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
Wednesday, February 25, 2009
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.
Friday, February 6, 2009
ENVELOPE 2
The Envelope is an expression of the logic of configuration that governs the construction and the visual impression of your builidng.
The configuration of a building is an expression of value. It tells us how we intend to relate to the material and productive forces of the society in which the building is a part. It gives ‘public body’ to the craftspeople who make the building and the industries that supply the materials and assemblies of which it is constructed. Buildings are ‘fashioned’ in the sense that they are created out of raw materials that constitute their culture. Buildings are ‘fashioned’ in the sense that they are intimately a part of the visual culture of forms that circulate in their time. They are in this way an essential component of our ‘world of desire’—that is they are part of the fashion industry.
The essential wall section of a building is not always the typical wall section. The essential wall section is that section which speaks most clearly to the image of the building that you most ardently wish to convey. This is wall section is apt to be special in some particular way; yet, it must relate to the typical wall section of the building. They should appear as two members of the same family.
Your task for our meeting next Thursday will be to draw an exploded axonometric of your “special” wall section.
On an 18” x 18” panel artfully compose the axonometric so we feel that we understand directly how the building is constructed.
The Envelope is an expression of the logic of configuration that governs the construction and the visual impression of your builidng.
The configuration of a building is an expression of value. It tells us how we intend to relate to the material and productive forces of the society in which the building is a part. It gives ‘public body’ to the craftspeople who make the building and the industries that supply the materials and assemblies of which it is constructed. Buildings are ‘fashioned’ in the sense that they are created out of raw materials that constitute their culture. Buildings are ‘fashioned’ in the sense that they are intimately a part of the visual culture of forms that circulate in their time. They are in this way an essential component of our ‘world of desire’—that is they are part of the fashion industry.
The essential wall section of a building is not always the typical wall section. The essential wall section is that section which speaks most clearly to the image of the building that you most ardently wish to convey. This is wall section is apt to be special in some particular way; yet, it must relate to the typical wall section of the building. They should appear as two members of the same family.
Your task for our meeting next Thursday will be to draw an exploded axonometric of your “special” wall section.
On an 18” x 18” panel artfully compose the axonometric so we feel that we understand directly how the building is constructed.
ENVELOPE 1
The Envelope is an essential part of the schematic image of the building.
The Greek word techne reflects the quality of an object to embody and depict the method by which it has been fashioned. The paradigm for Greek architecture was sculpture so this affection for the quality of a process to be embedded in a form seemed immediately logical. Early modern architecture acquired a similar sense of “transparency” with its concern for the honest use of materials—Ruskin, Violet le Duc, Behrens. Twentieth century architecture turned this candid approach to materiality into a new formal language—Wright, le Corbusier, Kahn. Late modernists exploited the idea that architecture could use more active metaphorical references—the machine, the factory, the computer—that valorized a transparent use of materials and assemblies. The conceptual logic of techne continues to influence the way we configure aspects of our architecture, particularly the envelope.
What you see is what you get. Lou Kahn said, “Ornament is the avocation of the joint”. It is not possible, for example, to ignore the physical realities of a veneer wall. It must be jointed and the visual placement of the joints affects the compositional strategies of the façade. The material and assembly configuration of the wall system determines what your building will look like. The elevation, the wall section and the plan relationship of the constituent parts of the envelope are intimately related. We will explore these relationships with two exercises, due next week, that will raise specific issues relative to how we want the building to appear and how we want the building to be built.
Your task for our meeting next Tuesday will be to layout the basic details of the envelope of your building—a plan detail at 1 ½” = 1’-0”, a projected axonometric wall section at 1” = 1’-0”, and a partial elevation drawn at ½” = 1’-0”.
The plan detail must be at a corner of the building and it must cut through some glazing. It determines the basic relationship of the glazing to the envelope material. The wall section should be cut through the roof and glazing. It should be drawn in axonometric and ‘projected’ back to show how the envelope material continues past the glazing. This determines the essential lines that make up the elevation of your building. The partial elevation should be carefully drawn to include all of the ‘lines’ of construction as they would be seen when looking at the building. Each line of the elevation should respond to a line revealed in the other two drawings.
On an 18” x 18” panel artfully compose the three drawings so they begin to tell us how the envelope of the building is configured. As these are really three aspects of the same thing the drawings should overlap and engage each other.
The Envelope is an essential part of the schematic image of the building.
