ARCHITECTURAL INTERFACES FOR SPATIAL EFFECTS _ MATERIAL EXPERIMENTATION IN BLOCK CONSTRUCTION _ EXPERIMENTAL PROPOSALS FOR FUTURE DWELLERS _ STYLE REMAKES _ COPYCATS _ STONE BLOCKS IN THE DIGITAL ERA _ ASEAN DECENTRALISED AGENCIES _ LARGE SCALE INTERVENTIONS IN THE CHAO PHRAYA RIVER _ SPECULATIVE PROJECTS ON FUTURE FORMS OF INHABITATION _ ARCHITECTURE OF DIPLOMACY _ NATURALLY ARTIFICIAL _ A DEBATE CHAMBER FOR EUROPE
TEACHING ARCHIVE _ 2011 / 2016 _ LARA LESMES + FREDRIK HELLBERG _ _ DIGITAL PROSTHETICS _ THE POLITICS OF AGORAPHILIA _ REPURPOSING OBSOLETE INFRASTRUCTURE _ ARCHITECTURAL SIGNIFIERS FOR CONTEMPORARY MARKETS _ THE SPACE AROUND A CHARACTER _ ARCHITECTURE AS PERFORMANCE _ THE UNDERGROUND CAPRICCIO _ REPURPOSING THE SOUTHEAST ASIAN ARCHETYPE _ BANALITY AND CONTRADICTION IN THE CONTEMPORARY HOUSE _ DISECTING EVERYDAY OBJECTS _ DOMESTICITY VS. BELONGING
LL + CFVH
T E A C H I N G A U G U S T
A R C H I V E
2 0 1 1
J U N E 2 0 1 6
INDEX
LARA
02 \
FREDRIK
LESMES HELLBERG
Teaching Archive | 2011 - 2016
Index of Work Samples & Briefs
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I N D E X
INDEX
WORK
04 \
BRIEFS
SAMPLES
P.009 P.000
Index of Work Samples & Briefs
YEAR
BRIEF TITL E
I MG
T XT
Y4 _ TOOL S F OR ARCH ITECTURE: ARC H ITEC TUR A L IN TER FA C ES
008
104
016
114
020
122
Y2 _ STYL E REMAKES: STUDIES ON DESIG N METH O DO L O G Y
028
140
Y2 _ COPYCATS : STUDIES ON DESIG N METH O DO L O G Y
036
160
Y4 _ DIGITAL S TEREOTOMY: STONE B L O C K S IN TH E DIG ITA L ER A
042
174
Y4 _ ACTIVE F IEL DS: AS EAN DECEN TR A L ISED A G EN C IES
046
180
Y3 _ RIVER CRAF TING :L ARGE S CAL E IN TER VEN TIO N S IN TH E
050
188
054
204
060
220
Y4 _ VISCERAL INTRICACY: NATURA L L Y A R TIFIC IA L
064
238
Y4 _ ACTIVE F IEL DS: A DEBATE CH AMB ER FO R EUR O P E
068
246
Y4 _ VISCERAL INTRICACY: DIGITAL P R O STH ETIC S
072
254
Y3 _ CIVIC TRACKS: REPURPOS ING O B SO L ETE IN FR A STR UC TUR E
076
284
Y2 _ F L AGSH IP: ARCH ITECTURAL S IG N IFIER S FO R
078
292
Y2 _ DOM ESTIC CURRENT: TH E SPA C E A R O UN D A C H A R A C TER
082
300
Y4 _ VISCERAL INTRICACY: ARCH ITEC TUR E A S P ER FO R MA N C E
086
314
Y4 _ VISCERAL INTRICACY: TH E UND ER G R O UN D C A P R IC C IO
090
326
Y2 _ SH OPH OUS E REMASTERED: REP UR P O SIN G TH E SO UTH EA ST
094
336
096
-
Y1 _ TH INGS : DISECTING EVERYDAY O B J EC TS
098
-
Y2 _ H OME: DOMES TICITY VS . BEL ONG IN G
100
-
F OR S PATIAL EF F ECTS Y4 _ TOOL S F OR ARCH ITECTURE: MATER IA L EX P ER IMEN TA TIO N IN BL OCK CONS TRUCTION Y3 _ TH E COL L ECTIVE DWEL L ING: E X P ER IMEN TA L P R O P O SA L S F OR F UTURE DWEL L ERS
15 16
CH AO PH RAYA RIVER Y3 _ TH E COL L ECTIVE H ABITAT: S PEC UL A TIVE P R O J EC TS O N F UTURE F ORM S OF INH ABITATION Y2 _ ARCH ITECTURE OF DIPL OMACY : IDEN TITY A N D
CONTEM PORARY MARKETS
13 14
Teaching Archive | 2011 - 2016
14 15
REPRESENTAITON IN ARCH ITECTURA L DESIG N
AS IAN ARCH ETYPE Y2 _ L ANDS CAPE OF DESIRES : BANA L ITY A N D C O N TR A DIC TIO N
12 13 11 12
IN TH E CONTEMPORARY H OUSE
/ 05
WORK
LL + CFVH
06 \
WORK Teaching Archive | 2011 - 2016
WORK
/ 07
TOOLS FOR ARCHITECTURE
BEYOND CLADDING AND INTO THE INDA year 4 studio | 2015-2016
GUTTS!
Figure 001
A R C H I T E C T U R A L
Figure 002
08 \
Architectural Interfaces for Spatial Effects
F O R
Figure 003
A R C H I T E C T U R E
Figure 004
I N T E R F A C E S
F O R S
P
A
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F
F
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C
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Teaching Archive | 2011 - 2016
T O O L S
Figure 005
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INDA year 4 studio | 2015-2016
TOOLS FOR ARCHITECTURE
10 \
Architectural Interfaces for Spatial Effects
Teaching Archive | 2011 - 2016
Figure 007
Figure 008
Figure 006
Figure 009
/ 11
INDA year 4 studio | 2015-2016
TOOLS FOR ARCHITECTURE
12 \
Figure 010
Figure 013
Figure 011
Figure 014
Figure 012
Figure 015
Teaching Archive | 2011 - 2016
Architectural Interfaces for Spatial Effects
Figure 016
/ 13
INDA year 4 studio | 2015-2016
TOOLS FOR ARCHITECTURE
14 \
Teaching Archive | 2011 - 2016
Architectural Interfaces for Spatial Effects
Figure 017
/ 15
TOOLS FOR ARCHITECTURE
AN INVESTIGATION ON MATERIAL AND GEOMETRY IN BLOCK
INDA year 4 studio | 2015-2016
CONSTRUCTION
T O O L S
F O R
A R C H I T E C T U R E
16 \
Teaching Archive | 2011 - 2016
Material Experimentation in Block Construction
Figure 018
/ 17
INDA year 4 studio | 2015-2016
TOOLS FOR ARCHITECTURE
18 \
Teaching Archive | 2011 - 2016
Material Experimentation in Block Construction
Figure 019
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THE COLLECTIVE DWELLING
A PROJECT ON NEW FORMS OF INHABITATION FOR CONTEMPORARY
INDA year 3 studio | 2015-2016
WAYS OF LIVING
Figure 020
T
20 \
H
Figure 021
E
C
O
L
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C
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V
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D
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L
L
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Figure 022
N
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Teaching Archive | 2011 - 2016
Experimental Proposals for Future Dwellers
/ 21
INDA year 3 studio | 2015-2016
THE COLLECTIVE DWELLING
22 \
Teaching Archive | 2011 - 2016
Experimental Proposals for Future Dwellers
Figure 023
/ 23
INDA year 3 studio | 2015-2016
THE COLLECTIVE DWELLING
24 \
Figure 024
Teaching Archive | 2011 - 2016
Experimental Proposals for Future Dwellers
Figure 025
/ 25
INDA year 3 studio | 2015-2016
THE COLLECTIVE DWELLING
26 \
Figure 026
Teaching Archive | 2011 - 2016
Experimental Proposals for Future Dwellers
Figure 027
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STYLE REMAKES
INDA year 2 studio | 2015-2016
S T Y L E R E M A K E S
28 \
Figure 028
Studies on Design Methodology
REFERENCING AS A FORM OF
Teaching Archive | 2011 - 2016
CONTEXTUALISING
Figure 029
/ 29
INDA year 2 studio | 2015-2016
STYLE REMAKES
30 \
Teaching Archive | 2011 - 2016
Studies on Design Methodology
Figure 030
/ 31
INDA year 2 studio | 2015-2016
STYLE REMAKES
32 \
Teaching Archive | 2011 - 2016
Studies on Design Methodology
Figure 031
/ 33
INDA year 2 studio | 2015-2016
STYLE REMAKES
34 \
Teaching Archive | 2011 - 2016
Studies on Design Methodology
Figure 032
/ 35
COPYCATS
BEYOND THE RIP-OFF: INDA year 2 studio | 2015-2016
AN EXERCISE ON ARCHITECTURAL
36 \
Figure 033
MIMICRY
C
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Studies on Design Methodology
Figure 034
A
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C
/ 37
INDA year 2 studio | 2015-2016
COPYCATS
38 \
Figure 035
Teaching Archive | 2011 - 2016
Studies on Design Methodology
Figure 036
/ 39
INDA year 2 studio | 2015-2016
COPYCATS
40 \
Teaching Archive | 2011 - 2016
Studies on Design Methodology
Figure 037
/ 41
DIGITAL STEREOTOMY
CG HISTORIC
INDA year 4 studio | 2014-2015
MASONRY KITS
Figure 039
S T E R E O T O M Y
Figure 038
42 \
D I G I T A L
Teaching Archive | 2011 - 2016
Stone Blocks in the Digital Era
Figure 040
/ 43
INDA year 4 studio | 2014-2015
DIGITAL STEREOTOMY
44 \
Teaching Archive | 2011 - 2016
Stone Blocks in the Digital Era
Figure 041
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INDA year 4 studio | 2014-2015
ACTIVE FIELDS
46 \
A C T I V E
F I E L D S :
A S E A N ,
D e c e n t r a l i s e
PLACES TO BE SEEN MEETING
ASEAN Decentralised Agencies
A g e n c i e s
Teaching Archive | 2011 - 2016
d
Figure 042
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INDA year 4 studio | 2014-2015
ACTIVE FIELDS
48 \
Teaching Archive | 2011 - 2016
ASEAN Decentralised Agencies
Figure 043
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RIVER CRAFTING
R I V E R
INDA year 3 studio | 2014-2015
Figure 044
Figure 045
50 \
Large Scale Interventions in the Chao Phraya River
Teaching Archive | 2011 - 2016
C R A F T I N G
Figure 046
