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METU | arch101 fall’13 Türel Saranlı Şenol Yağız Fatih C. Öz Güven Arif Sargın İpek Gürsel Dino A. Berrin Zeytun Çakmaklı Yiğit Acar Hayri Dörtdivanlıoğlu Aslıhan Günhan İlkay Dinç Uyaroğlu


Course Objectives - introducing the basic concepts and principles of design - developing organizational, spatial, structural principles to conceive elements and voids - developing design thinking and exploration through external and internal forces and parametric relations - conducting design exercises in the increasing complexity of design elements, types, parameters, relationships and structure - design research, representation and assessment through physical models and diagrams


Stage I: Objective: 3D design organization – how volumetric and planar elements come together Asked: Make a design using the given cubical and rectangular elements. Express your design procedure on a diagram. Given: Any number of cubes (5 × 5 × 5 cm) cut out from extruded polystyrene board eleven rectangular planar elements (dimensions of multiples of 5 cm) cut out from 1 mm corrugated cardboard Constraints: Do not use glue. The only intersection type permitted is between planar and volumetric elements.

Stage II: Objective: 3D design organization – how volumetric, planar and linear elements come together Asked: Make a design using cubic, rectangular and linear elements. Express your design procedure on a diagram (A3 paper). Given: Minimum 7 cubes (5 × 5 × 5 cm) of extruded polystyrene board Minimum 7 rectangular planar elements (dimensions of multiples of 5 cm) cut out from 2 mm cardboard Minimum 7 wooden sticks Constraints: Do not use glue. The intersection of volumetric elements is not allowed.


three-dimensionality, tectonics

intersection,

design as a complex system


complexity, defining voids, solid-void

relationship


three-dimensionality, tectonics,

basic forces

acting on structures


Objective: Physical transformations for variation, definition of voids. Asked: The first step involves the generation of a set of design elements types. You will first generate two planar basal elements by cutting a 15 x 15 cm cardboard. Then, through a set of transformative operations that you will apply on these basal elements, you will generate a minimum number of 6 design elements types. For each element type, you need to use combinations of these operations, namely the operation sets (i.e. an operation set can be fold + cut + fold). The transformative operations are: folding, bending and cutting.

In the second step, you are required to make a three-dimensional design in which the element types that you have previously generated define and organize voids. You need to document the whole design process in diagrams. For element generation, you should demonstrate how your basal geometry evolves into element types step by step through operations and parameters. Then, you should show how these element types come together in your 3D design. You can use as many A3 papers as required. Given: 1 mm cardboard Constraints: Your design should be self-standing. Planar intersections are allowed. No glue. During element generation, you need to have: 2 basal elements Minimum 3 different transformative operation sets per basal element Minimum 6 element types In your design, you should have minimum 29 element instances in your design


Transformation, solids and voids, parameters

of transformation


As a part of the workshop, consisting of a lecture together with a studio exercise, Valentina Beatini conducted a one-day studio, aiming to introduce basic structural forces and systems to arch101 students. The assignment also aimed at developing different techniques of joints, discouraging the use of glue.


Objective: To explore different material and joint characteristics, for different scales of a kinetic container. Asked: Make a kinetic container which can be folded onto a 2-D structure, and can hold two more smaller scales of the same container. Please pay attention to the characteristics of materials and joints for the design of different scales of the container. Given: Wooden sticks, tracing paper, joint elements Constraints: Use of glue is forbidden


Requirements: You will work in groups of 5 for the design of a parasitic aggregate structure that volumetrically expands in space through the repetition of modular units of circle folds. “Aggregates can be described as large amounts of elements being in loose contact … aggregate architectures could be described as large arrangements of loose elements that are observed and modulated by the architect on the particle- or system-level to perform one or more typically architectural tasks. In [these] systems, each element finds its own place, and it is the task of the designer to observe and interact with the evolving arrangement.” Dierichs, K. and A. Menges (2010). “Material Computation in Architectural Aggregate Systems.” Proc. 30th ACADIA, New York: 372-378.

