One Rendered Axonometric view of the entire building in light gray and the structural system in color;
- One Rendered Axonometric view of the entire building in light gray and the mechanical system in color (supply red and return blue);
- Rendered light studies, light filtering solutions in one classroom.
Partial physical model of a significant portion of your building, representing envelope, structure, materials, in scale 1’:1/4”
Envelope 1 and 2 assignments with corrections, print in 18"x18" format.
Wednesday, February 25, 2009
PHASE 2: MODELING
ASSIGNMENT 2.1
The second phase of design will be more involved with physical and digital modeling exercises, to enhance the structural development of your project. You will have to test your previous design choices in a more technical way. Your ideas and design concepts should be reinforced or reconsidered by the configuration of the material and visual expression of your building.
As we already pointed out in the Envelope assignments: “The conceptual logic of techne continues to influence the way we configure aspects of our architecture…”.
Particularly, you must define in detail your structure-skin (envelope) system and its components and relationships, as other important design generators affecting the form of your building.
Key words:
Envelope
Body(structure)/Skin
Systems
Physicality
Assembly
Materials
Materiality
Joints
Integration
Expression
To look at:
Reiser+Umemoto, http://www.reiser-umemoto.com/
Sagaponac House, Long island, 2002
New Museum of Contemporary Art, NYC
Vector Wall, NYC, 2008
Zaha Hadid, Dorobanti Tower, Bucharest, Romania 2009
www.contemporist.com/2009/01/28/dorobanti-tower-by-zaha-hadid-architects/
Concrete filled steel profiles follow in sinus waves from the ground level to the top of the tower, creating a distinctive identity and complementing the tower design. The concrete filling will give additional strength to the structure and it will provide fire protection to the steel profiles. The facade structure adjusts to the building programme and to the structural forces. At the bottom, the façade grid has denser amplitudes according to the structural requirements for a tower of this height, providing the required load bearing capacity and stiffness to the structure. At the technical and recreation levels, the structure condenses creating almost solid knots. Additionally, the secondary structure supports the main steel frames. It also gives the 200m tower a human scale as the grid of the secondary frame structure reflects the floor heights. Furthermore, the secondary structure could be utilized to support additional glass panels as a shading device.
Zaha Hadid, Saragoza Bridge and Pavillion, Spain 2008, Engineer Arup http://www.bdonline.co.uk
The basic module from which the whole structure has been derived is a triangular steel frame. It is repeated at 3.6m intervals along the bridge’s length, and adjusted in height and width with each iteration. What emerges through this procedure is an arched truss which is then lined out to become a spatial enclosure.
The bridge comprises four such trusses. Two are laid end to end, forming the public route. The other two are rammed in from either side and serve as exhibition halls. The plan that results is trident-like, the handle bearing on the south bank, the forks pointing north.
Early on in the project’s development, the design team considered the possibility of an engineering solution based on a series of shell structures. This was ultimately rejected because the architect felt that such a monolithic structure would give the project the presence of a piece of heavy engineering. What Hadid wanted was a finer, more building-like scale. The bridge’s external image is very largely, therefore, a matter of cladding.
The lower level has been faced in premoulded steel panels, giving it a sinuous, aerofoil profile. Above, we are presented with a skin of mosaic-like glass-reinforced concrete panels. Comprising a series of interlocking triangles, this treatment is built up of ten different cutting patterns, each of which is assigned a distinct tone, graduating from black to white.
Many panels are also omitted, casting a rich pattern of light and shadow on the bridge’s floor.
More substantial openings have been introduced at the junction of the glass-reinforced concrete panels and moulded steel cladding. The interplay between this horizon line, the ridge and the bridge’s underside forms the primary motive for the elevations: a simple idea, but one handled here with fantastic dynamism and invention.
The exhibition halls are entirely lined out, but at high level, large expanses of wall along the public route have been left unlined. This is the one point where the building’s construction is legible: we can see the triangular frames, a grid of secondary steelwork laid on the diagonal, and finally the underside of the GRC panels.