The Greek word techne reflects the quality of an object to embody and depict the method by which it has been fashioned. The paradigm for Greek architecture was sculpture so this affection for the quality of a process to be embedded in a form seemed immediately logical. Early modern architecture acquired a similar sense of “transparency” with its concern for the honest use of materials—Ruskin, Violet le Duc, Behrens. Twentieth century architecture turned this candid approach to materiality into a new formal language—Wright, le Corbusier, Kahn. Late modernists exploited the idea that architecture could use more active metaphorical references—the machine, the factory, the computer—that valorized a transparent use of materials and assemblies. The conceptual logic of techne continues to influence the way we configure aspects of our architecture, particularly the envelope.
What you see is what you get. Lou Kahn said, “Ornament is the avocation of the joint”. It is not possible, for example, to ignore the physical realities of a veneer wall. It must be jointed and the visual placement of the joints affects the compositional strategies of the façade. The material and assembly configuration of the wall system determines what your building will look like. The elevation, the wall section and the plan relationship of the constituent parts of the envelope are intimately related. We will explore these relationships with two exercises, due next week, that will raise specific issues relative to how we want the building to appear and how we want the building to be built.
Your task for our meeting next Tuesday will be to layout the basic details of the envelope of your building—a plan detail at 1 ½” = 1’-0”, a projected axonometric wall section at 1” = 1’-0”, and a partial elevation drawn at ½” = 1’-0”.
The plan detail must be at a corner of the building and it must cut through some glazing. It determines the basic relationship of the glazing to the envelope material. The wall section should be cut through the roof and glazing. It should be drawn in axonometric and ‘projected’ back to show how the envelope material continues past the glazing. This determines the essential lines that make up the elevation of your building. The partial elevation should be carefully drawn to include all of the ‘lines’ of construction as they would be seen when looking at the building. Each line of the elevation should respond to a line revealed in the other two drawings.
On an 18” x 18” panel artfully compose the three drawings so they begin to tell us how the envelope of the building is configured. As these are really three aspects of the same thing the drawings should overlap and engage each other.
Wednesday, February 4, 2009
Project Vision
In our studio, you will generate and develop your project through several moments, from its concept till its physical manifestation and constructional strategies.
Particularly, the character and quality of your building will be determined by:
- Site analysis and site diagrams;
- Spatial diagrams/space narratives, quality, characteristics, organization, orientation, scale;
- Structure/envelope systems and zones; Mechanical diagrams and strategies;
- Light diagrams, concepts, solutions;
- Programmatic requirements
Digital explorations and physical testing models should be used as working, generative, creative tools that effectively help to define your intuitions about the architectural nature of your building.
In our studio, you will generate and develop your project through several moments, from its concept till its physical manifestation and constructional strategies.
Particularly, the character and quality of your building will be determined by:
- Site analysis and site diagrams;
- Spatial diagrams/space narratives, quality, characteristics, organization, orientation, scale;
- Structure/envelope systems and zones; Mechanical diagrams and strategies;
- Light diagrams, concepts, solutions;
- Programmatic requirements
Digital explorations and physical testing models should be used as working, generative, creative tools that effectively help to define your intuitions about the architectural nature of your building.
ASSIGNMENT 1.5: Light Box
Precedents: Architectural lighting.
Light is one of the most architecture’s important elements. Whether natural or artificial, light might accentuate or mask spatial properties, or make a place feel particular (safe, scary, sacred, soft, intimate, heavy, evanescent, etc.).
Each group of two students will analyze one of the following architects and their selected works:
- Le Corbusier, Chapel at Ronchamp, France, 1959 ( Adrianna+Kyle)
- Louis Kahn, The Kimbell Art Museum, Fort Worth, Texas, USA, 1972 (Robert+Kelly)
- Renzo Piano, Menil Collection, Houston, Texas, USA 1987 (Mike + Adam)
- Tadao Ando, The church of the light, Osaka, Japan, 1989 (Jared+ Cesar)
- Peter Zumthor, Thermal SPA, Vals, Switzerland, 1996 (John + Lindsay)
- Toyo Ito, Serpentine Gallery, London, GB, 2002 (Jonathan + Sonia)
- Steven Holl, Planar House, Arizona, USA, 2005 ((Henry)
All of you will analyze the work of the following artists:
- Donald Judd, (sculptor/artist), Chinati Foundation, Marfa, Texas, USA (Aluminum and concrete works)
- Dan Flavin (artist), Light installations at Chinati Foundation, Marfa, Texas, USA
Illustrate how light is treated and implemented into the selected building, how it gives new meaning and value to the spaces. Print a collage of information, images and drawings.
Compose some elementary digital diagrams that explain trajectories, how light enters or diffuses, vertical and horizontal openings, how solids and voids are defined through lights, lights and shadows, type of light, natural or artificial, etc.
Print 1 page in A3 format (11x17)
Excercise
One of your project’s rooms will be considered as a box to investigate light as an additional design tool.
