DALHOUSIE UNIVERSITY SCHOOL OF ARCHITECTURE Summer … · 2020-06-11 · DALHOUSIE UNIVERSITY...

D A L H O U S I E U N I V E R S I T Y SCH OOL OF ARCHITECT URE ARCH 4003.03 B3 Design Studio

Summer Term 2018

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Instructors: Diogo Burnay (coordinator), Jane Abbott, Thomas Evans, Peter Henry, Chad Jamieson, Emanuel Jannasch. Credit hours: 3 Format: Lecture/studio, including lectures, tutorials and reviews, supplemented with site visits. Restriction: Year 4 BEDS students. Time: Mondays and Thursdays, 2-5.30 PM Calendar Description: This course studies principles of architecture through the design of a public building. Building on previous courses, it includes the organization of a public program and issues of context and interpretation. As an intensive studio it encourages students to focus on design intentions and to develop an awareness of design process. Additional Description DESIGN of PUBLIC SPACE and the COMMUNITY This course will consist of a term-long project to design a public building and its adjoining spaces in response to given program requirements, and an analysis of both urban and natural contexts. Each Design group will be looking at a variation of a community theme. The design process will begin with an analysis of the social and physical context, the interpretation of an Architectural program, and then proceed to deal with urban site relationships, spatial sequences, scale, proportion, arrangement, and a great room. The course will integrate with Representation to facilitate a design process involving the generation and testing of programmatic ideas through vignette drawing. In co-ordination with the Building Systems Integration course, the design studio will engage with issues of lighting, acoustics, structure, and flexible envelope, all in the service of creating an excellent public place. The focus is on design at the 'hall’ scale, motivated by the student forming a point of view on community-building in the public realm; and then considering a sympathetic spatial / structural organization. To that end, each Design group will be working with a client advisor for initial feedback on design intentions related to a particular community.

Atelier Arcau, Salorge (Town Community) Centre, Pornic, France


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Learning Objectives:

1. Social Context Understanding the community context of public place. Developing a concept for a particular community that reinforces and encourages the growth of a shared identity. Translation of the community concept into an appropriate Architectural program and form.

2. Program Attention to activities and their organization, adjacencies, and support elements. Development of a 3D spatial organization - size, shape, composition, organisation and distribution of interior spaces, and integration of exterior spaces. Circulation as linkage and node - attention to modes of movement, spatial sequence and thresholds, and universal access.

3. Urban and natural surroundings Address the quality of designing to an existing context: in relation to land, other buildings, urban spaces, and/or natural features. Understand basic considerations of public safety. Consider how a building's massing and orientation are related to an environmental/climatic condition.

4. Architectural project: character, expression, building systems, materiality and aesthetics Address three scales: site, building, and detail. Selection and composition of formal and spatial orders based on structural and programmatic research. Constructive composition of materials and important junctions. Engage with issues of how the building will perform in terms of lighting, acoustics, structure and envelope. Attention to sensory experiences. Attention to presence and symbolic expression of the building.

Jan Gehl Studio – meaningful human activities help define the urban character of place


Summer Term 2018

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Course Structure

The course meets twice a week for 3.5 hours. These sessions will be dedicated to desk critiques, lectures, and reviews. There will be 3 group reviews of student work during the term and an ungraded penultimate review prior to the final review.

Process Portfolio Students are expected to maintain a process portfolio throughout the term. It will record research, design process, and final design work and will be submitted twice: after the round robin pin-up and at the end of the term. Refer to Process Portfolio section for specific portfolio requirements. See also the Process Portfolio guidelines on the School website.

Process Pin-Up - Monday, May 28 Pin up on Sunday, May 27. The Process Pin-Up is an early review of in-process work to assess preliminary conceptual development and design intentions. It is not graded. Details will be provided about the schedule and organization.

Round-Robin Pin-up - Monday, June 11 Pin up on Sunday, June 10. Students are expected to present plans, sections, sketch models and materiality studies in their review.

Penultimate Review - Thursday, July 5 Instructor Swap At a specific time in the course, studio groups will swap instructors for one session in order for you to get alternative insight and feedback on your project. The Penultimate Review will be conducted with a studio instructor other than your own. It is not graded. You will prepare your work, containing drafts of final presentation drawings, models, photos, renderings, etc. You should have at least one presentation-quality drawing available for discussion, as well as a mock-up sketch of your final deliverables.

Final Presentation Preparation In preparation for the final review, you are required to attend the Design Statement workshops conducted in the Humanities course. You will use the text prepared in that course for your final review presentation. You will also produce a storyboard of your presentation layout for discussion with your instructor prior to the Penultimate Review.

Pin-Up Procedures In order to provide more wall space for individual work, studio groups will be pinning up at different times. In order to ensure that all work for pin-up is completed simultaneously, you will all submit your work at the same time, in the evening prior to the presentations. You will be required to take a photograph of the work submitted and pinned up. You will not be able to present in the end-of-term reviews if this is not submitted. This is not graded; it is simply a record of work completed. This includes photos of models, images of drawings, renderings/ photoshopped images, etc. Formatting is not important. The sheet will include your name and your studio instructor’s name.

All students are required to be present at all times during all the reviews.


Summer Term 2018

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Feedback

Your weekly desk-critiques are on-going and in-depth opportunities for feedback. It is recommended that you complete each discussion with your instructor by writing out what you heard as feedback and what is expected of you at your next meeting. Have your instructor review this to confirm that both of you are in agreement.

Post-review feedback will be provided through conversations with your instructor at the following studio session. You are responsible for preparing in advance a summary of your review, next steps you are considering, and any questions you have. Assignments and Evaluation

An additional design brief will be provided for each group.

There are 3 assignments throughout the term.

1. Process portfolio (25%) 2. Case studies (15%) 3. Community Building project (60%) Evaluation

Evaluation is done collectively by the B3 design instructors on the basis of how effectively the learning objectives have been addressed, in both the design process and the final design project.

The process portfolio itself will be worth 25% of your grade.

Your design tutor will give either verbal or written feedback on your progress in addressing the studio objectives, during the regular tutorial sessions on Monday and Thursday afternoons. Except for a documented medical reason, late submissions will be deducted 1/3 letter grade (e.g., from A to A-) after the first 24-hour period, and an additional 1/3 letter grade every third weekday after that.

Please contact the B3 Design course coordinator and/or the Undergraduate Coordinator if this situation arises.

There are resources at Dalhousie that can provide support. The School also can provide advice.


Summer Term 2018

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Evaluation

Grade Grade Point Value Percent Equivalent Definition Notes A+ A A-

4.3 4.0 3.7

90-100 85-89 80-84

Outstanding Excellent Very Good

Exceptional to considerable [excellent, very good] evidence of original thinking; demonstrated outstanding capacity to analyze and synthesize; outstanding grasp of subject matter; evidence of extensive knowledge base

B+ B B-

3.3 3.0 2.7

77-79 73-76 70-72

Good Evidence of grasp of subject matter, some evidence of critical capacity and analytical ability; reasonable understanding of relevant issues; evidence of familiarity with the literature.