You should generate your design elements by folding circular paper plates as instructed in the reading list. The designed structure should occupy a space that you will choose in the faculty building. You also need to make sure that the structure is self-standing. The folded units should have the potential to produce variation (remember the minimum inventory – maximum diversity principle). In this process, you should be able to negotiate between internal bottom-up principles that the modular units enforce (procedural, combinatorial and transformational) and the external top-down constraints related to the site and the overall structure. You need to document your design elements, aggregate procedure and the whole process of design development through drawings, diagrams, photos, and other modes of representation. Material: paper plates and other constructive materials such as wire, wooden sticks.


self-organization, folding, adaptation, bottom-up

vs.

top-down design


You are required to make five design models that reflect the musical concepts corresponding to design concepts that are given below. [The following terms are given as guiding concepts for your design, however they are open for reinterpretation.] In your models, you will use wooden sticks of any length and thrust these sticks into 5 cm thick polystyrene board. For each model, the board area that you can use is 10cm x 20 cm. Before starting your design, you need to do research on the concepts to make sure that you correctly understand them. Music Dynamics | Indications of volume Articulation | Continuity Texture | Polyphony Rhythm Tempo | Measure

Design Figure-ground | Hierarchy Continuity Layering Rhythm Scale | Proportion


Final Project | fall’13 Concept Exploration This exercise involves two consecutive steps. In the first step you are required to analyze the concepts and principles of Baroque music. In this process, you need explore baroque music concepts and translate them into design. The key concept that we will use is the musical “theme” as the main melodic subject of a musical composition. A theme is generally introduced in the beginning of a piece, and is followed by a number of modified restatements, or variations. In polyphonic music, a second theme (counter theme) is played in parallel to the initial theme, complementing or opposing it. This is called double variation. As such, multiple independent layers of sound contribute to the complex musical texture. Several other concepts that contribute to the making of music also need to be taken into consideration (see the table below). You are free to explore other concepts that you find relevant. Design Process After analysis, you will translate these musical concepts into your own design realm, and use them as a generative system. This generative system is to achieve a mapping between an audial system (Baroque music) and your three-dimensional design medium that consists of visual design elements. In the first phase of your design, you are required to generate 12 design element types (your musical notes with which you will compose your piece, or your alphabet) using the materials stated below. Using 5-7 of these element types, you will design two themes ( a main theme A and a counter theme B ). In the second phase, each theme should be varied, which will yield in a minimum number of three theme variations (A, A’, A’’, A’’’… and B, B’, B’’, B’’’ …). There are several existing techniques used to create variation in music (rhythmic, harmonic, tonal, ornamentation etc.), which you need to reinterpret and extend with your own procedures through which your themes will be modified. The third phase involves the generation of your eventual design, consisting of your two themes and their variations that complement each other and define voids. Materials: Balsa panels and sticks (various sections and thicknesses), mesh, and acetate sheets (various thicknesses, surface qualities, texture). Considerations: • Note that there cannot be one-to-one mapping between a musical piece and your design; mapping involves abstraction that requires the elimination of redundant parts and principles. • You need to design with the awareness that different reference systems and principles not only coevolve, but also generate each other during the course of design. • During the course of design, you will need to iteratively redesign your elements, themes and their variations.


variation, three-dimensional layering, void definition, polyphony generative systems transparency, transition


designed by ayĹ&#x;e ekici


designed by inci tuğçe üçkök


designed by ozancan altun


designed by buse ezgi sĂśkĂźlmez


designed by kubilay Ĺ&#x;ahiner


METU | arch101 fall’13 Designed by Aslıhan Günhan Hayri Dörtdivanlıoğlu Contact Middle East Technical University Faculty of Architecture Department of Architecture 06800 Çankaya | Ankara TURKEY archweb.metu.edu.tr archfirstyear.blogspot.com.tr Published in January 2014, Ankara | TURKEY

METU|arch101 fall'13  

METU|arch101 basic design studio portfolio

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