RETHINKING THE ROLE OF THE RIVER IN BANGKOK METROPOLITAN AREA
/ 51
INDA year 3 studio | 2014-2015
RIVER CRAFTING
52 \
Teaching Archive | 2011 - 2016
Large Scale Interventions in the Chao Phraya River
Figure 047
/ 53
INDA year 3 studio | 2014-2015
THE COLLECTIVE HABITAT
T H E
54 \
C O L L E C T I V E
Figure 048
Speculative Projects on Future Forms of Inhabitation
VISIONARY PROJECTS FOR
H A B I T A T
Figure 049
Teaching Archive | 2011 - 2016
FUTURE LIFESTYLES
/ 55
INDA year 3 studio | 2014-2015
THE COLLECTIVE HABITAT
56 \
Teaching Archive | 2011 - 2016
Speculative Projects on Future Forms of Inhabitation
Figure 050
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INDA year 3 studio | 2014-2015
THE COLLECTIVE HABITAT
58 \
Teaching Archive | 2011 - 2016
Speculative Projects on Future Forms of Inhabitation
Figure 051
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INDA year 2 studio | 2014-2015
ARCHITECTURE OF DIPLOMACY
A
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IDENTITY BEYOND BORDERS Figure 052
60 \
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Identity and Representation in Architectural Design
D
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Teaching Archive | 2011 - 2016
Figure 054
Figure 053
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INDA year 2 studio | 2014-2015
ARCHITECTURE OF DIPLOMACY
62 \
Teaching Archive | 2011 - 2016
Identity and Representation in Architectural Design
Figure 055
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INDA year 4 studio | 2013-2014
VISCERAL INTRICACY
V I S C E R A L
Figure 056
THE AGRITECHTURE OF TOMORROW
64 \
Figure 057
I N T R I C A C Y
Figure 058
N A T U R A L L Y
I V
Teaching Archive | 2011 - 2016
Naturally Artificial
Figure 059
A R T I F I C I A L / 65
INDA year 4 studio | 2013-2014
VISCERAL INTRICACY
66 \
Teaching Archive | 2011 - 2016
Naturally Artificial
Figure 060
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ACTIVE FIELDS
INTERACTIVE SOLUTIONS FOR
INDA year 4 studio | 2013-2014
CRUMBLING STRUCTURES
Figure 061
A A
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D E B A T E
Figure 062
68 \
E
F
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C H A M B E R
F O R
E U
U R O P E
Figure 063
Teaching Archive | 2011 - 2016
A Debate Chamber for Europe
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INDA year 4 studio | 2013-2014
ACTIVE FIELDS
70 \
Teaching Archive | 2011 - 2016
A Debate Chamber for Europe
Figure 064
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VISCERAL INTRICACY
D I G I T A L
THE VIRTUAL
INDA year 4 studio | 2013-2014
GRAMMAR OF ARCHITECTURE
Figure 066
V
Figure 065
72 \
I
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Digital Prosthetics Figure 068
I N T R I C A C Y
I I I
Teaching Archive | 2011 - 2016
P R O S T H E T I C S
Figure 067
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INDA year 4 studio | 2013-2014
VISCERAL INTRICACY
74 \
Teaching Archive | 2011 - 2016
Digital Prosthetics
Figure 069
/ 75
CIVIC TRACKS
REPURPOSING OBSOLETE
INDA year 3 studio | 2013-2014
INFRASTRUCTURE
76 \
Figure 070
Figure 071
Repurposing Obsolete Infrastructure
I
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C
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K
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Teaching Archive | 2011 - 2016
C
Figure 072
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INDA year 2 studio | 2013-2014
FLAGSHIP
Figure 073
Figure 074
Figure 075
Figure 076
ARCHITECTURAL SIGNIFIERS FOR CONTEMPORARY MARKETS
78 \
Architectural Signifiers for Contemporary Markets
L
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F
Figure 077
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INDA year 2 studio | 2013-2014
FLAGSHIP
80 \
Teaching Archive | 2011 - 2016
Architectural Signifiers for Contemporary Markets
Figure 078
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DOMESTIC CURRENT
INDA year 2 studio | 2013-2014
Figure 079
Figure 080
82 \
The Space Around a Character
THE CASE OF THE STUFFED HOUSE VS. ARCHITECTURE
D
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Teaching Archive | 2011 - 2016
Figure 081
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INDA year 2 studio | 2013-2014
DOMESTIC CURRENT
84 \
The Space Around a Character
Teaching Archive | 2011 - 2016
Figure 083
Figure 084
Figure 082
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INDA year 4 studio | 2012-2013
VISCERAL INTRICACY
A
86 \
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Figure 085
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Architecture as Performance
V
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NEW URBAN SACRED
A
Figure 086
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Teaching Archive | 2011 - 2016
PLACES
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INDA year 4 studio | 2012-2013
VISCERAL INTRICACY
88 \
Teaching Archive | 2011 - 2016
Architecture as Performance
Figure 087
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VISCERAL INTRICACY
INDA year 4 studio | 2012-2013
V
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EXPERIENCEDRIVEN SHOPPING MALLS
T
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Figure 088
90 \
C
Figure 089
E
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The Underground Capriccio
N
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Teaching Archive | 2011 - 2016
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INDA year 4 studio | 2012-2013
VISCERAL INTRICACY
92 \
Teaching Archive | 2011 - 2016
The Underground Capriccio
Figure 090
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SHOPHOUSE REMASTERED
S H O P H O U S E
INDA year 2 studio | 2012-2013
R E M A S T E R E D
94 \
Repurposing the Southeast Asian Archetype
PROPOSALS FOR THE UBIQUITOUS
Teaching Archive | 2011 - 2016
TYPOLOGY
Figure 091
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LANDSCAPE OF DESIRES
INDA year 2 studio | 2012-2013
Figure 094
96 \
L
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Figure 093
N
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Figure 092
F
Banality and Contradiction in the Contemporary House
DISTORTED STANDARDS FOR NEW LIFESTYLES
Figure 096
E
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D
Figure 095
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INDA year 2 studio | 2011-2012
HOME
98 \ Figure 097
Figure 098
Domesticity vs. Belonging
Figure 101
THE ROLE OF ARCHITECTURE IN THE CRAFTING
Figure 100
Teaching Archive | 2011 - 2016
OF COMFORT
Figure 099
/ 99
H
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INDA year 1 studio | 2011-2012
THINGS
T
100 \
H I N G S
Disecting Everyday Objects
IDENTIFYING COMPONENTS &
Teaching Archive | 2011 - 2016
DEPENDENCIES
Figure 102
/ 101
BRIEFS
LL + CFVH
102 \
BRIEFS Teaching Archive | 2011 - 2016
BRIEFS
/ 103
TOOLS FOR ARCHITECTURE
INDA year 4 studio | 2015-2016
T O O L S
104 \
F O R
ARCHITECTURAL INTERFACES FOR SPATIAL EFFECTS
A R C H I T E C T U R E
Architectural Interfaces for Spatial Effects
Y4 ARCH DSGN V
JANUARY 2015
Teaching Archive | 2011 - 2016
www.ToolsForArchitecture.org
The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, 2014. Photograph from OMA.eu © Andrea Sarti
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>> Draft Brief >> Spring 2015 >> Faculty - Fredrik Hellberg & Lara Lesmes
www.ToolsForArchitecture.org Architectural Interfaces for Spatial Effects
"The ceiling used to be decorative, a symbolic plane, a place invested with intense iconography, now, it has become an entire factory of equipment that enables us to exist, a space so deep that it begins to compete with the architecture. It is a domain over which architects have lost all control, a zone surrendered to other professions. Architecture today is little more than cardboard. Our influence has been reduced to a territory that is just 2cm thick."