C+ C C-

2.3 2.0 1.7

65-69 60-64 55-59

Satisfactory Evidence of some understanding of the subject matter; ability to develop solutions to simple problems; benefitting from his/her university experience

D 1.0 50-54 Marginal Pass Evidence of minimally acceptable familiarity with subject matter, critical and analytical skills

F 0.0 0-49 Inadequate Insufficient evidence of understanding of the subject matter; weakness in critical and analytical skills; limited or irrelevant use of the literature assignments.

INC 0.0 Incomplete W Neutral and no

credit obtained Withdrew after deadline

ILL Neutral and no credit obtained

Compassionate reasons, illness

[Documentation must be submitted to the School of Architecture office within one week of due date]

Students Rights and Responsibilities Before traveling off-campus, students must complete a Student Travel Information form - http://tinyurl.com/off-campus-forms - and submit it to Ken Rice in the Faculty office ([email protected]). University Policies and Resources This course is governed by the academic rules and regulations set forth in the University Calendar and the Senate. See the School’s “Academic Regulations” page (tinyurl.com/dal-arch-regulations) for links to university policies and resources: • Academic integrity • Accessibility • Code of student conduct • Diversity and inclusion; culture of respect • Student declaration of absence • Recognition of Mi'kmaq territory • Work safety • Services available to students, including writing support • Fair dealing guidelines (copyright) • Dalhousie University Library


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Term Schedule

Week 1 Monday, May 7, 10 am - Introduction, term introduction - 2 pm – Design Introduction - Portfolio talks. Thursday, May 10 - Portfolio talks - Thomas Evans - talk 1 – “Curiosity and Architecture”. Design work. Site.

Week 2 Monday, May 14 - Local case study visit. Peter Henry - talk 2 – “Viewer/Viewed: The Performer & the Audience”. Thursday, May 17 - Design Work. Site + program.

Week 3 Monday, May 21 - Victoria Day - no classes. Thursday, May 24 - Case studies presentation.

Week 4 Monday, May 28 - Design intentions / concept design review. Pin up Sunday, May 27. Thursday, May 31 - Diogo Burnay - talk 3 – “Structures in Architecture”. Design Work. Program + section.

Week 5 Monday, June 4 - Anne Sinclair - talk 4– “Universal architecture” + studio. Design Work. Program + Circulation. Thursday, June 7 - Jane Abbott - talk 5 – “Public Places”. Design Work. Plan + Section + Structures + materiality.

Week 6 Monday, June 11 - Round-Robin Pin-up -plan, section, sketch model, materiality - pin up Sunday, June 10. Thursday, June 14 - Emanuel Jannasch - talk 6 – “Figure Ground”. Design Work. Structure + Systems.

Week 7 Monday, June 18 - Chad Jamieson - talk 7 – “Progression and Threshold.” Design work. Systems + materiality. Thursday, June 21 - Design Work. Design development.

Week 8 Monday, June 25 - Design Work. Design development and integration. Thursday, June 28 - Design Work. Design development and integration.

Week 9 Monday, July 2 - Canada Day holiday - no classes. Thursday, July 5- Penultimate Design Pin-up – studio swap – synopsis and feedback.

Week 10 Monday, July 9 - Design Work. Design Presentation Development Thursday, July 12 - Design Work. Design Presentation development

Week 11 Monday, July 16 + Tuesday July 17 - B3 Design review - Pin up Sunday, July 15. Wednesday - grading session. Thursday, July 19 - Portfolio submission 9 am + table review - 9.30 am to 1.30 pm.


Summer Term 2018

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B3 Course Integration The B3 design studio has a large degree of integration with the other courses, allowing both representational and technological development of the project in parallel with the design studio. The design Instructors will be conducting the case studies assignment, and will be involved in the work related to the Sequence drawings and the Hybrid drawing, in the workshops 5 and 9 in the Humanities course (Design Statement Workshops) to clarify the language of your architectural intention, and will be engaged in the work developed in the BSI course to help you research and develop your structural ideas and ability to integrate systems for design. The History and Theory course will be including studies of the built environment with a focus on cultural, conceptual, and physical places where communities flourish and/or resist, from the 20th century to the present.

Vincent James, The Minneapolis Boat House


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B3 Course Integrated Schedule

wk general Morning Afternoon Evening

07-May M BSI Term Introduction at 10:00 Design Studio 1: Introduction 08-May Tu History Workshop 1 Prof. P Lecture 1 1 09-May W Rep Course / Proj 1 Intro 10-May Th History Lecture 1 Design Studio 2 / Lecture 1 11-May Fri BSI 4 Elements Exercise 12-May Sa 13-May Su 14-May M BSI acoustic isolation Design Dal Art Centre / Lecture 2

15-May Tu History Lecture 2 Prof. P Assign 1 due / Architorture 2 16-May W Rep 17-May Th History Seminar 1 / Workshop 2 Design Studio 3 / Lecture 3 18-May Fri BSI Acoustic Isolation Lab 19-May Sa 20-May Su 21-May M Victoria Day 22-May Tu History No Class Prof. P Assignment 2 due 3 23-May W Rep Proj 1 due / Proj 2 Intro Case Studies Pinup 24-May Th History Seminar 2 / Workshop 3 Design Case Studies Review 25-May Fri BSI Envelope Construction Lab. History Lecture 3 26-May Sa 27-May Su Design Intentions Pinup 28-May M BSI M&E patterns and examples Design Design Intentions Review 29-May Tu History Lecture 4 / Workshop 4 Prof. P Assignment 3 due 4 30-May W Rep 31-May Th History Seminar 3 / Workshop 4 Design Studio 4 / Lecture 4 01-Jun Fri BSI Mechanical Atlas History Research Dossier due 02-Jun Sa convocation Convocation tea 03-Jun Su 04-Jun M BSI Refining the Span Design Studio 5 / Lecture 5 05-Jun Tu History Lecture 5 Prof. P 5 06-Jun W Rep Proj 2 due / Diagrams Wrksp 07-Jun Th History Seminar 4 / workshop 5 Design Studio 5 / Lecture 6 08-Jun Fri BSI Individual Structures Review 09-Jun Sa 10-Jun Su Round Robin Pinup 11-Jun M BSI Formwork, Jigs, temporary structures Design Round Robin Review 12-Jun Tu SPAN History Lecture 6 6 13-Jun W PRODUCTION Rep Diagrams Review / Proj 3 14-Jun Th WEEK History Seminar 5 / Workshop 6 Design Studio 5 / Lecture 7 15-Jun Fri BSI Span Construction Lab History Outline due 16-Jun Sa 17-Jun Su

