Dalhousie University · Week 7 Oct2428 Week 8 Oct31Nov4 Week 9 Nov711 Week 10 Nov1418 Week 11...
Transcript of Dalhousie University · Week 7 Oct2428 Week 8 Oct31Nov4 Week 9 Nov711 Week 10 Nov1418 Week 11...
B1 Design
Arch 3001.06
Fall 2016
Dalhousie University
School of Architecture
Christine Macy (Coordinator)
Peter Braithwaite
Alec Brown
Talbot Sweetapple
Lisa Tondino
Cristina Verissimo
R O O M P A V I L I O N
Allegorical engraving of the Vitruvian primitive hut, Charles Eisen.
From Marc-Antoine Laugier, Essai sur l’architecture, 1755.
advanced through an integrated suite of courses: design studio, building technology, and architectural representation. In the design
studio, you will learn architectural design skills and put them to practice. In the building technology course, you will learn to make
your designs work with gravity, wind, sunlight and rainwater. In the representation course, you will learn to visualize and communicate
your design ideas. Architectural history and case studies in design studio will help you to learn from 2,500 years of accumulated
knowledge about human settlement, while professional practice will introduce you to an architecture career today.
Sketchbook and process portfolio
All architects develop and communicate their ideas through drawing. Whether you already enjoy drawing or you are new to visual
thinking, two very important tools for your development as a designer are the sketchbook and the portfolio.
The sketchbook
Make it your permanent companion. Write down and draw what you see in lectures. Use it to record your thoughts and observations
put down your design ideas, or make notes on what you want to work on tomorrow.
The portfolio is also a record of your work, but one that requires some thought about what you put in it, in relation to the design ideas
your designs. These might be photographs, site maps, projects by other architects, poetry, written or photographic descriptions that
evoke a sense of place or an effect you would like your design to achieve. As you work on your design, you will make many sketches
and architectural drawings of your project as it evolves. These might include impressions of a building from a distance, how it meets
the ground or landscape, the play of light on surfaces, or how one material meets another. You might study the structural system that
You may also paste pages from your sketchbook directly into the process portfolio!
range of work on a single page, helping you to make connections and linkages between different drawings and images, to edit them,
and show how architectural ideas evolve. When you meet with your tutor each week, use the process portfolios to show the tutor
what you have been working on. The process portfolio will be reviewed at midterm and the end of term and its contents and format
B1
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Lab: Bas relief model
Lab: sectional model
Lab: layered plan drawing
Lab: layered model
Lab: models & drawings
Lab: structural performance model
Lab: layered drawing
Lab: structural performance model
Lab: tonal drawing
Lab: window & adjacencies 1
Lab: window & adjacencies 2
Lab: window & adjacencies 3
Intro to B1 TechShadow
Shade, illuminence, daylight
Materials, wall construction
Thickness, roof/ceiling construction
Structural behaviours
Super- and sub-structure
Structural resistance
Structure in light
Envelope, cladding tactics
Detail design
Appearance in light
Intro to B1 Rep Freehand and measured
drawing
Orthographic drawing
Tone
Tonal section workshop
Model
Model workshop
Class moved to Wed aft
Class moved to Wed aft
Base drawings
Base drawingsPin-upEx Rm
DTR WorkshopEx Rm
Presentation mock-upsPin-upEx Rm
City walk for glossary
Seminar
Seminar
Seminar
Design Statement workshop
Archaeo-astronomy
(guest lec PK)
Seminar
Seminar
Seminar
Seminar
—
—
Skills tutorial 1: Drafting11:30-12:30 in H19Studio
2: Room in City DesignElements of archi’l form (TS)
Design in context (CV)Studio
Studio
3: Pavilion Case StudyPlan section elevation (LT)
Portfolio review with new tutor
Studio
Studio
Studio
DTR Workshop Ex Rm
Studio
1: Room in City StudyPurpose of architecture (CM)
Studio
Studio
Studio
Studio
4: Pavilion Counterpoint From parti to project (AB/PB)
Experiencing Architecture (CM)Studio
Studio
Studio
The Architect
Case Studies I
The Making of Architecture
Case Studies II
Tutorial on Manifesto
—
Manifesto Pin-upEx Rm
IntroductionAsst 1 Illustrated
glossary
Prehistory: Sacred caves & nomads
First Cities: Mesopotamia &
Egypt
Trail of Alexander: Persia & Greek
city-states
Presentation Illustrated Glossary
Seminar on Design Case Studies
Quiz
Three Empires: Rome, China,
Mexico
Byzantium & Islam
Spread of Buddhism
Mandalas, Minarets &
Monasteries
Quiz
Photography (KK)9-12:30
Photo workshop (KK)9-12:30
Skills tutorial 2: Shop | Modeling | Digital
9-10 | 10:15-11:15 | 11:30-12:30
Skills tutorial 3: Shop | Modeling | Digital
9-10 | 10:15-11:15 | 11:30-12:30
Skills tutorial 4: Shop | Modeling | Digital
9-10 | 10:15-11:15 | 11:30-12:30
Week 1Sept 12-16
Week 2Sept 19-23
Week 3Sept 26-30
Week 4Oct 3-7
Week 5Oct 10-14
Week 6Oct 17-21
Week 7Oct 24-28
Week 8Oct 31-Nov 4
Week 9Nov 7-11
Week 10Nov 14-18
Week 11Nov 21-25
Week 12Nov 28-Dec 2
Week 13Dec 5-9
Week 14Dec 12-16