Kas Oosterhuis , www.oosterhuis.nl/quickstart/index: Saltwater Pavillion, 1997, Holland:
Web of North, 2002, Holland. Go to: Projects/Building process
Exercise:
Try to define a 3D diagram of your building structural concept.
Explore the structural/material assembly of your building’s north and south elevation. Draw them in Autocad. Test them digitally with a 3D view that includes the interested parts of your building. Develop a physical sectional model of selected parts of your building involved with south and north facades.
Print the following:
3D diagram representing your building structure.
Autocad drawings of N-S elevations in 1/8’’ scale
Rendered axo/perspective views interesting N-S facades
Physical model of N-S structure/skin systems applied to selected parts of your building. 1/4" scale.
Due on Mon, March 02, 2009
Class pin-up
ASSIGNMENT 2.1
The second phase of design will be more involved with physical and digital modeling exercises, to enhance the structural development of your project. You will have to test your previous design choices in a more technical way. Your ideas and design concepts should be reinforced or reconsidered by the configuration of the material and visual expression of your building.
As we already pointed out in the Envelope assignments: “The conceptual logic of techne continues to influence the way we configure aspects of our architecture…”.
Particularly, you must define in detail your structure-skin (envelope) system and its components and relationships, as other important design generators affecting the form of your building.
Key words:
Envelope
Body(structure)/Skin
Systems
Physicality
Assembly
Materials
Materiality
Joints
Integration
Expression
To look at:
Reiser+Umemoto, http://www.reiser-umemoto.com/
Sagaponac House, Long island, 2002
New Museum of Contemporary Art, NYC
Vector Wall, NYC, 2008
Zaha Hadid, Dorobanti Tower, Bucharest, Romania 2009
www.contemporist.com/2009/01/28/dorobanti-tower-by-zaha-hadid-architects/
Concrete filled steel profiles follow in sinus waves from the ground level to the top of the tower, creating a distinctive identity and complementing the tower design. The concrete filling will give additional strength to the structure and it will provide fire protection to the steel profiles. The facade structure adjusts to the building programme and to the structural forces. At the bottom, the façade grid has denser amplitudes according to the structural requirements for a tower of this height, providing the required load bearing capacity and stiffness to the structure. At the technical and recreation levels, the structure condenses creating almost solid knots. Additionally, the secondary structure supports the main steel frames. It also gives the 200m tower a human scale as the grid of the secondary frame structure reflects the floor heights. Furthermore, the secondary structure could be utilized to support additional glass panels as a shading device.
Zaha Hadid, Saragoza Bridge and Pavillion, Spain 2008, Engineer Arup http://www.bdonline.co.uk
The basic module from which the whole structure has been derived is a triangular steel frame. It is repeated at 3.6m intervals along the bridge’s length, and adjusted in height and width with each iteration. What emerges through this procedure is an arched truss which is then lined out to become a spatial enclosure.
The bridge comprises four such trusses. Two are laid end to end, forming the public route. The other two are rammed in from either side and serve as exhibition halls. The plan that results is trident-like, the handle bearing on the south bank, the forks pointing north.
Early on in the project’s development, the design team considered the possibility of an engineering solution based on a series of shell structures. This was ultimately rejected because the architect felt that such a monolithic structure would give the project the presence of a piece of heavy engineering. What Hadid wanted was a finer, more building-like scale. The bridge’s external image is very largely, therefore, a matter of cladding.
The lower level has been faced in premoulded steel panels, giving it a sinuous, aerofoil profile. Above, we are presented with a skin of mosaic-like glass-reinforced concrete panels. Comprising a series of interlocking triangles, this treatment is built up of ten different cutting patterns, each of which is assigned a distinct tone, graduating from black to white.
Many panels are also omitted, casting a rich pattern of light and shadow on the bridge’s floor.
More substantial openings have been introduced at the junction of the glass-reinforced concrete panels and moulded steel cladding. The interplay between this horizon line, the ridge and the bridge’s underside forms the primary motive for the elevations: a simple idea, but one handled here with fantastic dynamism and invention.