18-Jun M BSI Room Acoustics Design Studio 5 / Lecture 8 19-Jun Tu History Lecture 7 7 20-Jun W Rep 21-Jun Th History Seminar 6 / Workshop 7 Design Studio 8 22-Jun Fri BSI Acoustical Design Lab 23-Jun Sa


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B3 Course Integrated Schedule

24-Jun Su 25-Jun M BSI Structure as integrator Design Studio 9 26-Jun Tu History Lecture 8 8 27-Jun W Rep Proj 3 due / Proj 4 Intro 28-Jun Th History Seminar 7 / Workshop 8 Design Studio 10 29-Jun Fri BSI Configure Distribution 30-Jun Sa 01-Jul Su Canada Day 02-Jul M Lieu Day 03-Jul Tu History Lecture 9 / Research Paper due 9 04-Jul W Rep 05-Jul Th History Workshop 9 Design penultimate 06-Jul Fri BSI Configure Interface 07-Jul Sa 08-Jul Su 09-Jul M BSI Vocabulary Quiz Design Studio 11 10-Jul Tu History Lecture 10

10 11-Jul W Rep Proj 4 Pinup and review 12-Jul Th History Seminar 8 Design Studio 12 13-Jul Fri BSI Structures Test 14-Jul Sa 15-Jul Su Final Review Pinup 16-Jul M review review 17-Jul Tu review review

11 18-Jul W Grading session 19-Jul Th Portfolio submission + review 20-Jul Fri 21-Jul Sa 22-Jul Su 23-Jul M 24-Jul Tu

12 25-Jul W 26-Jul Th 27-Jul Fri FREE LABS 28-Jul Sa 29-Jul Su 30-Jul M 31-Jul Tu

13 01-Aug W 02-Aug Th 03-Aug Fri Free Labs Exhibition 04-Aug Sa 05-Aug Su 06-Aug M Natal Day

14 07-Aug Tu Grades Meeting


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Assignments 1. Process Portfolio 2. Case Studies 3. Community Building Project

Mas Architecture designed the youth-oriented community arts centre built into the earth and covered with a lush green roof in order to preserve breath-taking views in Saint-Egrève, France


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1. Process Portfolio Students are expected to maintain process portfolios throughout the term. These will record research, design process, and final design work. They will be submitted after the Round Robin and at the end of the term. See also the Process Portfolio guidelines on the School website. Intention Your process portfolio is produced gradually throughout the term. This encourages attention to method and quality in your daily work. In turn, this should lead to finished work that is thoughtful and developed. Content Work from all of your courses should be included in your process portfolio. During a project, you will gather and study references that are relevant to a developing design: site documents, program descriptions, design projects by others, material and technological options, theoretical writings, etc. Rather than just looking at them, it is more productive to analyse and interpret them, using your own words and drawings. For a typical project, six sets of items would be included: the project outline, your references (in images/photos), your observations on those references (in words and drawings), your developing work (in sketches, images, and photos with captions), your finished work, and a critical summary that reflects on your process and what you learned. Format The format for a process portfolio is 24" x 36", landscape orientation, single-sided, and bound into a book format. A process portfolio for a single term may comprise forty or fifty pages. To facilitate review by others, all of its contents should be paper-based, without models or USB drives. Materials Original drawings should be stored with care. Models are less liable to survive (and harder to store), so they should be photographed promptly. Digital files should be backed up daily to avoid loss. In a process portfolio, original drawings are preferable to prints. Originals larger than 24" x 36" can be scanned, reduced, and printed. If necessary, an oversize page (up to 68" wide or 46" high; not both) may be folded once and included. Digital images can be printed onto 24" x 36" paper. Thick 24" x 36" backing sheets can provide a surface for attaching smaller items, using an adhesive carefully. Pages from your sketchbook can be scanned or photocopied to avoid disassembling the sketchbook. The back cover should be stiff (e.g. a sheet of masonite); The front cover should be sturdy cardboard that enables the cover to open.


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Organization A process portfolio for a term should be organized by week, with secondary headings to indicate the course; e.g., Table of contents ...............................................1 Week 1................................................................2 Design....................................................2 History..................................................... Technology ............................................. Representation ....................................... Week 2................................................................ etc. In the portfolio, each project should have a heading to indicate the project title. Group work should list the members of the group. Reference images should cite the author, title, and publication. Any items without a citation are assumed to be by yourself. Binding Because each course develops during the term, the portfolio pages can be fastened together temporarily with removable binder clips, so that new pages can be added. At the end of the term you can number the pages, add a table of contents, and bind the portfolio more permanently (e.g., with nuts and bolts), so that the pages open fully and lie as flat as possible without tearing. Review Your process portfolio can be reviewed at different times: • during a term: to yourself, your colleagues in the studio, and your instructors • at the end of a term: as part of your design presentation • after the end of a term: to parents, siblings, and friends you want to impress • at the beginning of the next term: with your new instructors • at the year-end reviews in April: to the committee that considers promotion, graduation, and awards Practical Tips A good process portfolio shows attention to architectural craft in thought, form, and material.


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Content • present all of your work, including process work and final products • convert different modes of work into graphics on paper (drawings, prints, model photos, video stills) • photograph models carefully (well composed, well illuminated, suitable background)] • include several different views of a model; consider including photos of models during construction • include your own analytical diagrams or comments next to images of reference buildings/projects • indicate a numerical or graphic scale on each drawing; include a north arrow on a plan • draw people (not geometric shapes or robots) in sections and elevations to illustrate scale and use • include headings, labels, and captions outside the drawings to help others understand the project • add brief summary comments (what you learned, what you would do differently next time, etc.) Format • start with a 24" x 36" masonite back cover and about twenty 24" x 36" backing sheets • indicate your name, the term (B1, B2, or B3), and the date (e.g., Fall 2017) on the front cover • plan a basic template (margins, columns, headings, text blocks, page numbers) for all of the pages • scan and reduce oversize drawings to fit the 24" x 36" portfolio format • take care when mounting drawings (straight edges, horizontal/vertical alignment, placement of tape) • include a caption (author, title, date, publication source) below each image that is not your own • use decreasing font sizes for headings, subheadings, captions, labels (all legible from a metre away) • use light guidelines to lay out headings and captions and to control your lettering • use a straight edge to make long, straight lines • use light, close parallel lines for hatching; use tone, colour, and different line weights for emphasis Layout • compose each page to show your intentions, not just to make an arbitrary formal composition • present an important drawing or exploration on its own page • show design variations side by side; describe what's different and why you chose one over the others • place a plan below a section to imply volume in a hinged way • place upper plans above lower plans to imply volume in a layered way • place a site plan next to a ground floor plan to imply zooming in and out Extra tips • don't include many repetitive sketches or site photos (some editing is needed) • don't include rolled drawings; if possible, avoid large, folded drawings • don't use gridded paper for sketching (it can over-control and overwhelm a drawing) • don't use exuberant graphics or heavy markers that would distract from the work in the portfolio


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2. Case studies Analysis developed and presented according to these themes and objectives. Each studio group will have 3 international case studies. All studio groups will study and present the Dal Art Centre. Students will work in groups of 4. All work presented must be properly identified. Work is to be presented in 2 landscape 24 x 36 boards with drawings and diagrams. At least one plan (such as the Ground Floor Plan) and a Section must be at the scale of 1:200.