INDA year 4 studio | 2015-2016
Rem Koolhaas on the modern depths of architecture explored at the 2014 Venice Biennale
INTRODUCTION Architecture can be described as a layer of protection but rarely is it comprised of a single layer. In fact, a multitude of stiff, elastic, fluffy or drippy materials layered together create architectural interfaces1 between environments. Seeking for a deeper and more unforgiving approach to architectural detailing, we will look at the design of spaces from surface to insulation to clip to bolt to hook and back to surface again and the spatial effects2 those surfaces create. We tend to think of architecture as something deeper than surface but it seems to be the case that we have been looking at the wrong side of things. The spaces, atmospheres, light, feelings and even emotions that we describe as something mystical, magical are, after all, material. A combination of layers that together generate the desired spatial effects. All these layers inhabit the inner parts of walls, floors, ceilings. The hidden parts of the architecture that we never get to see but that we perceive with other senses and together generate a certain quality of space.
Architectural Interface: material layer that alters the conditions of a space resulting in 2 spaces (one on each side of the interface), each with different conditions. An example of an Architectural Interface is the facade of a building, or its roof, floor or interior walls. 2 Spatial Effects: the results of an architectural interface (temperature, light, acoustics, etc.) 1
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Architects have in modernity gradually been pushed out of the depths of architecture, literally to the skin of buildings as the real building hides under aluminium panels or fake brick walls. If we would invite ourselves back into the world inside the thickening walls of modern buildings we would not find a meaningless void but a world of increasing complexity much more like an organic organism: pipes pulsating with cold liquids and hot water, thin wires carrying our streaming services, cloud services and often the actual structure of the building. This is the domain of the often looked-down-on consultants (in the eyes of architects). These complex voids are in contemporary architecture often large enough to be inhabitable. The studio will explore also the mass, or the poché, as a space than can be inhabited.
The aim of the studio is to design building systems3 for architecture that define an interior and an exterior where all structural and infrastructural details are purpose-designed. The result is an architectural interface between two (or more) spaces that has certain fixed and variable parameters and that controls a series of spatial effects. There will be absolute freedom with regards to the type of architecture that the system creates and there is no site or program restrictions since the aim is to design a versatile4 system rather than a singular product: a Tool for Architecture.
Teaching Archive | 2011 - 2016
Building Systems: constructions assembled from manufactured components designed to provide specific configurations Versatile System: building system that can deliver a wide range of spaces
3
4
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INDA year 4 studio | 2015-2016
BIM 5 Screenshot - DPR Construction
PHASE 1 - CONDITIONS AND EFFECTS We will start by defining the conditions that the interface will react to and the desired effects to achieve. We will understand design as the generation of certain conditions. In doing so, a designer can be more particular/objective about the way a space feels, developing architectural interfaces (building sections) that do the magic. But in order to achieve this, one needs to first understand the existing circumstance and carefully describe the desired condition. We will not develop interfaces between spaces at particular locations on Earth, (sites) instead we will define climatic and cultural conditions abstracted from its geographic specifics. Those chosen conditions will describe the environment and its conditions that our interfaces will react to, for what is architecture but reactions against context, against conditions that we want to alter. From cool to hot, or hot to cool, from light to dark or from violent to safe. Once the world and its annual variables are established we will define the desired internal and external effects that the interface creates, thus formulating a brief for the designing of that interface in phase 3. The choice of conditions and effects might be at first intuitive, yet it will lead to further research into traditional architectural techniques in specific environments (vernacular), semiotic properties of such techniques, style, etc.
5 BIM: Building Information Models are files which can be exchanged or networked to support decision-making about a place by a collective of experts working separately to plan, design, construct, operate and maintain diverse physical infrastructures, such as water, wastewater, electricity, gas, refuse and communication utilities, roads, bridges and ports, houses, apartments, schools and shops, offices, factories, warehouses and prisons.
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Still from “The Simpsons Movie” 2007. Director: David Silverman
The Effects Specific to each set of conditions, members will now choose the desired effects of the interface. What can pass through it and what does it obstruct? - light, air, bugs, people, sound? Maybe it doesn’t let anything through?! A hermetically sealed space for example, would need immense powers to achieve that isolation.
The conditions offered by the environment and the effects created by the interface will be described in two images portraying the two sides of the interface without designing the interface itself yet. These two images will be constructed to describe the atmospheric qualities of both sides of the interface, using graphic material generated particularly for these images only. A workshop in image making will be offered in the beginning of this phase. Deliverables: ● Two comparison/paired images of the different spaces through which all conditions and effects -and the relationship within them- are portrayed. The images are to be printed at 80 by 80 centimeter.
Teaching Archive | 2011 - 2016
The Conditions We will start the semester by choosing our own conditions defined by environmental, social and cultural conditions. The conditions might range from unforgivingly cold tundra’s to violent urban backstreets or humid flood plains. The conditions could (but do not have to) include animals or people resulting in behavioural patterns and culture which will then become a part of the environment. As mentioned above, the conditions do not need to be tied to a specific geographic location. For example, some of the conditions defined might be concerned with environmental qualities (natural light, temperature, wind, precipitation -rainfall and snowfall, atmospheric pressure, humidity, sonic and air quality, flora and fauna, etc.) as well as socio-cultural ones (population density, laws and regulations, religion etc) or even infrastructural ones (urban power grids, water points, etc.)
PHASE 2 - THE ARCHIVE OF BUILDING VISCERA The second phase will be dedicated to understanding existing means of creating spatial effects with existing interfaces such as floors, walls and ceilings through case studies of buildings that use both standard and customized systems. These will be studied primarily in sections where all the layers from internal to external surfaces will be studied in 3D models and atmospheric simulations. The result will be a collective archive of building systems including construction details, technological solutions and the spatial effects they create. This will then influence decisions taken in phase 3 where we will create our own building systems. We will collectively select buildings appropriate for the study and each member will then select
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two buildings and choose two horizontal (floor and ceiling/roof or equivalent) and two vertical (north and south walls) interfaces to study in detail for each building.
INDA year 4 studio | 2015-2016
Deliverables: ● Cut-away Isometric of the building systems describing all layers of the element 1:20 ● Diagram that describes which area of the building the fragment comes from
Berlin NEU-Bahnhof Zoologischer Garten. Acoustic detail. Gonzalo del Val.
PHASE 3 - BUILDING SYSTEMS The effects and conditions defined in phase one will here be manifested in the design of a series of interfaces that together can form a controlled environment (space). These interfaces are the equivalent to what nowadays are standard construction systems for walls, floors, ceilings, facades, etc., Rather than picking from a catalogue, we propose that architects would get involved beyond the surface and into the design of these systems. Each member must design a building system or a series of these -as many necessary to create the desired (controlled) environment. The system must be versatile: have certain degrees of freedom (i.e. be physically parametric) in order to create a variety of effects and combinations. One must think of this building system as something that someone else could use differently but that always creates a predictable set of spatial effects. For example, dry wall building systems are very standard today and they create a certain type of space (orthogonal), acoustic condition and light condition (opaque) that is always constant, yet they have some variables such as size (with some limitations) and finishing (can be painted in different colours) for example, which help make every space build with this system be unique. Each member will describe the construction/assembly method of the interface as well. It is
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important to understand the process of construction in order to better control its potential. For example, if it requires expert skill or high end machinery then it might only reach a limited public and be exclusive, adding a different meaning or connotation to the space; but if it is easy to install it will reach the DIY society and therefore spaces built with it will be identified with a different set of values. Moreover, understanding construction methods will lead to better design solutions. Members must also define the experiential effects created by the interface. What elements of the environment are controlled by the interface? Which ones are not? What is the result of this? Looping back to the conditions defined in Phase one, it is of great importance to communicate atmospheres and to express spatial effects in abstraction as this is the ultimate goal of the designed building system. Both the construction and assembly methods, as well as the experiential effects must be represented in both drawings and simulations.
Potton Timber Frame Building Systems6 . Image from company’s site.
PHASE 4 - APPLICATIONS & EXPERIENCES The final phase will focus on representation and forecasting of potentials + consequences of the interface as a tool that can be used and assembled in a confined variety of ways. Even though the project does not require a particular purpose or is associated with a specific function, it is a good critical exercise to envision a number of ways in which it can be used purposefully and analyse the effects and consequences of such construction environmentally, socially and technically.
Teaching Archive | 2011 - 2016
Deliverables: ● Cut-away axonometric describing all layers and the resulting effects ● Master iso diagram describing fabrication and construction/assembly ● Animation video explaining what the building system can do ● Animation of the assembly process of the interface
Each member must envision a series of scenarios in which the building system can be used. There might also be a focus on the construction/assembly process itself and its implications (social, environmental, technical) Deliverables: ● Three dimensional views of the interior and exterior of the interface ● Simulation or animation of the final interface performance
6
Quoted from company’s site:“Potton’s Building Systems offer complete design freedom and flexibility with almost unlimited project ‘foundation-to-roof’ solutions suitable for all house designs.” “...whatever you dream of be it contemporary open plan living, minimalist design, country cottage or a traditional Georgian Rectory, Potton can bring your dream to life.”