Your chosen room is now a complete solid with roof, floor, and walls. The exercise will be based on this solid with a 2’ ft. roof/floor/wall thickness and an inner void.
Min. room height is 10’ ft.
Choose three different days of the year (September 21, January 21, April 21) at 9.00am and at 2.00pm and locate your volume relative to NSEW.
For the purposes of this exercise, you are to use the longitude and latitude of Lubbock, Texas.
Program three (3) different narratives for the movement of light across the space in the morning, and three narratives in the afternoon.
The top and two of the surfaces may be cut in order to transmit light; the other interior and exterior surfaces are to receive that light/shadow. Consider the light in terms of slots, pools, bands, stripes, zones, etc.
Choose the number, dimensions, and lengths of your cuts on the 3 surfaces. Cut through the thickness of your box. Establish angular conditions cutting through adjacent surfaces.
Develop a three dimensional digital model showing how your object will need to be cut to articulate your light’s narratives.
Your narrative should address light movement on the interiors of your box, on a wall, one on a wall and the floor, on the floor, on the ceiling, and/or the wall and the ceiling.
Use the computer to develop 2D study diagrams of the light cuts, and a series of rendered transversal sections. You may only use a white surface style.
On 11”x17” paper print the following:
- Series of 2D Diagrams of your cuts, stripes, bands, etc., using the digital media preferred, on the 3 chosen surfaces; Apply operations of repetition with difference; the diagrams should show a progression in your thinking;
- Series of 2D Diagrams of the surfaces receiving the light (3 days in one year- 3 different hours each day);
- One (1) Axonometric view of your light box, using 3D Studio, FormZ or other;
- Three (3) elevations (front views, top view of cut surfaces), using 3D Studio, FormZ or other;
- Two (2) episodic transversal sections of spatial construction, using 3D Studio, Form Z, other, at your choice.
Scale - 1:1 with your construction
Later on you will represent your box with a physical model at a scale of: 1/2” = 1’– 0”.
Create a digital folder: LIGHT BOX
Save all your drawings under subfolders.
It is your responsibility to keep copies and traces of all the studio design process and phases.
Be organized and keep all your digital material in order on your computer.
Due on Fri, Feb. 6 Class discussion
Precedents: Architectural lighting.
Light is one of the most architecture’s important elements. Whether natural or artificial, light might accentuate or mask spatial properties, or make a place feel particular (safe, scary, sacred, soft, intimate, heavy, evanescent, etc.).
Each group of two students will analyze one of the following architects and their selected works:
- Le Corbusier, Chapel at Ronchamp, France, 1959 ( Adrianna+Kyle)
- Louis Kahn, The Kimbell Art Museum, Fort Worth, Texas, USA, 1972 (Robert+Kelly)
- Renzo Piano, Menil Collection, Houston, Texas, USA 1987 (Mike + Adam)
- Tadao Ando, The church of the light, Osaka, Japan, 1989 (Jared+ Cesar)
- Peter Zumthor, Thermal SPA, Vals, Switzerland, 1996 (John + Lindsay)
- Toyo Ito, Serpentine Gallery, London, GB, 2002 (Jonathan + Sonia)
- Steven Holl, Planar House, Arizona, USA, 2005 ((Henry)
All of you will analyze the work of the following artists:
- Donald Judd, (sculptor/artist), Chinati Foundation, Marfa, Texas, USA (Aluminum and concrete works)
- Dan Flavin (artist), Light installations at Chinati Foundation, Marfa, Texas, USA
Illustrate how light is treated and implemented into the selected building, how it gives new meaning and value to the spaces. Print a collage of information, images and drawings.
Compose some elementary digital diagrams that explain trajectories, how light enters or diffuses, vertical and horizontal openings, how solids and voids are defined through lights, lights and shadows, type of light, natural or artificial, etc.
Print 1 page in A3 format (11x17)
Excercise
One of your project’s rooms will be considered as a box to investigate light as an additional design tool.
Your chosen room is now a complete solid with roof, floor, and walls. The exercise will be based on this solid with a 2’ ft. roof/floor/wall thickness and an inner void.
Min. room height is 10’ ft.
Choose three different days of the year (September 21, January 21, April 21) at 9.00am and at 2.00pm and locate your volume relative to NSEW.
For the purposes of this exercise, you are to use the longitude and latitude of Lubbock, Texas.
Program three (3) different narratives for the movement of light across the space in the morning, and three narratives in the afternoon.
The top and two of the surfaces may be cut in order to transmit light; the other interior and exterior surfaces are to receive that light/shadow. Consider the light in terms of slots, pools, bands, stripes, zones, etc.