General Information authors - design team, clients (JA) dates - design and construction history of uses / adaptations? (JA) size (JA) location (JA)

Design / Representation landscape / urbanscape (CJ) site analysis - urban context / accesses - public and services - materiality / permeable and impermeable spaces - relation with adjacent public space. (CJ) edge / border conditions of site (CJ) threshold conditions between interior and exterior (CJ) program / organisation (PH) identification of programmatic families - public / private / services (PH) accesses, circulation - universal access - public / services, elevators and escalators, Egress. (PH) cross programmed spaces (PH) composition (EJ) visual and physical strategies - transparencies (physical can be included in the circulation patterns and programmatic organizations (EJ) perception - scale of site, building, body (JA) materiality / textures / tactile qualities TE) touch - door handle / handrail (TE) acoustic qualities (PH) lighting qualities (EJ)

Technology Environmental (TE) natural light technique (CJ) artificial light technique (EJ) acoustics technique (PH) structures (CJ) materials (CJ) walls / skin / façades / roofs systems / earth contact. (CJ) mechanical (TE) drainage (EJ) ventilation - natural - passive and mechanical (TE) systems integration strategies (EJ)

Critical Description of the work - what is the work about – architectural design intention (PH)


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3. Projects for the Community Centre will be approximately 1000m2 and will vary according to their

site and program emphasis. The presentation of the design for the final review should include: 1. A clear title and statement of intention for the community and the corresponding architecture.

A simple graphic representation of the concept and its translation. Key reference images. (LO1).

2. A clear diagram of program / fixed and flexible spatial organization / circulation for the building and

site to include: (note: this list will be interpreted and refined by each design group): - Great room for banquets, performances, community activities, etc. - Support: storage for seating & equipment, washrooms, mechanical room. - Kitchen and canteen, reception / administrative space, meeting rooms, foyer / outdoor room, and other spaces, depending on site and specific program. (LO2)

3. A study of 1:500 site relationships that might include: flexible use, related adjacencies + allied

programs, ground cover and trees, services, routes + paths, solar paths, climate. Possibly a neighbourhood plan and separate diagrams as necessary for clarity or emphasis. (LO3)

4. Drawings and model(s) of the building and outdoor urban spaces. 1:200 scale (LO3,4) 5. Main floor plan of the building. 1:100 scale (LO4) 6. Main section of the building. 1:50 scale (LO4) 7. Main elevation of the building. 1:100 scale (LO4) 8. Perspective study of a critical interior space (the great room) and of the building in its site context

clearly showing community character and use (integrated with Representation - Sequence drawings and Hybrid drawing). (LO1-4)

9. Structural spanning element & wall section model. 1:20 scale (integrated with BSI). (LO4) 10. Acoustic + Lighting analysis as it relates to the design (integrated with BSI). (LO4)


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Alvar Aalto, Saynatsalo Town Council Chamber: Timber Roof Trusses References Architecture and Community

Jacobs, Jane. The Death and Life of Great American Cities. New York: Random House, 1961.

Gehl, Jan. Life Between Buildings: Using Public Space. Copenhagen: Island Press, 2011.

Pérez-Gómez, Alberto. Attunement: Architectural Meaning after the Crisis of Modern Science. Cambridge: MIT Press, 2016.

Architectural Program

Garcia, Mark. ed. The Diagrams of Architecture. New York: Wiley, 2010.

Lawrence, Amanda Reeser, Ana Miljacki, and Ashley Schafer. “2 Architects 10 Questions on Program, Rem Koolhaas + Bernard Tschumi.” Praxis 8 (2006): 6-15.

Tschumi, Bernard. The Manhattan Transcripts. New York: Wiley, 1994.


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Site and Context

Parry, Eric. Context: Architecture and the Genius of Place. New York: Wiley, 2015.

DeKay, Mark, and G. Z. Brown. Sun, Wind, and Light: Architectural Design Strategies. New York: Wiley, 2014.

Architecture and Structure

Ferrater, Borja. Ideographic Resources: Synchronizing Geometry. Barcelona: Actar, 2006.

Sandaker, Bjørn Normann, and Arne Petter Eggen. The Structural Basis of Architecture. New York: Whitney Library of Design, 2011.

Architectural Translation and Aesthetics

Ching, Francis. Architecture: Form, Space, and Order; 4th ed. Hoboken NJ: Wiley, 2015.

Forty, Adrian. Words and Buildings. New York: Thames and Hudson, 2000.

Social Work Degree Center. http://www.socialworkdegreecenter.com/30-beautiful-modern-community-centers-world/

Alvar Aalto, Saynatsalo Town Hall, 1951

B3 MAKE AN IMPACT

MUSIC CITY

B3 Design

Summer Semester 2018Tutor: Jane Abbott, Abbott Brown [email protected]

livemusicexchange

A MUSIC CITY recognizes the importance of music in city life and the possibility of a unique city district for the performance of music. This designation allows musicians to perform at well designed venues without threat of noise complaints or future gentrification. Music can be a community builder and connect peoples of different backgrounds and age through a shared experience. Our studio focuses on the design of a community hall for music, using the historic ‘Commons’ as its starting point.

Our site is the triangular parcel of land on the Halifax Commons bound by Bell Road to the south, Cogswell Street to the north and a pedestrian/bicycle path connecting these two streets to the east. The existing ‘Pavilion’ building is currently an under-utilized venue for youth and music performances. However there is a strong civic group advocating for its renewal and to establish this as a COMMUNITY hub for a MUSIC CITY. The current building is windowless, not universally accessible and in sad disrepair. It is surrounded by a playground, a small pool, a wading pool and a skateboard park. The skateboard park, which is relatively new, would remain as is. Integration of water elements/play would be a possibility for the new design of this pub-lic space.

Site Studies: entire studio group to collaborateWe can learn so much by really studying a site and rooting a design in the specifics it offers. Site studies are to be shared within the group as a whole.