monday fridaythursdaywednesdaytuesday
tech rephistdesign tech hist tutorialdesign
Project 4 Design Review Mon Dec 12 and Tues Dec 13 @ 9am | Pin-up Sunday Dec 11 @ 5pm
practice
Thanksgiving Day(no class)
B1 / M5 charette
Fall Study Break (no classes)
room
in the city
case study
pavilion
pavilion counterpoint
2 Round Robin ReviewPin-up Sun Oct 16 @ 7pm
Project 3 PresentationPin-up Wed Nov 2 @ 7pm
Hand-in Process Portfolio
Project 1 ExhibitionPin-up Wed Sep 21 @ 7pm
room in city
design
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This studio course introduces principles of architectural form and design. It focuses on elementary forms — the room and the pavilion
you to fundamental architectural principles and essential design skills. Principles addressed include the social and symbolic
a thematic dialectic of the city and the shelter – that is, of situation and enclosure. The course also develops design skills such as
and visualization in drawing and modeling. Because architectural design draws on the history of architecture, is developed through
visualization and realized through building construction, this design studio is integrated with your history, representation and building
technology courses.
Course structure and weekly meeting timesThe course meets two afternoons a week, for lectures, studio and reviews. Students should plan to spend up to 18 hours per week
in studio on their design work.
Learning objectives To develop competence and skill in actively observing architecture. Active observing, through sketching, is the foundation of
architectural skill and knowledge, and it is developed through practice.
To develop competence and skill in analyzing works of architecture. Architecture’s long history is always with us — as a resource
and a teacher. We study works of architecture to learn from this history and contribute to it. We can also learn what to avoid. Some
lessons for the beginning student include:
To develop competence and skill in architectural design, integrating knowledge from your building technology and representation
courses, in the following aspects:
B1Architectural design
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(Left, from top to bottom)
Serpentine Pavilion, Kensington Gardens, London. SANAA, 2009
Swoosh Pavilion, London. Architectural Association students, 2008
Infomab 10 Pavilion, Madrid. Kawamura Ganjavian, 2010
AssignmentsThe course is organized around four projects, with the following weight in terms of the course mark:
EvaluationYour design project should demonstrate:
and geometry, structural and material development, working to scale, and design methods and visualization in drawing and
modeling.
Grading will be done collectively by the tutors.
Required reading [Books available for purchase in the Dal Bookstore.]Simon Unwin, Analysing Architecture ISBN 9780415719162
Recommended readingThermal Delight in Architecture, Cambridge, MA: MIT Press, 1979. ISBN 026258039-X
Juhani Pallasmaa, The Thinking Hand: existential and embodied wisdom in architecture
ISBN 9780470779286
The Crit: An Architecture Student’s Handbook
ISBN 0750682256
(Right, from top to bottom)
Webb Chapel Park Pavilion, Dallas. Cooper Joseph, 2012
Oasis Pavilion, APMAP South Korea. OBBA, 2015
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aggregated together, forms one of the greatest achievements of humankind — the city. We usually think of rooms as being indoors.
look at both indoor and outdoor rooms, and how they are connected to each other.
of additional layers of meaning. They are places that order the city around them, through their distinctive features of: being set apart,
providing an anchor between earth and sky, and accommodating ritual activity. Every important room has sequence of arrival, and a
Due date and review
EvaluationThis project will count f
A large world in a small world. A house like a city. A city like a house. Aldo van Eyck
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1b
2a
2b
3a
3b
4a
4b 5b
5a
4b
1a
1b
3b3a
2a
2b
4a
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students to one of two buildings. Some of the
buildings have one major room, while others
have a series of smaller rooms. Each group
will decide on the limits of the study, and will
organize its members to carry out the work.
Everyone in the class is encouraged to visit
all the sites, located on the map to the right.
Design Group 1 - Peter Braithwaite’s studio
1b. St. Paul’s Anglican Church in the Grand
Parade
Design Group 2 - Alec Brown’s studio
Design Group 3 - Cristina Verissimo’s studio
3b. Seaport Farmers Market on the
waterfront
Design Group 4 - Talbot Sweetapple’s studio
Artillery Park
4b. St. George’s Church at Brunswick and
Cornwallis Streets
Design Group 5 - Lisa Tondino’s studio
5a. Goldberg Computer Science Building on
University Avenue
5b. Library in the University of KIng’s
College quadrangle
Groups and buildings
— it engages both body and mind as you look and analyze.
drawings through which you will communicate your analysis. You may want to divide this work among your group — so that some
neighbourhing buildings). Then, when you get together to look at the work, you can collectively decide how to put these together to
best tell the story of the room.