Choose the number, dimensions, and lengths of your cuts on the 3 surfaces. Cut through the thickness of your box. Establish angular conditions cutting through adjacent surfaces.
Develop a three dimensional digital model showing how your object will need to be cut to articulate your light’s narratives.
Your narrative should address light movement on the interiors of your box, on a wall, one on a wall and the floor, on the floor, on the ceiling, and/or the wall and the ceiling.
Use the computer to develop 2D study diagrams of the light cuts, and a series of rendered transversal sections. You may only use a white surface style.
On 11”x17” paper print the following:
- Series of 2D Diagrams of your cuts, stripes, bands, etc., using the digital media preferred, on the 3 chosen surfaces; Apply operations of repetition with difference; the diagrams should show a progression in your thinking;
- Series of 2D Diagrams of the surfaces receiving the light (3 days in one year- 3 different hours each day);
- One (1) Axonometric view of your light box, using 3D Studio, FormZ or other;
- Three (3) elevations (front views, top view of cut surfaces), using 3D Studio, FormZ or other;
- Two (2) episodic transversal sections of spatial construction, using 3D Studio, Form Z, other, at your choice.
Scale - 1:1 with your construction
Later on you will represent your box with a physical model at a scale of: 1/2” = 1’– 0”.
Create a digital folder: LIGHT BOX
Save all your drawings under subfolders.
It is your responsibility to keep copies and traces of all the studio design process and phases.
Be organized and keep all your digital material in order on your computer.
Due on Fri, Feb. 6 Class discussion
Tuesday, February 3, 2009
The Mechanical System is an essential part of the schematic understanding of the building.
The solution to air quality and air conditioning must occur during the initial schematic proposals not as an addition to the basic scheme. The location of essential equipment and the strategy for circulating fresh air have an impact on the organization of rooms and the allotment of space to each room. Mechanical noise and unsightly appearance of equipment can also affect the logic and execution of the “form/solution”—the schematic solution to the problem.
Many older schools built after WWII have ceiling mounted air handling units that heat, cool and blow conditioned air around the classroom. Larger spaces had roof top units that were self contained. The inefficiency of so many units seems obvious; however, for long linear buildings with lots of exterior wall surface they were somewhat energy efficient because each room could be controlled for its individual exposure. Sometimes one could link all of the units together with a water circulating system and literally pump heat from the ‘sun’ side of the building to the other side. These systems had to change dramatically when fresh air standards for schools were drastically increased. In order to reduce the spread to illness and to respond to studies that determined that fresh air was essential for a quality education, the ability to fully ‘change’ the air in a room frequently became a requirement.
The fresh air requirement changed the mechanical system from a decentralized one to a centralized one. This means that we need to intake fairly large amounts of outside air, filler it, blow it across coils with either heated or chilled water in them, circulate it to conditioned spaces and exhaust it. In other words throughout the building there will be ductwork that may be exposed or concealed. There will be an intake area that should not be at the most public part of the building. There must be room for a heat exchanger, like a cooling tower, to generate chilled water and there must be room for a boiler to generate hot water. There must be a fan and coil unit; but, this may be centralized or at individual spaces. And, there must be a place to exhaust the old air.
Your task for our next meeting will be to layout a conceptual mechanical system that includes all of the above. It must be laid out in axonometric form roughly to the axonometric of the schematic plan of your building. We used to use this document to explain our desires to our engineer and our client. It was useful in both cases because the strategy used always had an impact on the quality of the schematic solution. Lay this out on an 18 x 18 square.
The solution to air quality and air conditioning must occur during the initial schematic proposals not as an addition to the basic scheme. The location of essential equipment and the strategy for circulating fresh air have an impact on the organization of rooms and the allotment of space to each room. Mechanical noise and unsightly appearance of equipment can also affect the logic and execution of the “form/solution”—the schematic solution to the problem.
Many older schools built after WWII have ceiling mounted air handling units that heat, cool and blow conditioned air around the classroom. Larger spaces had roof top units that were self contained. The inefficiency of so many units seems obvious; however, for long linear buildings with lots of exterior wall surface they were somewhat energy efficient because each room could be controlled for its individual exposure. Sometimes one could link all of the units together with a water circulating system and literally pump heat from the ‘sun’ side of the building to the other side. These systems had to change dramatically when fresh air standards for schools were drastically increased. In order to reduce the spread to illness and to respond to studies that determined that fresh air was essential for a quality education, the ability to fully ‘change’ the air in a room frequently became a requirement.