* Site plans and sections to a consistent scale which illustrate the site’s relationship to the city drawn at the scale of the site and the scale of the city block. Heights of existing buildings to be documented in drawing form. 3D virtual models of the site are welcomed to explore light.* Historic mapping studies of the site and its uses. Who lived here, what were its uses, what other buildings or natural features were present on the site previously?* Noilly Mapping of city context to understand void spaces, public spaces, park spaces, and the city’s fabric* Circulation Studies: vehicular, pedestrian, bicycle* Sun, Wind, Rain studies, Noise studies* Material studies and sketches of the surrounding neighbourhood: what types of structural materials? clad-ding materials?* Site model: the studio group to build a model for group use. Scale and material TBD.

SITE

Bell Road

Cogswell s

treet

pedestrian and bicycle path

existing Pavilion

Programme Spaces

Great Room and Stage for Performances: +/- 200 m2 (double height, may have mezzanine spaces)Foyer/Living Room- this is a lobby for receptions, community gallery, tickets, coat room: +/- 100 m2

Cafe w/ kitchen for cafe: 30 m2

Public Washrooms: 60 m2

Back of Stage Dressing rooms for Performers: 100 m2

Administration: 20 m2

Service SpacesPiano and Instrument Storage: 60 m2

Mechanical / Electrical rooms: 30 m2

Stage lighting room: 10 m2

Circulation: 250 m2

Total Building Area: +/-800-900 m2

Exterior Performance area(s): +120 m2

A Pavilion for MusicThe music industry in Nova Scotia is comprised of song writers, musicians, agents, promoters, and distribu-tors. This studio aims to design a new venue for musicians and youth. This type of community centre will both support a growing musical industry and offer a hub for local and visiting youth groups interested in experi-menting and performing with music. It will provide a place to perform and record new music on a provincial level as well as support local community musical initiatives. The ‘Great Room’ will provide a new public space for these musical performances. The design of this room will form the basis for the large span struc-tural exercise. The site’s location offers the potential to be a central event space for a MUSIC CITY dis-trict. It is anticipated that new outdoor spaces and landscaping, and their connection with the new archi-tecture, will be critical to supporting public gathering and events.

PROGRAMME

Case Studies: divide into 4 evenly populated groups: • 3 groups will study 3 studio specific case studies 1.Festival Hall Neckarallee, Ackermann + Raff 2.Concert Hall Blaibach, Peter Haimerl Architktur 3.Music Plaza, by EFFECT • 1 group will study particular aspects of the local case study: the Dal Arts Centre. This case study is

shared by the every studio group

Studying previous projects provides an opportunity to get a sense of scale, structural strategies, light strategies and organizational principles, attitude to landscape and outdoor performance venues.

Starting point for exploration* schematic plan and main cross section drawn to scale * analysis of programme adjacencies to understand the ‘parti’* building mapped onto Commons site to a scale* analysis the particular unique strategies in these buildings: * landscape / urbanscape/ public space * scales of site, building, body * programme organisation public / private / services /accesses circulation/ universal access * materials - walls / skin / façades / roofs systems / door handle / handrail * structures * systems integration and strategies/ natural light/ artificial light/ acoustics

Festival Hall Neckarallee Blaibach Concert Hall Music Plaza

Programme NarrativesProgramme can be seen as a series of linked “events” that support multiple plot lines. Thinking of the programme spac-es as a narrative where a story unfolds can help organize spaces in new ways. What is the sequence of events in your building? What is the relationship between private and public spaces?What is the relationship between inside and outside spaces ?How does the concept/definition of the ‘Pavilion’ (free standing building) inform the design?

Programme Connections: we will try to meet with James Boyle from Halifax POP Explosion, Patty Cuttell from the North End Business Association TBD

Structural NarrativesPerformance spaces for an audience with a stage will have a variety of possible structural strategies that support the overall design. There are potential parallels between music, music composition, its structure, and rhythm and the struc-tural and material strategies of this new architecture.

Large scale: how is the ‘structural bay’ of the Great Room articulated?How does it meet the ground?How does it meet the sky?What is the primary structural material?Material Scale: what are the material strategies for the Great Room? How do they support the proposed acoustic principles of the space?How do they support the experiential qualities of the space?

Process Draw, draw, draw! Build sketch models to illustrate and test your ideas! Document your work for your portfolio!Pay attention to the craft of all work! The process can be the product if it is carefully made!

Ludwig Mies van der Rohe. Georg Schaefer Museum Project, Schweinhurt, Germany John Cage, Fontana Mix SCHEDULE

WEEK 1: MAY 7: intro ductions, Group work discussion, MAY 10th: Portfolio Review site visit

WEEK 2 MAY 14: Lecture, Case Studies discussion MAY 17: Lecture, Case Studies discussion in groups

WEEK 3 MAY 21: Holiday MAY 24: Case Studies Presentation WEEK 4 MAY 28: first mark/parti on site, group model MAY 31: Lecture, Individual Desk Crits Group Pin up: parti drawings possible client/neighbourhood site visit models to scale of concept

WEEK 5 June 4: Lecture, Group Desk Crits June 7: Lecture, Desk Crits Individual WEEK 6 June 11:ROUND ROBIN MIDTERM REVIEWS June 14:Lecture, Midterm discussion

WEEK 7 June 18:Lecture, Individual Desk Crits June 21: Individual Desk Crits

WEEK 8 June 25: Individual Desk Crits June 28: Group Crits

WEEK 9 July 2:Holiday July 5:PENULTIMATE DESIGN PINUP

WEEK 10 July 9: Group Crits July 12: Individual Desk Crits

WEEK 11 JULY 16-17 B3 Design Reviews

SCHEDULE

ST. GEORGE’S

BACKGROUNDSt. George’s Tennis Club is a community recreation facility uniquely situated in the residential urban fabric of Dartmouth, Nova Scotia. The club has been a local institution since 1885, and consists of five clay tennis courts and a clubhouse containing some minor amenities. St. George’s operates as a non-profit community organization seasonally from May to October.

CONTEXTThe character of the St.George’s site is unique in its hidden quality, its natural surroundings, and the threshold conditions that exist at its borders. These qualities will be important considerations in developing an

architectural proposal. Recent trends within the municipality see smaller neighbourhood oriented community centres and clubs being supplanted by larger, more centralized recreation facilities. The typology of small urban recreational facility is under increasing pressure to adapt, and opportunites for progressive, creative inhabitation should be thoroughly explored.