The exhibition halls are entirely lined out, but at high level, large expanses of wall along the public route have been left unlined. This is the one point where the building’s construction is legible: we can see the triangular frames, a grid of secondary steelwork laid on the diagonal, and finally the underside of the GRC panels.
Kas Oosterhuis , www.oosterhuis.nl/quickstart/index: Saltwater Pavillion, 1997, Holland:
Web of North, 2002, Holland. Go to: Projects/Building process
Exercise:
Try to define a 3D diagram of your building structural concept.
Explore the structural/material assembly of your building’s north and south elevation. Draw them in Autocad. Test them digitally with a 3D view that includes the interested parts of your building. Develop a physical sectional model of selected parts of your building involved with south and north facades.
Print the following:
3D diagram representing your building structure.
Autocad drawings of N-S elevations in 1/8’’ scale
Rendered axo/perspective views interesting N-S facades
Physical model of N-S structure/skin systems applied to selected parts of your building. 1/4" scale.
Due on Mon, March 02, 2009
Class pin-up
Wednesday, February 18, 2009
To look at
Baldeweg Juan Navarro, Universita’ Pompeu Fabra, Barcellona (Casabella 771/Nov.2008), pag.5;
Bevk Perovic: - Residenza Universitaria, Lubiana, pag. 27
- Facolta’ di Matematica, Lubiana, pag 31 (Casabella 771/Nov. 2008)
De la Sota, Palestra (Casabella 772/773/Dic.Gen.2009), pag.6
Pier Luigi Nervi (structures)
Baldeweg Juan Navarro, Universita’ Pompeu Fabra, Barcellona (Casabella 771/Nov.2008), pag.5;
Bevk Perovic: - Residenza Universitaria, Lubiana, pag. 27
- Facolta’ di Matematica, Lubiana, pag 31 (Casabella 771/Nov. 2008)
De la Sota, Palestra (Casabella 772/773/Dic.Gen.2009), pag.6
Pier Luigi Nervi (structures)
Friday, February 13, 2009
PHASE 1: Things to do: 02-19-09 Review
With AutoCAD:
- Schematic Roof Floor Plan with site-context; scale 1’:1/32”
- Schematic Floor Plans; scale 1’:1/16”
- One significant Longitudinal Section with partial context; scale 1’:1/16”
- One significant Transversal section with partial context; scale 1’:1/16”
- Two main Elevations with partial context; scale 1’:1/16”
With 3DStudio, FormZ, Rhino, others:
- Rendered Perspective (or Axo)-Section with details of façade, structure (horizontal/vertical), and mechanical. Pay attention to the conjunction of different elements, joints, materials.
- Air flow diagram;
Partial physical study model at your choice, exploring a particular condition in your building; scale 1’:1/16”
With AutoCAD:
- Schematic Roof Floor Plan with site-context; scale 1’:1/32”
- Schematic Floor Plans; scale 1’:1/16”
- One significant Longitudinal Section with partial context; scale 1’:1/16”
- One significant Transversal section with partial context; scale 1’:1/16”
- Two main Elevations with partial context; scale 1’:1/16”
With 3DStudio, FormZ, Rhino, others:
- Rendered Perspective (or Axo)-Section with details of façade, structure (horizontal/vertical), and mechanical. Pay attention to the conjunction of different elements, joints, materials.
- Air flow diagram;
Partial physical study model at your choice, exploring a particular condition in your building; scale 1’:1/16”
READING
Larry Speck, “Technology, sustainability and cultural identity”, Edizioni Press, NY, 2006.
Your Tectonic Theory is a narrative account of your value system as it applies to your building, independent of program—how does the building meet the sky, turn the corner, touch the ground—how does it reveal how it is configured and constructed.
In Technology, Sustainability, and Cultural Identity Larry Speck describes how he applies simple tectonic logic to the design of some of his award winning buildings. He also ties this logic to his larger set of values concerning ‘what architecture should do in the world’ and to the specifics of the programs engaged in each building. This is a rare instance where the architect has let us into his thought process and discussed the intellectual evolution of his architecture without the usual hype. It is a practical and anchored discussion.