The fresh air requirement changed the mechanical system from a decentralized one to a centralized one. This means that we need to intake fairly large amounts of outside air, filler it, blow it across coils with either heated or chilled water in them, circulate it to conditioned spaces and exhaust it. In other words throughout the building there will be ductwork that may be exposed or concealed. There will be an intake area that should not be at the most public part of the building. There must be room for a heat exchanger, like a cooling tower, to generate chilled water and there must be room for a boiler to generate hot water. There must be a fan and coil unit; but, this may be centralized or at individual spaces. And, there must be a place to exhaust the old air.
Your task for our next meeting will be to layout a conceptual mechanical system that includes all of the above. It must be laid out in axonometric form roughly to the axonometric of the schematic plan of your building. We used to use this document to explain our desires to our engineer and our client. It was useful in both cases because the strategy used always had an impact on the quality of the schematic solution. Lay this out on an 18 x 18 square.
Technology
The technology requirements of the studio will include artfully developed details in five areas: sustainability—specific concerns regarding the control of natural light and water, structural systems—specific concerns regarding the space defining qualities of the integrated system, mechanical systems—specific concerns regarding energy efficiency, envelope systems—specific concerns regarding figuration and detail, and interior systems—specific concerns regarding the celebration and meter of finish materials. We will present a series of technical assignments that are to be completed as the design assignments are addressed. In many cases the technical assignments will have a limited immediate application to the larger design issues addressed at the same time; but, as we enter the next phase of design we will see that adjacent issues will become fundamental.
1
During the first phase of design we want to explore the way in which light can be controlled from two cardinal positions using a light box to explore the filtering and directing of natural light from each direction.
We also want to build a ‘library’ of contemporary precedents that use a steel structural system to define space and support the building. We need to understand how the system resists lateral load, how it connects to the wall envelope system and how it can be used to define architectural space.
The fresh air requirements of a school are substantial. This means that the mechanical system must take in, filter, treat, circulate and filter an enormous amount of air. We will begin our thought process with a conceptual axon that shows the vital steps in this sequence. What equipment will be required; where should it be placed; and how much of it is visible?
Envelope systems represent the most important advances in architectural technology of this decade. Precedent studies that include a partial elevation, a projected wall section and a plan detail of the corner will help us chose appropriate envelope systems for our building. The first phase presentation will require a ‘proposed’ exploded axon that shows how the envelope and its glazing system interact.
Setting goals for interior systems is essential from the beginning. How would you characterize the most important public spaces of your building? What kind of materials will help you realize these goals? Can you find examples of buildings that have spaces that are good precedents for your space? You will be asked to present how the materials that define the space are detailed. If it helps, consider the following: floor, ceiling, cabinets, doors and stairs. Find examples of each and describe them in words.
2
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.
3
Final, third phase technical requirements will be determined after the second phase presentation.
The technology requirements of the studio will include artfully developed details in five areas: sustainability—specific concerns regarding the control of natural light and water, structural systems—specific concerns regarding the space defining qualities of the integrated system, mechanical systems—specific concerns regarding energy efficiency, envelope systems—specific concerns regarding figuration and detail, and interior systems—specific concerns regarding the celebration and meter of finish materials. We will present a series of technical assignments that are to be completed as the design assignments are addressed. In many cases the technical assignments will have a limited immediate application to the larger design issues addressed at the same time; but, as we enter the next phase of design we will see that adjacent issues will become fundamental.
1
During the first phase of design we want to explore the way in which light can be controlled from two cardinal positions using a light box to explore the filtering and directing of natural light from each direction.
We also want to build a ‘library’ of contemporary precedents that use a steel structural system to define space and support the building. We need to understand how the system resists lateral load, how it connects to the wall envelope system and how it can be used to define architectural space.
The fresh air requirements of a school are substantial. This means that the mechanical system must take in, filter, treat, circulate and filter an enormous amount of air. We will begin our thought process with a conceptual axon that shows the vital steps in this sequence. What equipment will be required; where should it be placed; and how much of it is visible?
Envelope systems represent the most important advances in architectural technology of this decade. Precedent studies that include a partial elevation, a projected wall section and a plan detail of the corner will help us chose appropriate envelope systems for our building. The first phase presentation will require a ‘proposed’ exploded axon that shows how the envelope and its glazing system interact.
Setting goals for interior systems is essential from the beginning. How would you characterize the most important public spaces of your building? What kind of materials will help you realize these goals? Can you find examples of buildings that have spaces that are good precedents for your space? You will be asked to present how the materials that define the space are detailed. If it helps, consider the following: floor, ceiling, cabinets, doors and stairs. Find examples of each and describe them in words.
2
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.
3
Final, third phase technical requirements will be determined after the second phase presentation.
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