PUBLIC/PRIVATE DIALOGUESt. George’s presents a provocative case study for the consideration of public and private space and what specifically constitutes a community building. It exists categorically as a private club, and yet it is undeniably a ‘community’ building. Both site and program influence this categorization,

Dalhousie School of Architecture ARCH 4003.03

B3 DESIGN STUDIOInstructor:Thomas Evans

Summer 2018

St.George’s clay courts

Aerial view of St.George’s Tennis Club and existing site boundary

St.George’s Lane

TENNIS CENTRE


and the resolution of these aspects will be critical to a successful design approach. Hybrid building typologies may be useful case studies to undertake as a means of developing site and programmatic strategies. INTERVENTIONThe studio presents an opportunity to re-envision this community building

and its site with modern infrastructure and amenities that will see the club through the next one hundred years. Part of this challenge will be to offer creative propositions to widening the club’s recreational uses and appeal, particularly through the winter months. Students are encouraged to question the viability of the existing social and economic model of the club, and offer

architectural solutions. Questions of accessibility and incusivity should be considered in developing an operating framework for the faciity. Of particular importance will be the exploration and resolution of the edge conditions of the site and how they meet the adjacent streetcape and residential boundaries.

Cannes Tennis Club / Comte & Vollenweider Architectes

The Couch / MVRDV

PROGRAMMEAs a tennis oriented facility, the central focus of the building should be to serve this specific recreational activity and the activities that support it. In addition to this requirement, an effort should be made to explore new programmatic elements that can co-exist with or offer symbiotic relationships to tennis. Proposals for the new St. George’s Tennis Centre should consider the inclusion of the following spaces.Community Room +/- 300m2Canteen +/- 60m2Pro Shop +/- 50m2Change Rooms +/- 100m2Spectator Seating +/- 300m25 Covered Tennis Courts +/- 2000m2Cafe +/- 100m2Washrooms +/- 100m2Service Spaces Equipment Storage: +/- 100m2Mechanical/Electrical rooms+/- 100m2Circulation, elevator, stairs: +/- 100m2

PROCESSThe compact nature of the site calls for a meticulous site analysis and efficient spatial proposals. The studio will begin with an examination and analysis of the surrounding neighbourhood with par-ticular emphasis on streetscape eleva-tion studies. Initial investigations into site should undertake a broad survey of neighbourhood recreational oppor-tunities as well as precedents for ar-chitectural proposition in the area. This process will be followed by typological precedent studies of tennis and other similar relevant recreational facilities.


Paris Poliveau, B+C Architectes

Gammel Hellerup High School/ Bjarke Ingels Group

Ku.Be House of Culture and Movement/ MVRDV AND Adept Architects

UNIVERSAL DESIGNThe discipline of architecture is over-seen by various authorities having jurisdiction, all of which should be considered as design proposals are developed. At a minimum, students are expected to integrate the following public safety aspects into their respec-tive studio projects:

Minimal plausible standards for safe human occupancy are expected:

1. Universal design ideas are required

2.Public corridors require 2 exits, with no dead-end corridor > 6 meters (NBC9.9.7.3),

3. Where front-to-front dimension of fixed seating is < 1.2m, patrons must not pass more than 7 seats to reach an aisle (NBC 3.3.2.4, also there are-exceptions),

4. Exit stairs must have rise/run dimen-sion of 125~180 mm/<280mm, (NBC3.4.6.8.1/2), and ramps must have a slope of less than 1:12 (NBC 3.8.3.4)

5. Rooms >150 m2 must have 2 exits well separated, with the exits leading to a public corridor or to outside, and one of which may lead to/through a lobby space (NBC 3.4.2.1).

CASE STUDIESGroups will be assigned for case studies of the following buildings. Students are encouraged to research and reference further case study material to inform and support their design projects.

The Couch / MVRDV

Tennis Club à Strasbourg / Paul Le Quernec Architectes

Youth Recreation & Culture Center / CEBRA + Dorte Mandrup

box

B3/2018 Peter Henry

PUBLICStudio Theatre

1 300 sm seats about 200 people, with 3 stated configurations

Lobby/Bar 1 150 sm receptions, bar sales, etc., must operate “stand-alone”

Public WC 2 sm 6 12 sm (NBC 3.7.2.2.6)

Accessible WC 1 3 sm

Community Room 60 sm 2 120 sm 20 person meetings + minor rehearsals + overflow dressing

plus occasional use as catering kitchen (servery)

STAFF and SYSTEMS

Staff Offices 7 sm 2 14 sm director and assistant director

Dressing Rm w/WC 10 sm 2 20 sm with included WC + shower

Green Room w/WC 12 sm 1 12 sm including accessible WC

Staff WC

1 2 sm private ungendered

Tech Room 1 20 sm lighting instrument storage, tools, minor fab

Storage/Receiving 1 12 sm to accommodate touring boxes and casual deliveries

Mechanical Room 1 20 sm environmental management systems

Chair Storage 1 12 sm loose chairs on chair wagons

Circulation 15%-20% circulation (elevator, corridors, and stairhalls)

Wall thickness 5%-8%

EXTERIOR

performance/display space/gathering space,

occasional (but important) truck delivery required.

TOTAL (about) 950 sm (incl circulation)

Treat this as a provisional programme, awaiting improvement.

Minimal plausible standards for safe occupancy are expected:

.1 Public corridors require 2 exits,

with no dead-end corridor > 6 meters (NBC 9.9.7.3),

.2 Where front/front of fixed seating is < 1.2m,

patrons must not pass more than 7 seats

to reach an aisle (NBC 3.3.2.4)

.3 Exit stairs must have rise of 125~180 mm

run of <280mm, (NBC 3.4.6.8.1/2),

.4 Ramps must have a slope flatter than 1:12 (NBC 3.8.3.4),

.5 Rooms >150 m2 must have 2 exits well separated,

with the exits leading to a public corridor or

to outside, and one of which

may lead to/through a lobby space

.5 Universal design ideas are expected.

B3 ARCH 4003.03 Summer 2018

All students will have access to

all Site Analysis & Programme

Development information to use for

final presentations.

.1 Site Study (6 students): Using

the plan supplied, measure, verify,

record, update, and augment

info from that plan. Draw and

photograph crucial alignments, solar

angles, and local palette of materials.

Adjacencies & juxtapositions are

to be noted and recorded. Building

heights are to be measured, or

calculated, or estimated.

DELIVER: Annotated site plan (.dwg

or .vwx and .pdf); photo-collaged

rectified elevation studies in scale as

.pdf; indigenous material palettes;

and a physical 3D model at 1:100

scale showing the site, adjacent

streets and buildings.

.4 Programme Analysis

(2 students): Study the programme

and prepare a critical commentary,

including “plausible” floor plans

and/or a 3d representation of

each space. The intent is not to be

prescriptive, but rather evocative.

The commentary must address the

issue of programme suit/fit on the

site.

DELIVER: Plausible floor plans at

1:100 as .pdf and commentary on all

spaces.

IN SUBSEQUENT

WEEKS, students are

expected to develop and

refine a building design

for the programme

above.

.2 Conjectural Studies

(2 students): Without being precise

to the programme, develop 6 partis

(schematic or massing approaches to

site development). Develop various

“what if” scenarios, rather than one

“perfect” scenario.