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INDA year 4 studio | 2015-2016
Still from the movie ” The Truman Show” 1998. Director: Peter Weir
Grading:
PinUp 1
Phase 1
PinUp 2
Phase 2
10% 15%
Midterm
Phase 3 - Cutaway Sections
10%
PinUp 3
Phase 3 - All Materials
PinUp 4
Phase 4
Final
All Phases / Final Presentation
20% 15%
Participation
25%
5%
Schedule: WEEK DAY DATE
1 1 2 2 3 3 4 4 5
Tue
01-05
Fri
01-08
Tue
01-12
Fri
01-15
Tue
01-19
Fri
01-22
Tue
01-26
Fri
01-29
Tue
02-02
INDA SCHEDULE
CLASS SCHEDULE BRIEFS AVAILABLE LOTTERY SUBMISSION
NOTES
INTERVIEWS GROUPS ANNOUNCED FIRST DAY OF CLASS
First exercise assigned via email Introductory lecture Lecture on the history of architecture through spatial effects / part 1 Lecture on the history of architecture through spatial effects / part 2
PINUP 1
PHASE 1 ALL MATERIALS Templates and Guidelines for The Archive of
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Architectural Interfaces for Spatial Effects
Y4 ARCH DSGN V
JANUARY 2015
Building Viscera Fri
02-05
Tue
02-09
Fri
02-12
Tue
02-16
PINUP 2
PHASE 2 ALL MATERIALS
Fri
02-19
Tue
02-23 Y2/Y4 Mid Reviews
MIDTERM
PHASE 3 WIP + The Archive of Building Viscera printed
NO-CLASS
NO WORK will assigned
Fri
02-26
Midterm Break
Tue
03-01
Midterm Exam Midterm Exam
Fri
03-04
Tue
03-08
Fri
03-11
Tue
03-15
Fri
03-18
Tue
03-22
PINUP 3
PHASE 3 ALL MATERIALS
Fri
03-25
Tue
03-29
Fri
04-01
Tue
04-05
Fri
04-08
Tue
04-12
Fri
04-15
Tue
04-19
Fri
04-22
Tue
04-26
Fri
04-29
Tue
05-03
Final Reviews
FINAL REVIEW ALL PHASES PRESENTED
Fri
05-06
Final Reviews
FINAL REVIEW ALL PHASES PRESENTED
Songkran Festival
NO-CLASS PINUP 4
Teaching Archive | 2011 - 2016
5 6 6 7 7 8 8 9 9 10 10 11 11 12 12 13 13 14 14 15 15 16 16 17 17 18 18
ONLINE UPDATES PHASE 4 ALL MATERIALS
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T O O L S
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F O R
A R C H I T E C T U R E
DIGITAL STEREOTOMY: MATERIAL EXPERIMENTATION IN BLOCK CONSTRUCTION
Material Experimentation in Block Construction
Y4 - Architectural Design V
Aug 2015
>> Syllabus >> Architectural Design V >> Semester 1 Fall 2015 >> Lara Lesmes, Fredrik Hellberg
Digital Stereotomy
Introduction Digital Stereotomy, Tools for Architecture is an experimental design studio which will this term explore the use of block construction -aka stereotomy- as a construction system for the future. The use of blocks in architecture has historically been dominated by stones and clay based materials such as bricks but as innovation in construction materials in the last century have advanced to much more sophisticated levels, block construction has been left out of the construction site, deemed inefficient and costly. This studio believes that if block construction reunites with material innovation and is allowed beyond the history books, the science of stereotomy can be revived and once more create advanced structures in which geometry plays a key role and where the engineering of each part is as important as that of the whole.
Teaching Archive | 2011 - 2016
Tools for Architecture
The studio will begin with an introduction to the past and present of stereotomy through a series of lectures and software tutorials. Students will then select materials, structural types and context and begin the looping journey between research and design that will conclude in the design of a tool to generate structures. Students will then spend some time speculating on possible outcomes that can be generated with the tool. The result will be a research+tools package defining a new structural system for block construction -aka stereotomy. Students in this studio will learn how to read and understand masonry structures of the past, such as the great cathedrals of Europe and the temples of Egypt. Students will also learn how to efficiently
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work with virtual and physical simulation methods, using parametric and analytical software to generate functioning digital models for testing. Students will gain knowledge of digital fabrication methods, such as 3D-printing, CNCing, mould making, etc., for analogue testing. Students will also be introduced to animation software such as Cinema 4D and Unreal Engine to design and illustrate assembly methods and different design outputs for their proposals.
INDA year 4 studio | 2015-2016
Background Until modern times there was no clear distinction between architect and engineer. This was mainly related to the lack of pre-construction design technology such as drafting and geometry. Buildings were designed and built at site by craftsmen at that time: master builders, masons and carpenters. Paper only became available in the 1500 in Europe but buildings continued to be designed by craftsmen until the 1700s. The development of advanced mathematics and an increasing understanding of dimensional accuracy helped building designers communicate their ideas to craftsmen, resulting in an increasing separation of design and construction. This shifting of roles in architecture is still very much changing and the future might see the introduction of plenty more disciplines related to
Aug 2015
architecture that we cannot even imagine today. Engineers and architects are today two completely different professions as the knowledge and technology required by the two fields is so demanding that it is unreasonable to assume they could be done by the same person. This studio is not opposed to the developing separation of roles in architecture but is in favor of collaboration and encouraging a more flexible view on responsibilities in the construction of buildings. New digital software can both be generative, analytical and even creative in ways that no single architect or engineers could be. In this frenzy of innovation, there are increasing opportunities for new fabrication and construction methods that should naturally result on new ways of thinking about architecture. This studio believes that block construction, or stereotomy is one of these opportunities where past and new knowledge bridging different disciplines can come together to create something new. Stereotomy originated at the split between design and construction. The science of stone cutting as a structural device begins with the masonry arch: a twodimensional stack of stone wedges that are stabilised by gravity. From the 10th to the 13th centuries, builders of the old world bent masonry into remarkable forms --
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Material Experimentation in Block Construction
Y4 - Architectural Design V
complex rib-work on the roofs of vaults, helical stairways, arches intersecting at strange angles etc. and all this without any formal geometry. By the 13th century, masons began inventing their own approximate geometry to describe stone cutting. Since the printing press had yet not been invented, the knowledge of this sacred geometry was stored and transferred to new generations of builders only through practice. Only towards the end of the Gothic period do we have evidence that masons had begun making formal construction documents. 16th-century architects started using precise tools to create complex spatial forms such as barrel vaults, biased arches or the complex trumpet squinch. But the new science of architectural stereotomy soon lost momentum as architecture went back to the restrictive purity of classical lines in the mid17th-century. Then architects prioritised style over structural innovation and those who mastered mathematical stereotomy were no longer innovators but helpers. By the middle 1600s, the brief, intimate bond between mathematics and architectural design had ended; meaning that structural innovation no longer drove architecture forward.
Aug 2015
form of stereotomy. Objectives • To approach design from a structural point of view • To approach construction and detailing in architecture from a conceptual point of view • To integrate new modelling, simulation and CAD fabrication technologies with conceptual architectural ideas • To learn techniques to integrate structural logic and form generation • To learn from construction techniques and structural systems from the past • To learn research methods to study structures from the past • To understand the value of physical and digital simulation systems • To explore new materials in block construction
Teaching Archive | 2011 - 2016
The link between mathematics and construction became closer than ever after the great wars when new materials and fabrication techniques pushed innovation in construction and saw the birth of intricate cable structures, hyper efficient space frames and lightweight geodesic domes spanning over a hundred meters. In the midst of this metal hype, stereotomy was forgotten. The science that gave birth to modern mathematical and the fluid shapes of baroque architecture became obsolete. As a result we see nowadays fluid architectural forms supported by orthopaedic steel skeletons that are no more than quick fixes to wonderful geometric problems. However, in the new age of robotics and digital fabrication when millimetric perfection can be achieved through computation and digital fabrication, a new dawn of stereotomy is looming. Together we will explore the possibilities of a new
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Aug 2015
1
Structural type, material and Max. 1.5 weeks context
INDA year 4 studio | 2015-2016
The first few weeks will consist of a series of lectures in which students will be introduced to: 01.
What is Stereotomy, who does it and what can we do with it?
02.
Structural Typologies and Key Theories in the History of Stereotomy
03.
Past and Present Examples of Tools for Architecture and Structure Calculators
04.
Research Routines for the Dialogue and Implementation of Form and Structure
Workflow between Digital and Physical Design, Simulation and Implementation Students will make their initial choices on: • Structural type: arch, dome, vault or any of their variants, etc. • Material or set of materials: stone, styrofoam, mud, concrete, etc. • Context or ground: medium and forces to which the structure will have to respond to -i.e. muddy soil, water, space, sand, etc.- and positioning in which the foundations will be set such as slopes, ravines or simply on flat ground.
