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The idea behind the two weeks is to collide the history, theory and practice of architecture. Through two design projects, the emphasis will always be on experiencing architecture first-hand, and using the study of its history, theory, technology, and methods of representation to inform this design process. Each week will begin by getting out of the classroom and doing something fundamental: sketching the built world around us. Every other day will be an engaging mixture of learning and doing, the two informing one another. As well as becoming familiar with the profession and study of architecture, each student will leave with a body of work and the conceptual and artistic tools to prepare their applications, design projects and see the world around them in a new light.
/ Cam br idge Im m er se / Ar chi t ect u re 20 1 7 / Uni t 0 /
METHOD
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CONTENTS
- Schedule........................................................................................3 - Requirements.................................................................................4 - Contacts.........................................................................................3 - Introduction....................................................................................7 - Design Project 1.............................................................................9 - Tectonic Workshop......................................................................12 - History and Theory 1....................................................................14 - Design Crit 1.................................................................................16 ------------------------------------------- Design Project 2...........................................................................20 - Perspective Workshop.................................................................22 - Modeling + Materials...................................................................24 - History + Theory 2........................................................................26
- Further Reading...........................................................................31
/ Cam br idge Im m er se / Ar chi t ect u re 20 1 7 / Uni t 0 /
- Design Crit 2.................................................................................28
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Monday
Tuesday JU LY
Wednesday
Thursday
Friday
1.0 Introduction to Architecture
25
1.1 Design Project
26
1.2 Tectonic Workshop
27
1.3 History and Theory
28
1.4 Design Crit W E E K E N D
Monday
Tuesday
AUGUST
Wednesday
Thursday
Friday
31
2.0 Design Project
01
2.1 Perspective Workshop
02
2.2 Modeling + Materials
03
2.3 History + Theory
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2.4 Design Crit
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SCHEDULE
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3
REQUIREMENTS
If you have decided to study architecture perhaps you took a moment to ask yourself what architecture is? Although apparently and easy question, the answer is difficult to define with any level of precision. At a pub quiz ‘architectural’ questions are likely to refer to window components while an architectural theorist may seem to draw more on linguistic theory than a physical, built reality. And even if we narrow the field to what has been constructed around us we must still ask – are all buildings architecture, are all cities, is a room, a table? These questions will be answered in a number of different ways during the course. At each end of the scale however, we are in the privileged position of being asked to take control of and responsibility for much of the world around us. In order to do this we must act as the interpreters of a set of ideas, harness a set of needs or interpret a series of desires. TOOLS - Sketchbook - Pad Lined Paper - Scale Ruler - Craft Knife
- Pen - Pencil
/ Cam br idge Im m er se / Ar chi t ect u re 20 1 7 / Uni t 0 /
- T-Square
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Contacts
Mr Jack Sardeson Email: js2277@cam.ac.uk Mobile: 07722010890
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/ Cam br idge Im m er se / Ar chi t ect u re 20 1 7 / Uni t 0 /
1.0
6
1.0
INTRODUCTION
But what will the sketcher see? His eye is accustomed to search into the cause of beauty, and penetrate the minutest parts of loveliness. He looks up, and observes how the showery and subdivided sunshine comes sprinkled down among the gleaming leaves overhead, till the air is filled with the emerald light, and the motes dance in the green, glittering lines that shoot down upon the thicker masses of clustered foliage that stand out so bright and beautiful from the dark, retiring shadows of the inner tree, where the white light again comes flashing in from behind, like showers of stars; and here and there a bough is seen emerging from the veil of leaves, of a hundred varied colours, where the old and gnarled wood is covered with the brightness, — the jewel brightness of the emerald moss, or the variegated and fantastic lichens, white and blue, purple and red, all mellowed and mingled into a garment of beauty from the old withered branch. Then come the cavernous trunks, and the twisted roots that grasp with their snake-like coils at the steep bank, whose turfy slope is inlaid with flowers of a thousand dyes, each with his diadem of dew: and down like a visiting angel, looks one ray of golden light, and passes over the glittering turf — kiss, — kiss, — kissing every blossom, until the laughing flowers have lighted up the lips of the grass with one bright and beautiful smile, that is seen far, far away among the shadows of the old trees, like a gleam of summer lightening along the darkness of an evening cloud.