As you read this book, please note that his thoughts are not divided into a series of steps; but rather, they flow gently through bundles of observations that freely mix technology, image, program, sustainability, site response, material selection and organization. This is why we chose this book. It is an excellent example of the type of design thinking that we want you to develop. Now that you have a firm foundation of the precincts of the design process, you are ready to artfully bi-associate them as you begin to construe your art/form/solution—delight/firmness/commodity.
In the chapter “Architecture, Globalization, and Local Identity” (p 10-29) Speck explores the relationship between architecture and its regional context. He relates this problem directly to the work of Kahn, Barragan, Aalto and Wright. He then relates these observations to four houses in Central Texas—materials p 18, orientation p 19, site and climate p 20, climate p 23, and site/sun/construction/materials p 28. Please have this chapter read and ready for discussion on 02-23-09.
In the chapter “A Broader View of Sustainability” (p 40-55) he makes the argument that sustainability is more an attitude than a movement and that it is appealing to a larger sense of responsibility than culture or fashion. He discusses his notion of sustainability p 41 and 42, site and light p 44 and 45, and technology and envelope on p 46 and 47. Please have this chapter read and ready for discussion on 02-25-09.
In the chapter “Technology as a Source of Beauty” (p 110-122) he discusses the central issue of this studio—the use and expression of technology in architecture. He begins talking about beauty and craft p 110 and 111. Then he talks about materials and structure p 112 and 113. He discusses technology, craft and material choice on p 114 and 115; and, he concludes the chapter with his discussion of the expansion of the Austin Convention Center and the way in which technology formed the basic architectural logic of the building. Thesis means ‘position’ in Greek. This is truly a built thesis. Please have this chapter read and ready for discussion on 02-27-09.
Larry Speck, “Technology, sustainability and cultural identity”, Edizioni Press, NY, 2006.
Your Tectonic Theory is a narrative account of your value system as it applies to your building, independent of program—how does the building meet the sky, turn the corner, touch the ground—how does it reveal how it is configured and constructed.
In Technology, Sustainability, and Cultural Identity Larry Speck describes how he applies simple tectonic logic to the design of some of his award winning buildings. He also ties this logic to his larger set of values concerning ‘what architecture should do in the world’ and to the specifics of the programs engaged in each building. This is a rare instance where the architect has let us into his thought process and discussed the intellectual evolution of his architecture without the usual hype. It is a practical and anchored discussion.
As you read this book, please note that his thoughts are not divided into a series of steps; but rather, they flow gently through bundles of observations that freely mix technology, image, program, sustainability, site response, material selection and organization. This is why we chose this book. It is an excellent example of the type of design thinking that we want you to develop. Now that you have a firm foundation of the precincts of the design process, you are ready to artfully bi-associate them as you begin to construe your art/form/solution—delight/firmness/commodity.
In the chapter “Architecture, Globalization, and Local Identity” (p 10-29) Speck explores the relationship between architecture and its regional context. He relates this problem directly to the work of Kahn, Barragan, Aalto and Wright. He then relates these observations to four houses in Central Texas—materials p 18, orientation p 19, site and climate p 20, climate p 23, and site/sun/construction/materials p 28. Please have this chapter read and ready for discussion on 02-23-09.
In the chapter “A Broader View of Sustainability” (p 40-55) he makes the argument that sustainability is more an attitude than a movement and that it is appealing to a larger sense of responsibility than culture or fashion. He discusses his notion of sustainability p 41 and 42, site and light p 44 and 45, and technology and envelope on p 46 and 47. Please have this chapter read and ready for discussion on 02-25-09.
In the chapter “Technology as a Source of Beauty” (p 110-122) he discusses the central issue of this studio—the use and expression of technology in architecture. He begins talking about beauty and craft p 110 and 111. Then he talks about materials and structure p 112 and 113. He discusses technology, craft and material choice on p 114 and 115; and, he concludes the chapter with his discussion of the expansion of the Austin Convention Center and the way in which technology formed the basic architectural logic of the building. Thesis means ‘position’ in Greek. This is truly a built thesis. Please have this chapter read and ready for discussion on 02-27-09.
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