05.
This choices should be made at this very early stage to allow students to dive into the structural research and implementation phase within the first few days and therefore providing a studio dynamics in which research is driven by design and design is implemented by research. Students will produce for each session a series of plate-sets which will be used to illustrate their initial ideas and specific interests in stereotomy in response to the lectures. DELIVERABLES PHASE 1 01.
Plate-sets specified for each session
2
Structural Design
5 weeks. 0.5 to 1 week overlap with Phase 1
Each student will develop a new structural system for block construction following these research blocks:
• Precedents: Students explore existing built examples relevant to their selection of material, structural type and context • Digital: Research and implementation of specimens through Rhino+Grasshopper and FEA • Physical: Research and implementation of specimens through physical models • The above-mentioned research blocks are not in chronological order but will be developed in loops, informing one another over and over until a result is reached, in which the parameters of the structure are set and their roles clearly defined. This will be the basis for the design of the tool.
DELIVERABLES PHASE 2 01.
A minimum of 3 iterations should be tested with the following deliverables per test:
¤
overall view
¤
exploded view
¤
FEA diagram
¤
voussoir subdivision
¤
physical model
¤
recorded evidence of the physical tests conducted (photo+video)
02.
large scale fragment model (minimum 1:5)
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Material Experimentation in Block Construction
Y4 - Architectural Design V
3
Tools for Architecture
4.5 weeks. 1.5 to 2 week overlap with Phase 2
From this point until midterm students will develop a tool for calculating structures. Different than a manual for construction or instructions handbook, students should develop a device that can calculate structures based on the principles studied in Phase 2. Not a tool for constructing architecture but a tool for designing architecture. This device might include a combination of digital and physical procedures similar to those followed by the student whilst designing the structure in question. The tool might slightly alter and/or limit the possibilities of the structure. Students should be able to demonstrate the performance and abilities of the tool both live and through recorded evidence.
Aug 2015
4
Consequences and Meaning
2 weeks. Overlap with Phase 2
Students should retroactively analyse the possible environmental and ideological consequences of the structural system they have developed and reflect upon their choices. DELIVERABLES PHASE 4 01.
A report summarising the structural system in text and diagrams.
5
Fabrication and Assembly
2 weeks. Overlap with Phase 2
Students will devise the steps of fabrication and assembly of their pieces. This might include the design of moulds for casting, cutting tools and jigs, scaffolding, aggregation sequence, assembly lines, etc.
digital and physical models demonstrating the assembly method
02.
master axonometric drawing illustrating the process from raw material to final assemblage
6
Teaching Archive | 2011 - 2016
DELIVERABLES PHASE 5 01.
Environmental Simulation
DELIVERABLES PHASE 3
4 weeks. Overlap with Phase 4
Students will produce video simulations of their structural system using C4D and Unreal Engine displaying the assembly process of the structure and the experiential and programmatic possibilities of different assemblages
01.
tool, could be digital or physical or a combination of both
02.
digital and physical models produced with the tool
03.
recorded evidence of the tool in operation
DELIVERABLES PHASE 6
04.
video-tutorial on how to use the tool (1 to 3 min)
01.
Assembly process animation (max.2 min)
02.
Experience and program animation (max. 3 min) or virtual walk through
03.
Printed perspective illustrations
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INDA year 4 studio | 2015-2016
TERMS & CONDITIONS • Structural systems must consist of assembled blocks and units • The structure must be directed towards a context • Manufacturing, transportation and assembly of the structural system must be realistic. • The final assembly might be permanent or reusable • Binders (aka mortars) and joints are allowed, yet the student should be aware of the added complexity to the structural simulation when introducing them.
WORKFLOW (SOFTWARE) • Modeling and Generative Modeling - Rhino + Grasshopper • Structural Analytics - FEA (finite element software) • Animation and Simulation - C4D + UnReal REQUIREMENTS • Medium/High knowledge of Rhinoceros Software
MATERIAL COSTS Rough estimation = 20k THB GRADING DISTRIBUTION GROUP REVIEW 1 SEP-1s
10%
All materials produced during Phase 1 and work in progress for Phase 2
PIN UP 1 10% SEP-18th
All materials produced during Phases 1&2 and work in progress for Phase 3
MIDTERM REVIEW 25% OCT-9th GROUP REVIEW 2 15% OCT-30th
All materials produced in Phases 1, 2, 3 & 4 All pre-midterm materials and work in progress for Phase 5
FINAL REVIEW 35% NOV-27th
All materials
PARTICIPATION
Attendance and participation in group sessions and research book
5%
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Teaching Archive | 2011 - 2016
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THE COLLECTIVE DWELLING
INDA year 3 studio | 2015-2016
THE
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COLLEC TI VE
EXPERIMENTAL PROPOSALS FOR FUTURE DWELLERS
D W ELLI NG
Experimental Proposals for Future Dwellers
Y3 ARCH DSGN II
August 2015
Reading the Collective Dwelling
Edersheim Apartment designed in 1970 By Paul Rudolph for Claire & Maurits Edersheim
Introduction People have always lived together. Collective dwellings, apartment buildings, apartment houses, blocks of flats, tower blocks, high-rises or mansion blocks as an architectural typology for the masses is however a fairly new model for collective living. The first high-rise apartment buildings appeared for the first time in antiquity. The insulae1 in ancient Rome, some of which might have reached up to ten or more stories is our earliest record of something recognisable as what we in Bangkok refer to as condominiums. The typology appears sporadically throughout history but is not introduced as an organized form of urban living until the late 19th in England.
Teaching Archive | 2011 - 2016
>> Project 1 >> Research >> Fall 2015 >> Faculty - Dr. Scott Drake , Francisco Garcia Moro, Fredrik Hellberg (coordinator), Alicia Lazzaroni, Peter Strzebniok, Komthat Syamananda, Natalia Vera Vigaray, Wisarut Eric Wattanachote
In the first phase of this term we will study and analyse methods of architecturally organizing collective living spanning the globe and history through the filter of economy. We will select collective dwellings from around the world and organize them according to economic sectors of society ranging from low to high income groups and analyze them in groups. In the beginning of this phase you will have the chance to choose which group your vision for a collective dwelling will serve leading up to the design of a collective dwelling in Bangkok. 1
In Roman architecture, an insula (Latin for "island," plural insulae) was a kind of apartment building that housed most of the urban citizen population of ancient Rome, including ordinary people of lower- or middle-class status (the plebs) and all but the wealthiest from the upper-middle class (the equites).
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THE COLLECTIVE DWELLING
Y3 ARCH DSGN II
August 2015
Background
INDA year 3 studio | 2015-2016
Thailand became an upper-middle income economy in 2011. Notwithstanding political uncertainty and volatility since 1970, Thailand has made remarkable progress in social and economic issues, moving from a low income country to an upper-income country in less than a generation which can clearly be seen in the the growing amount of residential towers in Thailand's urban areas.. As such, Thailand has been one of the widely cited development success stories, with sustained strong growth and impressive poverty reduction, particularly in the 1980s. Thailand's high economic growth at 8-9 percent per year during the late 1980s and early 1990s was interrupted by the "Asian Crisis" of 1997-1998. Since then, economic growth has been moderate, with period of robust growth, such as at around 5 percent from 2002 to 2007, followed by the fallout from the global financial crisis of 2008-2009, the flood in 2011, and the impact of political tensions and uncertainty in 2010 and again in 2013-2015. However Income inequality and lack of equal opportunities have persisted. This is not easily noticed in Bangkok since the majority of low income groups inhabits Thailand's rural areas. This is likely to change as urban areas in the country are growing and the need for collective dwellings catering all income groups will be in increasing demand. This situation will be your ground zero for your design of a collective dwelling for the future of Bangkok. You will begin the semester long project by making a choice: Which income group to dedicate the semester to. Once the choice is made you will conduct research on the history and current housing situation for that income group. There will be three groups to choose from based on current income groups in Thailand which will divide the studio into three blocks, each with its group of instructors.
Project 1.1 - Archive of Collective Dwellings On the first day of class you will have to make a choice: Which income group to dedicate the project to. Every kind of collective dwelling has its own restrictions, opportunities and interests. According to income groups in current day Thailand the groups are distributed according the income per month and household as seen below. Low Income
฿ 0 - ฿ 10.000
Middle Income
฿ 10.000 - ฿ 30.000
High Income
฿ 30.000 -
Each studio group consisting of 10 students of which there will be maximum four and minimum three students per income group. The number of slots for each income group will be predetermined and presented on the first day of class after which the choices will be made. The studio at large will then be divided in the three groups with roughly 26 students in each group who will work together during this research phase where the history of collective dwellings will be explored. Each new group of students will have two to three instructors to lead the research. Together as a research unit you will now put together a list of 237 buildings that can be classified as a collective dwelling (or multi - unit housing) and categorized according to income in the country and time in history the building is from. From those 237, 79 will be selected to analyze. One per student. The final choices must be unique meaning no one else in the studio will study the same building. The analysis will focus predominantly on plans and spatial arrangements of units, circulation and the definition between Private - Semi Private / Semi Public - Public Spaces and their relationship to each other. Each analysis will be organized according to a predefined graphic template which will be distributed on Wednesday 12th via email since there is no class on this day. This will result in an archive of collective dwellings which will be printed and bound into a book to be utilized as a reference and inspiration guide by the studio for the remainder of the semester. On the last day of project 1.1 all the 79 studies will be exhibited in the INDA studio after which you and your instructor will choose 12 of the case studies of special interests to continue working on in groups during project 1.2. It is very important that you conduct project 1.1 carefully as your analysis might be selected by the group for project 1.2 in which case you drawings and files will have to be used by other students.