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Is not this worth seeing? Yet if you are not a sketcher you will pass along the green lane, and when you come home again, have nothing to say or to think about it, but that you went down such and such a lane. - John Ruskin 1861
/ Cam br idge Im m er se / Ar chi t ect u re 20 1 7 / Uni t 0 /
Let two persons go out for a walk; the one a good sketcher, the other having no taste of the kind. Let them go down a green lane. There will be a great difference in the scene as perceived by the two individuals. The one will see a lane and trees; he will perceive the trees to be green, though he will think nothing about it; he will see that the sun shines, and that it has a cheerful effect, but that the trees make the lane shady and cool; and he will see an old woman in a red cloak; — et voilà tout!
1.0
CAMBRIDGE
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1.1
PUNT STATION PROJECT
BRIEF The Cambridgeshire County Council is seeking design proposals for punt station interchange on the banks on the Cam River. The design will be situated on a defined site opposite the Double Tree Hilton Hotel. The objective of the design will be to provide a covered structure in which punts can be raised and lowered into the higher and lower sections of the Cam River. The construction should also provide an office and bathroom for the punt operator. Elements - Covered ramping platform - Observation walkway for punters - 2 x 4m Office Space - 2 x 1m Bathroom
/ Cam br idge Im m er se / Ar chi t ect u re 20 1 7 / Uni t 0 /
Architecture is a vocational degree, involving periods spent training in both educational and professional environments. Similarly structured to include both theoretical and practical approaches to design, the course offers participants the opportunity to create their own architectures with these skills. In this session, a brief (a document that outlines a building's purpose) and site will be given to the group, accompanied by a workshop on the technicalities of recording, surveying and drawing locations to scale. We will then conduct a site visit to a small island in the river Cam, where students will begin to gather information, drawings and ideas, assessing and roughly sketching the volumetric qualities of their architectural proposals in-situ. These proposals will then be individually developed in relation to the wider contemporary design discourse through a series of tutor supervisions.
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1.1
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S ITE
10
1.1
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Historically buildings have been described using an orthogonal (right angled) two-dimensional drawing system. The nomenclature for the various orthogonal views is shown here. Popular architectural terminology such as ‘floor plan’ is common knowledge for the layperson.
1.2
PLAN / SECTION / ELEVATION
In a plan, a horizontal plane cuts through the building so as to remove that part of the building above the cutting plan. Floor plans express and communicate the intent of a design as well as the feasibility of a layout. In a section, a vertical place cuts through the building lengthwise (longitudinal) or crosswise (transverse) so as to remove that part of the building in front of the cutting plane.
/ Cam br idge Im m er se / Ar chi t ect u re 20 1 7 / Uni t 0 /
In an elevation, the image is projected onto a vertical picture plane. A building in elevation shows vertical dimension relationships the organisation massing and the scale of the fenestration. It also shows the location of the doors and windows, as well as the pattern and textures of the construction materials.
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1.2
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1.3 From the mid-nineteenth to the mid-twentieth century, specialist institutions such as sanatoria and asylums were established. In these, patients could be separated and isolated from the community and provided with the control and management of specific medical conditions such as tuberculosis and lunacy. At the start of this period, tuberculosis was a disease closely associated with the rapid growth of industrialization and a poorly nourished urban working class who lived in insalubrious, overcrowded conditions. By the early twentieth century, despite attempts by reforming socialist organizations such as the Garden City movement in England or the Life Reform movement in Germany to introduce healthier housing, these conditions had changed little. As the disease was more prevalent in younger men and women of working age, the financial drain on the European economy was considerable.1 By this time, research and treatment of the disease had coincided with the advent of modernism. This was a cultural movement that in architecture and applied design involved the integration of form with social purpose. It also attempted to create a new classless and hygienic lifestyle with socialist values. - Margaret Campbell 2005
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HISTORY AND THEORY
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1.3 Dr. John Snow is regarded as one of the founding fathers of modern epidemiology. As London suffered a series of cholera outbreaks during the mid-19th century, Snow theorized that cholera reproduced in the human body and was spread through contaminated water. This contradicted the prevailing theory that diseases were spread by "miasma" in the air. London's water supply system consisted of shallow public wells where people could pump their own water to carry home, and about a dozen water utilities that drew water from the Thames to supply a jumble of water lines to more upscale houses. London's sewage system was even more ad hoc: privies emptied into cesspools or cellars more often than directly into sewer pipes. So the pervasive stench of animal and human feces combined with rotting garbage made the miasma theory of disease seem very plausible. Disease was more prevalent in lower-class neighborhoods because they stank more, and because the supposed moral depravity of poor people weakened their constitutions and made them more vulnerable to disease.