DELIVER: Illustrated slide show

contrasting and comparing

the approaches, with a view to

illuminating the various strengths

and weaknesses to each approach.

.3 Background Research

(2 students): Develop & explore

various aspects of “Black

Box”, “Public”, “Accessible”,

“Environmentally Benign”, and

“Universal Design”.

DELIVER: Written reports on all six

aspects of the design, concentrating

on suggestions regarding design

direction.

box

B3/2

018

Pete

r Hen

ry

Three case studies (4 students each) have been selected.

At St. Benedict’s Chapel, Zumthor purposefully focuses attention

on the speaker (or in the absence of a speaker, the speaker’s place)

with the shape of the building and the (almost) perverse lack of

fenestration. At Teatro Olimpico, Palladio and Scamozzi explore the

complex relationship between performer and audience with ideas

of perspective and trompe l’oeil while paradoxically ignoring most

audience views. In Cartaxo, CVDB establish a conventional end

stage relationship between audience and performer while convivially

developing the building’s public realm (lobby, stairs, gallery)

extending to an embrace of the street and sidewalk.

All students will also participate in the group study and presentation

of the Dalhousie Arts Centre.

House of Assembly

Arch 4003.03 B3 Design 2018Studio Outline – Chad [email protected]

Narrati veAt no ti me in the past generati on have the acts of public assembly and protest been more eff ecti ve tools for politi cal and cultural discourse than they are today. This studio will focus on the design of an assembly space for free speech. While the hypotheti cal building would be owned by the people via our local elected government, and operate in a non-parti san fashion, the speech of the assembled citi zenry may, in fact, be wholly parti san.

At its base, the space should accommodate a speaker and an audience, and should be designed with the needs of oratory in mind. Some uses of the assembly space may be for:

Public gatherings for community support and advocacy groups ·Politi cal gatherings, all levels of government ·Gatherings for the goal of cultural reconciliati on ·Public engagement sessions ·Townhall forums ·An electi on polling stati on ·

ProgrammePrimary Assembly Hall: +/- 200 m · 2 (double height, may have mezzanine spaces)Secondary Assembly Hall: +/- 100 m · 2 (may open up to primary hall)Entrance Hall: +/- 100 m · 2 (may be used for smaller gatherings)Breakout Engagement Rooms: Three rooms of 15m · 2-20m2 eachAdministrati on/Informati on: 20m · 2

Public Washrooms: 60 m · 2

Refreshment Preparati on Space: 40m · 2

Mechanical / Electrical rooms: 40 m · 2

Storage: 40m · 2

Circulati on: 15%-20% of overall area ·Total Building Area: +/-800m · 2

Exterior Assembly Area: +/-200 m · 2

The building is expected to be designed with principles of universal access in mind. In additi on, the following Nati onal Building Code requirements should be considered:

Public corridors require 2 exits, with no dead-end corridor > 6 meters ·(NBC 3.3.1.9/7) Where front-to-front dimension of fi xed seati ng is < 1.2m, patrons must not pass ·more than 7 seats to reach an aisle (NBC 3.3.2.4)Exit stairs must have rise/run dimension of 125~180 mm/<280mm ·(NBC3.4.6.8.1/2) and ramps must have a slope of less than (fl att er than) 1:12 (NBC 3.8.3.5)Rooms >150 m · 2 must have 2 exits well separated, with the exits leading to a public corridor or to outside, and one of which may lead to/through a lobby space (NBC 3.4.2.1).

Five Assembly Typologies: Classroom, Horseshoe, Opposing, Semi-Circle, Circle Source: ‘Parliament,’ XML

Case Study The noti on of democrati c assembly has infl uenced architectural spati al form and typology for centuries, and universal principles can be identi fi ed and serve as reference points for your project. While this studio does not focus on the design of a building specifi c to religious observance, governmental functi on, or exhibiti on of the arts, much can be learned from the study of these assembly building types.

The course syllabus describes the Case Study exercise and deliverables that will encompass the fi rst three weeks of our term. In additi on to the Dalhousie Arts Centre which will be studied as a class, the following 3 Case Study Buildings will be analyzed in groups by this studio:

Yale Centre for Briti sh Art, Louis Kahn 1963 ·Säynätsalo Town Hall, Alvar Aalto 1951 ·Friends House, John McAslan + Partners 2014 ·

The three buildings were chosen to represent some of archetypal themes that should be explored in your fi nal design projects - assembly & oratory, progression & threshold, site stewardship, and structural integrati on.

Other projects that students may fi nd useful to reference for this studio are:

Sharon Temple, Ebenezer Doan 1832 ·Newbern Town Hall, The Rural Studio, Richard Hudgens Architect of Record 2011 ·Quaker Meeti ng House and Arts Center, Kieren Timberlake 2011 ·Kgotla · Chiefs House in Gaborone, Botswana

Friends Meeti ng House assembly hall

Roof expression at Säynätsalo Town Hall

Library forecourt at the Yale Center for Briti sh Art

SiteThe proposed site for the building is the dis-used +/- 1080m2 autobody lot adjacent the Halifax Common at the north east corner of Cornwallis & North Park. The site has direct sun light exposure on its south and west boundaries and is located on a primary walking, biking, and vehicle route to the downtown core. There is a small existi ng autobody repair building on the site which students should consider demolished for the purposes of this studio.

Analysis of the site will be expected early in your design process. The group will collec-ti vely be expected to review and study the site context through the multi ple lenses of:

Urban fabric and neighborhood typology ·Historic signifi cance and relati onship to adjacent urban landmarks ·Accessibility ·Environmental factors such as sun, wind, climate, acousti cs ·Material culture of the immediate neighborhood and greater region. ·Site topography ·

Tools for this analysis will include scale models and drawings such as site plan, site sec-ti on, street elevati on, and diagrammati c sketches. It is intended that these studies will encompass one 24”x36” sheet of your process portf olio.

Site Plan courtesy of Eric Stott s Architect

S T U D I O C R C U S Aaron Fotheringham , 2016

Circus Program A performance space with appropriate support spaces, embedded in the city. Circus performance is not bound to the floor but explores every dimension of experience. Circus alleviates the burden of taste.

Circus Site The triangular block just north of the Citadel, currently hosting the Centennial Pool and the Red Cross, demands and rewards spatial imagination. Circus is fantastic. The site sits on North-‐South and East-‐West boundaries that can energize an institution or leave it stranded – depending on the architecture. The high wire is deadly serious.

Circus Learning: Mastery Through Exercise Circus artists devote countless focused hours to honing core abilities. Not through rehearsals of performance, but through carefully designed exercises repeated under experienced guidance. Be-‐cause rehearsing performances for which one doesn’t have the skills is not an effective means of building the skills. As well as working toward a final project, therefore, this studio will spend time on developing explicit and widely applicable design fluencies. Circus takes risks.