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Experimental Proposals for Future Dwellers
Y3 ARCH DSGN II
August 2015
The analysis should cover the following and be organized as described below according to the given graphic template in A3 portrait format: Fact sheet
➔ ➔ ➔ ➔ ➔ ➔
Floor Plan, Typical
➔ ➔ ➔ ➔ ➔ ➔ ➔ ➔
Floor Plan, Individual Unit
➔ ➔ ➔ ➔ ➔
Architect Engineer Year Location Building type Structural type
Types of units and occupancy numbers Sqm per inhabitant Area of circulation in % (per unit, per floor and per building) Circulation distance from entrance (door, elevator, staircase) to unit. Vertical circulation scheme Type of Spaces (bedroom, kitchen, balcony etc) Apertures and exterior walls - Orientation and access of units Private - Semi Private / Semi Public - Public Spaces and their relationship to each other ➔ Use of different elevations (maisonette type units) ➔ Organization system (horizontal and vertical) of units in overall floor plan
Terms and Conditions ➔ The chosen collective dwellings must consists of self-contained housing units that occupies only part of a building and contains majority housing units. ➔ The chosen collective dwellings must be an existing building. ➔ The chosen collective dwellings may be from any historical period. ➔ The chosen collective dwellings may be from anywhere on earth.
Deliverables
Below is a list of minimum submission requirements to be delivered. Submission Aug-12th (Choices) No class on this day
Online Submission Wednesday August-12th by 20:00
Submission Aug-17th (Analysis)
Online Submission Sunday August-16th by 20:00
➔
➔
Three selected choices of buildings submitted in the collective Google spreadsheet online. All data must be filled in. Your instructor will help you select one of those buildings to conduct the study using the online spreadsheet.
Teaching Archive | 2011 - 2016
Type of spaces and sqm Openings Access Flexibility Relationship to overall floor plan and building
Analysis of the chosen building printed on A3’s according to the give graphic template containing all the required data.
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INDA year 3 studio | 2015-2016
Project 1.2 - Canonical Collective Dwellings The studio now possesses a comprehensive archive of data concerning collective dwellings across history, continents and income groups. The three income groups will now select six collective dwellings of special importance from the archive to conduct more in depth analysis in groups of 4 - 5 students. Your group will now use the material from the archive regarding the selected collective dwelling and conduct further analysis in both drawings and models. The crowning achievement of the canonical dwelling project will be two large models. One describing a typical plan of the building with unit partitions (walls, membranes, borders), circulation spaces and built in-furniture. The other model will describe the buildings three dimensional composition as blocks representing units, circulation spaces and common spaces.
Deliverables
Below is a list of minimum submission requirements to be delivered. Submission Aug-31th
Early Online Submission Sunday August-30h by 20:00 One physical model in scale 1:50 describing one level of the chosen collective dwellings including partitions , circulation spaces and built in furniture as well as 2D graphic information from the analysis in project 1.1. You may use any material and fabrication method suitable ➔ One physical model in scale 1:100 describing the aggregation of units, circulation and common areas of the collective dwelling made of solid blocks. You may use any material and fabrication method suitable. ➔ One Printed section drawing in scale 1:100 describing the vertical relationship between units and circulation. Paper size is optional. ➔
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Experimental Proposals for Future Dwellers
Y3 ARCH DSGN II
August 2015
Project 1.3 - Canonical Vision For the final project in phase one you will work individually through the use of one single perspective view of a dwelling unit that illustrates your own personal vision for a collective dwelling for your income group. It is important to note that no predefined model of habitation will be imposed on your design. In this project you are free to imagine a way of life that you can support and that you would like to see realized in Bangkok. You may use any representation technique you wish. You will also present a short text further describing your vision. The image and the text will serve as the foundation for your design of a collective dwelling in Bangkok. The view should show at least two walls, floor and ceiling or equivalent, people and furniture.
Below is a list of minimum submission requirements to be delivered. Submission Sep-14th
Early Online Submission Sunday September-14h by 20:00 ➔ ➔
Grading Distribution
One perspective view printed on A1 illustrating a single unit in your collective dwelling One text describing your vision for a collective dwelling in Bangkok. 100 - 250 words.
Project 1.1 Archive of Collective Dwellings ➔ Quality of the drawings and analysis ➔ Online submission complete and on time ➔ Total weight of Phase one
➔ ➔ ➔
95% 5% 30%
Project 1.2 Canonical Collective Dwellings ➔ Craft and clarity in models ➔ Craft and clarity in drawings ➔ Online submission complete and on time ➔ Total weight of Phase one
➔ ➔ ➔ ➔
70% 25% 5% 50%
Project 1.3 Canonical Vision ➔ Craft and clarity in the perspective view ➔ Clarity and conclusion in the written text ➔ Online submission complete and on time ➔ Total weight of Phase one
➔ ➔ ➔ ➔
70% 25% 5% 20%
Total Semester weight of Phase One
➔
30%
Teaching Archive | 2011 - 2016
Deliverables
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Schedule DAY Mon Wed Mon Wed Mon Wed Mon Wed
INDA year 3 studio | 2015-2016
Mon Wed Mon
DATE PHASE CLASS SCHEDULE 08-10 1.1 ARCHDES 2 First Class 08-12 1.1 NO-CLASS 08-17 1.1 PIN UP 08-19 1.2 Tutorials & LECTURE 08-24 1.2 Production 08-26 1.2 Production 08-31 1.2 PIN UP LECTURE and 09-02 1.3 Tutorials 09-07 1.3 Individual Tutorials 09-09 1.3 Individual Tutorials 09-14 1.3 PIN UP
NOTES Syllabus and brief for Phase one introduced. H.M. The Queen's Birthday - Public Holiday Archive Exhibition In studio group discussion & LECTURE on Collective Dwellings In Studio Production In Studio Production The models and drawings exhibited in the studio LECTURE: Representation followed by tutorials
Canonical Vision Exhibition & Introduction to Phase 2
Dictionary (Oxford Dictionary) ➔ Collective: Relating to or shared by all the members of a group ➔ Dwelling: A house, flat, or other place of residence ➔ Residential: Designed for people to live in ➔ Habitat: The natural home or environment of an animal, plant, or other organism ➔ Housing: Houses and flats considered collectively ➔ Canonical: Accepted as being accurate and authoritative ➔ Vision: A mental image of what the future will or could be like ➔ Apertures: An opening, hole, or gap ➔ Typology: (Architecture) The classification of characteristics common to buildings ➔ Dedicate:Devote time or effort to a particular task Figures 1. 2. 3. 4.
Edersheim Apartment / Paul Rudolph. 1970. New York. USA Torre Blancas / Francisco Javier Sáenz de Oiza. 1963. Madrid. Spain 432 Park Avenue. Rafael Viñoly. 2015. New York City. USA Concept Rendering. Ted'a arquitectes. 2013
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September 2015
>> Project 2 >> Fall 2015 >> Faculty - Dr. Scott Drake , Francisco Garcia Moro, Fredrik Hellberg (coordinator), Alicia Lazzaroni, Peter Strzebniok, Komthat Syamananda, Natalia Vera Vigaray, Wisarut Eric Wattanachote
Engineering the
Collective Dwelling
With the canonical vision and the archive as a foundation you will now formulate the structural system for a collective dwelling illustrating also the spatial organization of the individual dwellings, circulation spaces and common space. You have been exposed to a wide array of different structural solutions and spatial arrangements in the previous project that will serve as a starting point. However you are strongly encouraged to be innovative with your structures and look for references outside of the archive and even beyond the housing typology. This phase will result in models and drawings which together with your canonical view will be presented at the midterm review as a schematic design for a collective dwelling. Right: The first steel framed high rise residential towers in the world. 860-880 Lake Shore Drive / Mies van der Rohe - 1951
Project 2.1 - Spatial Organization Living in a collective dwelling such as an apartment building or condo is uncomplicated and comfortable, designing and planning them is a different story altogether. As cities increasingly densify more and more people find themselves spending entire lives sharing the boundaries of their home with strangers. A wall only 10 centimeters thick separates activities, lifestyles and family structures in a magical way unimaginable only a hundred years ago. Placing those boundaries and organizing aggregations of homes in a single building have been explored in thousands of variations with varying success around the world but no naturally no perfect solution has been found. Due mainly to two simple facts 1. The way we live, want to live and can live constantly changes. 2. The technology we use to make architecture is constantly evolving. These two points must always be considered when creating architecture, of any kind. As well as in the case of your design of a collective dwelling for Bangkok.