Aim to capture and communicate the architectural quality of the room(s) in all its richness, capturing and conveying the aspects listed
to the left (“some things to notice”). Think of the drawings as a collage, that is progressively layered.
plan, section, and elevation? Which drawings are better for which parts of your analysis?
orthographic drawings.
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(daylight, darkness, quiet, warmth,
(daylight, shade, trees, connected-
(monument, ornament, inscriptions).
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(Left) Site study of the kasbah in Ghardaia, Algeria, through an analysis of viewplanes and visual networks. André Ravereau, 1961.(Above) Comparative study of cooling strategies for court-yard dwellings in Damascus, Cairo and Ghardaia. André Ravereau, 1961.
Whiteread, 2000.
design intentions, learn how to communicate these intentions to yourself and to others — using the architectural language of drawing
and models — and to practice architectural design. Together with your design partner, you determine what activity the room will
proposal supports and improves the urban character of your study site. This assignment is shared between Design, Technology and
Presentation requirementsA design is never complete and every presentation is a work in progress. We will be looking for hand-drawings in pencil and plans
drawn to scale that are worked-over and revised, built up over time. Draw in people to study views and sightlines. Draw in sunlight
and wind, to show how your design modulates these. Also, quick little study models — if done carefully to scale — are wonderful
tools to study and develop your a design ideas. The core of your presentation should have the following elements:
to the top of the rolling partition.
Due date and review
Evaluation
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Luis Barragan.
(Left) Barragan’s sketch of the chapel interior in relation to the courtyard.
(Above) Street entry and passage from courtyard to chapel.
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are evidence that architecture’s long history is always with us — as a resource and a teacher. We study works of architecture to tap
into this history, learn from it, and contribute to it.
Architectural documentationAssemble a portfolio of your building, using books, journals, and the web (compare sources to determine which are reliable or
authoritative). Then, to thoroughly understand the pavilion, you are asked to complete two kinds of architectural documentation: a
set of orthographic drawings (plan, sections and elevations) and a digital or physical model.
Architectural analysisWorking from your documentation, your group will analyze the architectural strategies employed in the pavilion, including: spatial
meaning. Make the orthographic drawings the base of your analysis, and develop them as fully as possible to communicate your
Presentation requirementsYour group’s presentation will include four parts, presented in a wall length of 2.5 meters:
Due date, review, evaluation
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RADIAL PLAN AXIAL PLAN FREE PLAN
Naiku Shrine “Kotai
Uji-tachi, Japan
under Emperor Temmu
680
Mosque-Cathedral
Córdoba, Spain
784 - 987
Banff Pavilion
Banff, AB Canada
Frank Lloyd Wright and
Francis Conroy Sullivan
1913
Maison Tropicale
Brazzaville, Congo (Zaire)
Jean Prouvé
1949
Thorncrown Chapel
E. Fay Jones
1980
German Pavilion
Barcelona, Spain
1928
Nordic Pavilion
Venice, Italy
Sverre Fehn
1962
Sonsbeek Pavilion
Arnheim, The Netherlands
Aldo van Eyck
1965
Thermal Baths
Vals, Switzerland
Peter Zumthor
1996
Serpentine Pavilion
Kensington Gardens,
London
Toyo Ito and Cecil Balmond
2002
Beta Giyorgis Church
Lalibela, Ethiopia
under King Lalibela
12th c. BCE
Tempietto
in S Pietro del Montorio
Donato Bramante
1502
MIT Chapel
Cambridge, MA USA
Eero Saarinen
1955
Le Corbusier
1955
Water Temple
Awaji Island
Tadao Ando
1991
TALBOT
building materials, or abstract ideas. In this assignment, your design must engage its surroundings and respond to your case study
Site. Situate your design in relation to the case study pavilion and consider the site design as part of your project.
Programme. Determine the purpose (programme) of your pavilion, in relation to the case study building. It must include at least 800 sf (80 m2
human comfort (water, storage, etc).
Construction. A clear structural stategy and careful consideration of building materials are fundamental components of a well-designed pavilion.
Three scales of designArchitectural design considers multiple scales of investigation: the city, the building, and the body. A good architectural idea is one
that has implications at all three scales.
City scale. parti.
Building scale
Body scale
Presentation requirementsThe presentation should show the following aspects of design:
1) The pavilion in its site and in relation to the case study building
parti through development
rolling partition. Please place your process portfolio near your design work.
Due date and review
Evaluation
created for the First Biennale in Architecture, has been pulled up to
the Punta della Dogana in Venice.
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France. 2011.
freehand sketching, interspersed among more precise sections and
models from the Building Workshop.
Finalist designs for the the Fallingwater Cottages Competition, 2010
(Clockwise from top left)
1-2 Wendell Burnette, presentation boards
5 Saucier and Perotte, birds-eye view
6-8 Marlon Blackwell, site perspetive, section, model
9 MacKay Lyons Sweetapple Architects, model
1 2 3
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5
678
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