Circus Development The viability of a building depends on many factors, and we can’t look at all of them in every term. B3 looks at the social configuration of spaces, with some attention to technical matters. We don’t ever go into much depth on the ecological side: energy balance, at least, is addressed to some ex-‐tent in B5. Another aspect we pay scant attention to, in the time available in our program, is fi-‐nancial viability. So Studio Circus will invite at least one local developer to discuss with us some of the many ways the building of a city can be paid for. Circus is a business.

Circus Communities B3 addresses community in the singular and the particular. But circus is many things: a category of Art endorsed by the Canada Council and nurtured through black-‐tie fundraisers; an industry subsi-‐dized by departments of economic development and sanctified by commerce; a vehicle for social outreach – and each of these worlds has its patrons, its experts, its stars, its acolytes, its teachers, its impresarios. Circus is universal – in part because circus transgresses all formality. We run away with the circus.

Emanuel Jannasch B3 Design Summer 2018 14 April 2018

Design Exercises We deal with one building type per term, but there are many more types than half a dozen. So

we need to build a set of general design skills: techniques that will allow us to tackle new build-‐ing types with confidence. In the earlier part of the term, about half our studio time will be de-‐voted to this long-‐range learning.

IMPLIED SPACE We’ll develop a dozen different ways of creating space besides floor+wall+ceiling. We’ll start

with the Arts Centre, but also borrow ideas from nature, from the microscope, from fiction, from civil infrastructure, from humble building, from our dreams. Each of us will contribute one definition of space to a handbook.

FIGURE/GROUND Twelve projects, rotated between us through six levels of resolution. The pace encourages deci-‐

siveness; the rotation lends objectivity. Ordered handling of poché extends the servant/served or context/figure relationship deep into a scheme. It reduces dependence on the ordering grid, which is good, because on a triangular site, “a” grid or “the” grid will run into problems.

CIRCULATION The group will define as many forms of circulation as we can think of: corridor, lobby, covered

bridge, arcade, stair-‐hall, portal, ramp… and turn each of them into a building block. The set will be available for any group member to work with.

Piazza Navona, Rome, built on foundations of Domitian’s Circus (85 BCE)

COMPOSITION The whole can be more than the sum of its parts, sometimes by a small margin, and sometimes

to an astounding extent. Using a simple arithmetic of design, students will compete to generate the most value from limited resources.

MATERIALS This pair of exercises was developed to help set designers create dramatic context. It can easily

be transferred to architecture. The first challenge is to create the richest possible space using only beige drywall and standard openings. The second is to take the simplest possible room and to give it character through material selection and detailed design.

Group Site Study The group will distribute specific site studies among individuals and small teams.

SETTING BOUNDARIES The extent of the site is negotiable, so the group may build more than one context model LOCAL MASSING; THICK TERRAIN We will experiment with different ways of modeling “hard” and “soft” terrain. Underground in-‐

frastructure will be considered along with geology. PLAN AND SECTION

Two-‐dimensional studies will emphasize the separation of thematic layers chosen by the group.

CW from left: Emera Oval, Armories, Maitland St., Cogswell Interchange, Scotiabank Centre, Ft. George, Citadel High

Group Program Study Today’s circus is situated both in a long history and in a broad family of allied and parallel arts, which the studio will encapsulate in a comprehensive diagram. We’ll look at these pursuits chronologically, globally, and also locally.

GLOBAL and HISTORICAL DIMENSIONS Global context: Minoan acrobatics, Iberian bullfighting, American carnival circus, western rodeo,

South Seas tower diving, Soviet Circus … PROGRAM NEARBY – FORMAL AND INFORMAL

We will take a quick survey of Halifax’s circus arts schools, its skateboarding, BMX, and parkour worlds, its gymnastics programs, bouldering opportunities…

FACILITY From these local and global studies we will set out three different proposals for a circus complex that might be viable in Halifax: comprising a Hall, a support program, and related developments. We will compare our programs with three local circus arts facilities, and we’ll revisit, refine and enrich our ideas through conversations with local circus experts.

URBAN DEVLOPMENT The viability of a building depends on many factors, and we can’t look at all of them in every term. B3 looks at the social configuration of spaces, with some attention to technical matters. We don’t ever go into much depth on the ecological side: energy balance, at least, is addressed to some extent in B5. Another aspect we pay scant attention to, in the time available in our pro-‐gram, is financial viability. So Studio Circus will invite at least one local developer to discuss with us some of the many ways the building of a city can be paid for.

Group Case study Today’s circus is situated both in a long history and in a broad family of allied and parallel arts, which the studio will encapsulate in a comprehensive diagram. We’ll look at these pursuits chronologically, globally, and also locally.

1. National Circus School, Montreal. Scéno Plus.

Quite big, but the clarity of organization and the economy of means are worth studying.

2. Chisinau State Circus, Moldova

We don’t often study a building beyond the boundary of our own tastes, but circus was so im-‐portant in the Soviet Union, that we will have to look at this building -‐ among its cousins.

3. Centre Nationale des Arts de Cirque, Châlons-‐en-‐Champagne. Matthieu Poitevin Architecture and NP2F Architectes

To round things out, this is an adaptive re-‐use -‐ like the majority of circus spaces. Again, on the large end, but the clean articulation and the straightforward organization make it a doable case study.

Process and Deliverables With a blotch of material here, and there, and in the gaps between them, we generate architec-‐ture. The simplest patterns of matter and space can work in many ways, and on many levels. By now you’ll have a pretty good idea how and at what scale to describe the patterns of solid and voids: in plan, section, elevation, and model. Nonetheless we’ll continue to refine those tech-‐niques. In this studio, students will also describe how the building works: in many ways, and on many levels. This will be done with a set of analytical representations, economical to make and quick to read, that isolate each of the most important ways in which the building works.

The Concrete Circus -‐ Michael Vlasopoulos - 2010 URBAN Daytime massing from key viewpoints

Sequence from streets to public entrance Nighttime image from key viewpoints Informal uses Backstage and other doors Associated streetscape SCHEME

Main room and associated program Accessible public circulation Accessible Egress Structural Idea Building services pattern

Stomp -‐ NYC -‐ 2007

ROOM Spatial Definition Performance Volume Audience placement and sightlines Daylight, working light, performance light Sound

Circus Lighting, Panyu Laser Effects. Guangzhou – 2017

MATERIAL REALITY

Construction idea Envelope ideas Critical details arising from construction idea Performance interacting with building fabric Audience experience of material architecture Informal action on building material Light as de-‐material

Circus Rigging -‐ Various

DALHOUSIE UNIVERSITY SCHOOL OF ARCHITECTURE Summer … · 2020-06-11 · DALHOUSIE UNIVERSITY...

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