Teaching Archive | 2011 - 2016
Introduction
You will use your “Canonical View” as a starting point for the spatial organization of your collective dwelling. You might have to compromise, increase or otherwise alter your design as you begin to aggregate your individual dwelling. You will for this first project of phase 2 design the individual unit and a typical floor plan of the entire project. The following requirements apply:
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Submissions
Should include:
Individual Unit Isometric drawing Scale: 1:20
➔ ➔ ➔ ➔ ➔ ➔ ➔ ➔ ➔
Floor Plan, Typical Scale: 1:100
➔ ➔ ➔ ➔ ➔ ➔ ➔
Type of spaces and sqm Openings / apertures / windows Access and circulation Furniture or equivalent Bathware or equivalent Kitchenware or equivalent Number of maximum inhabitants Materials / textures / colors Structure: Load bearing walls (or equivalent) and dry walls or equivalent
Types of units and occupancy numbers and square meters Sqm per inhabitant Type of Spaces (bedroom, kitchen, balcony etc) Vertical and horizontal circulation spaces Circulation distance from entrance (door, elevator, staircase) to unit. Apertures and exterior walls - Orientation and access of units Private - Semi Private / Semi Public - Public Spaces and their relationship to each other ➔ Use of different elevations (maisonette type units)
For your spatial organization to be successful you will simultaneously have to design the structural system for your collective dwelling. The next project will ask you to create models of your structural system but you will however be required to indicate the structural system in the material required for the first project. Terms and Conditions ➔ The individual dwelling/unit/apartment might be of any size and shape ➔ There is no upper limit on the total number of dwellings/units/apartments in the structure ➔ The collective dwelling as a whole should include no less than 20 rentable / sellable dwellings/units/apartments. ➔ There is no upper or lower limit of number of dwellings/units/apartments per floor (or equivalent). ➔ The collective dwelling must consists of self-contained housing units that occupies only part of a building and contains majority housing units. This means that the structure as a whole should mainly consist of private rentable/sellable dwellings/units/apartments. Deliverables
Below is a list of minimum submission requirements to be delivered. Submission Sep-23th
Online Submission Tuesday September-22th by 20:00 ➔
➔
Plan drawing of typical floor plan of entire building including information stated above. printed in 1:100 scale. In the case that your collective dwelling only has one or two units per “floor” you will have to draw two floor plans. Isometric drawing of one dwelling/unit/apartment printed in scale 1:20 including the information stated above.
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Experimental Proposals for Future Dwellers
Y3 ARCH DSGN II
September 2015
Project 2.2 - Structural Design A successful and interesting collective dwelling relies on a close relationship with its structure and interior divisions what creates the individual dwellings. Using your designs from the previous project you will now design the full structural system for your collective dwelling. Massing In order to do that you will also have to create a massing model of the overall collective dwelling. This should include the following: ➔ ➔ ➔
Overall size, shape, height, depth etc Ground floor condition including entrances and initial positioning of ground floor services. Vehicle entrances and parking
Site conditions You will in the next phase work with specific sites in Bangkok however at this stage of the project you will work with a generic site condition that you create yourself. You might have to make adjustments to your design in the next phase. Structure The main aim with this last project of phase 2 is to create a sound yet innovative structural system for your collective dwelling. You will have to represent the structure in both models and drawings which should describe the following: ➔ ➔ ➔ ➔
Materials Main structure and substructure Vertical circulation Structures meeting points with the ground (foundations do not have to be represented)
Dimensions Do not forget that a building's structural dimensions and its internal and external dimensions differ due to a wide range of factors. Consult the “Archive of Collective Dwellings” or other sources as reference. All dimensions have to be indicated in the isometric drawing. Terms and Conditions ➔ The structure must be primarily permanent ➔ The materials used must be available today or within reasonable reach
Deliverables
Below is a list of minimum submission requirements to be delivered. Submission Oct-7th (All material produced so far this semester should be shown at the midterm)
Online Submission Tuesday October -6th by 20:00 ➔
➔
Teaching Archive | 2011 - 2016
You may choose to illustrate the information mentioned above either in the model or the drawing or both,
Physical model in scale 1:100 illustrating the structural system for the entire collective dwelling. Isometric drawing in 1:100 printed on minimum A1 describing the structural system of the entire collective dwelling.
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Grading Distribution
Project 2.1 Spatial Organization ➔ Completion and resolution of the spatial organization ➔ Clarity and craft in drawings ➔ Online submission completed in time ➔ Total weight of Phase two
➔
70%
➔ ➔ ➔
25% 5% 60%
Project 2.2 Structural Design ➔ Craft and clarity in models ➔ Online submission completed in time ➔ Total weight of Phase two
➔ ➔ ➔
95% 5% 40%
Total Semester weight of Phase One
➔
15%
Schedule DAY
DATE
Mon Wed Mon Wed Mon Wed Mon Wed Mon
09-14 09-16 09-21 09-23 09-28 09-30 10-05 10-07 10-12
PHAS E 1.3 2.1 2.1 2.1 2.2 2.2 2.2 2.2 3.1
CLASS SCHEDULE PIN UP LECTURE and Tutorials Individual Tutorials PIN UP Individual Tutorials Individual Tutorials Individual Tutorials MIDTERM REVIEW No Class
NOTES Canonical Vision Exhibition & Introduction to Phase 2 LECTURE: Structures Pin Up of project 2.1 and introduction to project 2.2
All work produced to date will be shown
Recommended Reading, Related Media, and Precedents ➔ 2003. Derek Seward. Understanding Structures: Analysis, Materials, Design. Palgrave Macmillan ➔ 2003. J.E. Gordon. Structures: Or Why Things Don't Fall Down. DaCapo Press ➔ 1967. Heino Engel. Tragsysteme: Structure systems. Deutsche Verlags-Anstalt ➔ 1994. Werner Blaser. Mies van der Rohe, The Art of Structures. Birkhäuser Books
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Experimental Proposals for Future Dwellers
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October 2015
Grounding the
Collective Dwelling
Teaching Archive | 2011 - 2016
>> Project 3 >> Fall 2015 >> Faculty - Dr. Scott Drake , Francisco Garcia Moro, Fredrik Hellberg (coordinator), Alicia Lazzaroni, Peter Strzebniok, Komthat Syamananda, Natalia Vera Vigaray, Wisarut Eric Wattanachote
Urbanized Landscape Series by Li Han / Atelier 11 | China - 2011
Introduction The site for the final design will be in Bangkok's metropolitan area. A limited number of sites will be available for you to choose from, all with their own opportunities and challenges. Some sites will force the proposed collective dwelling upwards as the total area of the site cannot fit the required sqm area for the collective dwelling. Other sites might encourage a lower development that can create more of a
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neighborhood while other sites will force the design into, under or over existing infrastructure or sensitive heritage areas. The choice of site will be made by you based on the material already produced; the structural system and the vision for your collective dwelling. You will then conduct site analysis in order to make informed decisions leading to the final phase.
INDA year 3 studio | 2015-2016
Project 3 - Grounding the Collective Dwelling You will have 16 sites in Bangkok to choose from. The sites offer a wide array of different conditions and your choice will greatly affect your project hence it's important that you choose well. You will initially make two choices based on the selection outlined in the shared map which has been provided. You shall submit your two choices using the supplied form no later than Tuesday 13th of October 20:00. Indicate in the form which is your first, and your second choice. Your final choice will be done in class on Wednesday the 14th of October together with your instructor and fellow students. After the choices has been finalized you will proceed to collect data and arrange for site visits. You may collaborate with other students sharing the same site in collecting data. All deliverables must however be produced individually. At the end of this phase you will have a comprehensive understanding of the site and its unique conditions as well as a strategy for grounding your design for a collective dwelling at the site. Some sites are large, others small. You may use the entire site, or only a part of it. You must however in both cases present an urban strategy for the entire site in the form of a master plan, regardless of the size of the site and your proposal. The data collection regarding your site should be specific for your project but is however required to include the points outlined below. This list specifies a minimum analysis, you will be required to extend this list with conditions of specific interests to your project. Required Analysis ➔ Mapping and drawing of a minimum of a 500 meter radius from the center of the site. ➔ Zoning and Building regulations for your site. Are there any height (or other) restrictions for your site? You may choose to deviate from the current restrictions if good enough reasons are given. ➔ Heritage and listings: Are there any listed or cultural important structure at or close to your site? ➔ Future development: Are there any future plans or master plans for your site to take into account? ➔ Surrounding programs. Residential buildings, government institutions, schools, temples, commercial spaces etc. ➔ Current real estate status at your site? What is the rental prices for apartments and commercial spaces at your site? ➔ Circulation and access. What is the current state of public transportation, vehicle and pedestrian access to your site? The analysis should be included in the required deliverables outlined below along with a massing strategy for your design at the site. Be prepared to make alterations to your design in order to better fit the opportunities and restrictions of the site. This might include adding a plint for parking, extending your structure or reducing it in height. Or perhaps an additional program might be introduced. The strategy should be informed by your initial analysis of the site. Your massing strategy should include the following: ➔ The precise dimensions and location of your proposal at the site. ➔ Access to your proposal at the site. ➔ Plot ratio. The plot ratio is obtained by dividing the gross floor area (GFA) of the building by the area of the site on which the building is erected. ➔ Final number of units in your collective dwelling Terms and Conditions ➔ There is no upper limit on the total number of dwellings/units/apartments. ➔ The collective dwelling as a whole should include no less than 20 rentable / sellable dwellings/units/apartments. ➔ There is no upper or lower limit of number of dwellings/units/apartments per floor (or equivalent).