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The September 1854 cholera outbreak was centered in the Soho district, close to Snow's house. Snow mapped the 13 public wells and all the known cholera deaths around Soho, and noted the spatial clustering of cases around one particular water pump on the southwest corner of the intersection of Broad (now Broadwick) Street and Cambridge (now Lexington) Street. He examined water samples from various wells under a microscope, and confirmed the presence of an unknown bacterium in the Broad Street samples. Despite strong skepticism from the local authorities, he had the pump handle removed from the Broad Street pump and the outbreak quickly subsided.
/ Cam br idge Im m er se / Ar chi t ect u re 20 1 7 / Uni t 0 /
John Snow Cholera Map London 1854
1.4 Representation and presentation is key for practicing architects and for those looking to study architecture at University. We will run a crash-course on tricks and techniques for submitting portfolios to prospective universities as well as outlining major differences between architecture courses. Additionally, examples of university work at all levels will be showcased, as we work to debunk some of the myths that surround the profession. Applying this knowledge to the practical, students have the opportunity to participate in a design workshop in which they will be provided with the tools necessary to accurately represent their ‘punt station’ projects in both 2D and 3D. These will then be discussed in a format unique to the subject of architecture, a critique or ‘crit’, after which the work will be exhibited in Cambridge Department of Architecture.
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Presentation + Crit
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- Ability to sketch architectural features and ideas - Introductory understanding of the design process - A grasp of the fundamentals of site mapping - Can use a series of scales in architectural drafting - Ability to represent building in orthogonal drafting - A knowledge of contextual and historical importance in design
1.4
ACHIEVEMENTS
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USEFUL LINKS FOR ARCHITECTURAL INSPIRATION drawings http://archisketchbook.com/ http://drawingarchitecture.tumblr.com/ http://conceptsketch.tumblr.com/ http://archidose.tumblr.com/ models http://conceptmodel.tumblr.com/ drawings & models http://visicert.tumblr.com/ http://architectsjournal.tumblr.com/ https://uk.pinterest.com/oscarbrito/?etslf=5308&eq=oscar%20brito buildings http://designasresearch.tumblr.com/ books studio craft & practice https://www.amazon.co.uk/Studio-Technique-Architects-Miriam-Delaney/dp/1780676573
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WEEKEND
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/ Cam br idge Im m er se / Ar chi t ect u re 20 1 7 / Uni t 0 /
2.0
19
We shall begin the second week with another exploration of architecture on the ground. Any students who over the weekend have considered their chosen building, and the way it interacts with its users, will give a short talk, show us around and explaining what caught their eye. We shall then travel to Market Square – the symbolic centre of Cambridge and one of its liveliest spaces. The unique environment of the city ‘Market’, its cultural and economic significance, its daily life and social importance, shall become the basis of a project to design a installation of the students design.
2.0
MARKET PROJECT
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2.0 S ITE
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2.1
Perspective drawing give the most realistic or lifelike view of the built environment and the urban landscape. On a two-dimensional surface, pictorial views of three-dimensional forms can be represented in a visually believable manner using perspective methods. Preliminary design drawings must clearly show form, scale, texture, light, shapes, shadows, and spatial order. Presentation design drawings take on a more precise character with these and related components. As a final step, they may be translated into perspective renderings to complement and enhance a presentation.
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Perspective
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2.1
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2.2 Materials loom large in most discussions of contemporary architecture and it is difficult to attend a review of students work without hearing the word ‘materiality’ – even if, as often as not, all that is meant is ‘materials’. The aim here is to reconnoiter this territory from the perspective of history and ideas, and to explore ways of experiencing architecture as a material art. Additionally, technology has become a vital part of the discipline, and therefore an important part of studying architecture. Yet it has always been there: from the use of timber to absorb moisture in libraries, the creation of glass and the astonishing production of bricks to the modern processes of prefabrication, computer aided design (CAD), 3D printing and virtual reality. Thinking about how architecture can evolve and improve through such approaches, as well as be challenged and even harmed by them, is a crucial part of design. Considering how the newest technologies might become involved with design and construction of the built environment, students will be invited to come up with their own ideas and potentially integrate them into their developing market roof designs.
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Materials and Methods
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2.2 ( CAD ) COMPUTER AIDED DESIGN
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2.3 Continuing our discussion from the previous week on the history, role and professional training of ‘the architect’, we will take a closer look at certain key figures as a lens through which to continue unlocking the diverse history and theory of the discipline. Taking a variety of architects from across the world, we will also stress the problems with the Western-centric nature of architectural discourse and perceptions of history, as well as issues to do with gender. The rest of the day will be dedicated to evolving the market roof projects, studying more precedents and relevant architects, and preparing drawings and/or models based on all the skills acquired in the past few days
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HISTORY AND THEORY
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2.3
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2.4 We will end our two weeks on a high: as the market projects are completed, we will have a final look at some of the most exciting and innovative projects happening in architecture today. Your two tutors will give a short presentation on their ongoing research, as a window into post-graduate life following part-1. We then hope to join an architectural practice in Cambridge for a collaborative ‘crit’ of the final designs. A discussion will allow students to put forward their own thoughts on contemporary architecture and ask their tutors any final questions about the discipline, the course or the profession. We will end with an award ceremony.
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Presentation + Show
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2.4 / Cam br idge Im m er se / Ar chi t ect u re 20 1 7 / Uni t 0 /
If you have any further questions on applying for university and what you will be required to submit for most applications please see me after one of our teaching sessions or do not hesitate in getting in contact using the email provided.
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3.0
ACHIEVEMENTS
- Identify and prepare relevant urban programmes and building briefs relevant to an area of research - Retrieve, assess and identify physical, environmental, historical and sociological site information from a wide range of sources - Apply key theoretical concepts, representational techniques and critical design analysis to project work - Represent information and design ideas clearly, accurately and eloquently - Use design proposals to identify and refine a research direction - Plan, and develop design proposals at a range of scales that respond to research findings, and aesthetic, social and technical requirements - Demonstrate an awareness of contemporary design debates and methods for conceptualisation and representation. Integrate structural, constructional and environmental strategies
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3.0
FURTHER READING
Appadurai, A. (2013) The Future as Cultural Fact: Essays on the Global Condition. NewYork: Verso
Edensor, T. and M. Jayne (eds) (2011) Urban Theory Beyond the West: A World of Cities. London: Routledge. Featherstone, D. (2008) Resistance, Space and Political Identities: Mobilization for Global Justice. London and Cambridge (Mass.): Wiley Academy Harvey, D (1991) The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. London: Willey-Blackwell. Lefebvre, H. (2003 [1991]) The Production of Space. Oxford: Blackwell. Nightingale, C. (2012) Segregation: A Global History of Divided Cities. Chicago: University of Chicago Press. Scott, J. (1999) Seeing Like the State: How Certain Schemes to Improve the Human Condition have Failed. New Haven: Yale University Press. Swyngedouw, E. (2006) In the Nature of Cities: Urban Political Ecology and the Politics of Urban Metabolism. London: Routledge.
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Wacquant, L. (2007) Urban Outcasts: A Comparative Sociology of Advanced Marginality. London: Polity.
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