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Experimental Proposals for Future Dwellers
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Below is a list of minimum submission requirements to be delivered. Submission Oct-26th
Online Submission Sunday October-25th by 20:00 ➔
➔
➔
Grading Distribution
Site plan in scale 1:1000 with a 500 radius area around the center of your site. This drawing should include your analysis. Isometric drawing in scale 1:500 (alternatively 1:250 depending on the size of your proposal) with a 200 meter radius area around the center of your site including analysis and massing of proposal on site as well as master plan. Perspective view on A1 from a key location overviewing your proposal and the surrounding site. The perspective view must represent a realistic viewing point. Seen either from the ground or from a neighboring building.
Project 3 Grounding The Collective Dwelling ➔ Completion and execution of the analysis ➔ Clarity and craft in drawings and views ➔ Massing strategy ➔ Online submission completed and on time
➔ ➔ ➔ ➔
50% 20% 25% 5%
Total Semester weight of Phase One
➔
20%
Teaching Archive | 2011 - 2016
Deliverables
Schedule DAY Wed Mon Wed Mon Wed Mon
DAT PHAS CLASS SCHEDULE E E 10-07 2.2 MIDTERM REVIEW 10-12 3.1 No Class 10-14 3.1 LECTURE and Tutorials 10-19 3.1 Individual Tutorials 10-21 3.1 Individual Tutorials 10-26 3.1 PIN UP
➔
NOTES All work produced to date will be shown LECTURE: Site analysis
PIN UP of phase 3 and introduction to phase 4.
Recommended Reading, Related Media, and Precedents 2014. Robin Ward. Exploring Bangkok, An Architectural and Historical Guidebook. Li-Zenn. Bangkok
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Experimental Proposals for Future Dwellers
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October 2015
Designing the
Collective Dwelling
Colin Mac Suibhne
Introduction In this final phase you will consolidate and complement the material developed in the previous three phases, enhancing the design qualities and carefully refining their relationships within the complexity of the urban fabric. You will also have the opportunity to further develop specific aspects of your project, reaching a higher level of detail. The final design of the collective dwelling will need to prove to be architecturally, socially and intellectually meaningful, balancing the characteristics of the socio-economical group of income that you've considered with its spatial, constructive and structural aspects, while keeping a perspective of experimental innovation to envision potential futures.
Teaching Archive | 2011 - 2016
>> Project 4 >> Fall 2015 >> Faculty - Dr. Scott Drake , Francisco Garcia Moro, Fredrik Hellberg (coordinator), Alicia Lazzaroni, Peter Strzebniok, Komthat Syamananda, Natalia Vera Vigaray, Wisarut Eric Wattanachote
Project 4 - Designing the Collective Dwelling The following material from previous phases are required to be presented at the final review. You may wish to redo some of these to better reflect the final outcome of your design. These phases have however already been graded and they will not be changed. ➔ ➔ ➔ ➔ ➔
Phase 1.1 - Case study drawings - Printouts or presented digitally Phase 1.2 - Photographs of group models - Printouts or presented digitally Phase 2.1 - Isometric view of dwelling - Printouts or presented digitally Phase 2.2 - Structural model and drawing - Physical model must be presented Phase 3.0 - Site Drawing and Isometric View - Printouts or presented digitally
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Deliverables
Below is a list of minimum submission requirements to be delivered. Final Review Dec-2nd
Online Submission Tuesday December 1st by 15:00
INDA year 3 studio | 2015-2016
➔
➔
➔
➔
➔
➔
Ground floor plan. Scale and printing size is optional. the drawings should include the following: ◆ Circulation and access showing entrances for both cars, pedestrians and other modes of transportation. ◆ Structure indicating load bearing elements. ◆ Dimensions ◆ Public VS. Semi-private areas ◆ Facilities. ◆ Context Typical floor plan. Scale and printing size is optional. The drawings should include the following: ◆ Circulation and access showing entrances to units and vertical circulation ◆ Structure indicating load bearing elements ◆ Dimensions ◆ Furniture or equivalent ◆ Public VS. Semi-private and private areas ◆ Facilities ◆ Types of units and occupancy numbers and square meters ◆ Sqm per inhabitant Additional Material. This should be specific to your project and interests. Could be diagrams, drawings, views, animations, models, simulations, role play etc... Section of entire building, Scale and printing size is optional. The drawings should include the following: ◆ Context and ground conditions ◆ People and activities ◆ Circulation and access ◆ Structure indicating load bearing elements ◆ Dimensions ◆ Public VS. Semi-private and private areas ◆ Facilities Three dimensional representations. Printing size is optional. Digital Slideshow. This slideshow must be done using Google Slides and must include all the material you want to present. You may choose to use this presentation in full at the final review or not, or only parts of it.
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Experimental Proposals for Future Dwellers
Y3 ARCH DSGN II
October 2015
Grading Distribution
Project 4 Grounding The Collective Dwelling ➔ Design Execution ➔ Representation ➔ Argument ➔ Online submission completed and on time
➔ ➔ ➔ ➔
50% 20% 25% 5%
Total Semester weight of Phase One
➔
30%
Schedule DATE 10-26 10-28 11-02 11-04 11-09 11-11 11-16 11-18 11-23 11-25 11-30 11-01 12-02
PHASE 3 4 4 4 4 4 4 4 4 4 4 4 4
CLASS SCHEDULE PIN UP Introduction Individual Tutorials Individual Tutorials Individual Tutorials Individual Tutorials NO CLASS PIN UP Individual Tutorials Individual Tutorials NO CLASS EARLY SUBMISSION FINAL REVIEW
NOTES PIN UP of phase 3 Introduction to phase 4.
Chula Open House PIN UP: Progress (digital slide show must be presented)
Online Submission by 15:00
Teaching Archive | 2011 - 2016
DAY Mon Wed Mon Wed Mon Wed Mon Wed Mon Wed Mon Tue Wed
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R E M A K E S
STUDIES ON DESIGN METHODOLOGY
Studies on Design Methodology
Y2 ARCH DSGN I
January 2016
Style:
recognising canons in architectural design
Teaching Archive | 2011 - 2016
>> Phase 1 >> Style >> Spring 2016 >> Faculty - Antonio Bernacchi, Patrick Donbeck, Peter Fisher, Lara Lesmes, Thomas Lozada, Patxi Martin, Pau Sarquella Fabregas, Joy Natapa Sriyuksiri, Carmen Torres, Tijn van de Wijdeven.
Comparative Characteristics of 13 Selected Styles of Architecture. Joseph Gandy
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Introduction
If last semester was dedicated to copying, the coming one will look into interpretation; shifting focus from the individual to the collective method. In order to understand architectural styles or periods, one must realise that the concept itself is fairly recent. It wasn’t until the 19th century that scholars, mostly in the field of art history, fabricated the idea of historical periods, proposing grand schemes tracing the transmission of elements of styles across great ranges in time and space, although awareness of stylistic shifts in architecture history dates back to the Renaissance. The ancient Greeks and Romans built an architecture we call “classical”; for them it wasn’t classical, it was just architecture. In the Middle Ages a new architecture emerged that we call “gothic” but at the time the difference didn’t seem important; they just thought they were building like the Romans. By about 1500 AD the Italians woke up to how different gothic was from the ruins around them and they began to design buildings in the Roman style, but in reality it wasn’t quite the same; it was something new. It was classicism. Style: In Defence Of… Classicism. Robert Adam. Machine Books. Oct - 2014
The definition of style is always retroactive. An architectural period cannot be perceived in the present. One can be consciously part of a movement and follow its principles but it is only from a point in the future that one can look back and understand the common features of a time so as to identify canons and distinguish different periods from one another. It is relevant, though, to look at the current state of society; its moral and political values, construction technology and material resources, to formulate the basis of presently forming styles as these emerge precisely from the history of a society. History taught us the evolution of architecture, it is now teaching us the evolution of society. The Revival of Architecture. William Morris. Fortnightly Review. May - 1888 Style cannot be detached from its historical context either. It is most common to understand architectural periods chronologically, as styles emerge gradually from one another or in reaction or opposition to preceding styles; but there are also anachronic relationships when features were temporarily abandoned and picked up at a later time, or periods that were only understood or post-rationalised from a future perspective. This is the case with Revivalism, or the echoing of styles from a previous architectural era. To attempt to build up theories of art, or to form a new style, would be an act of supreme folly. It would be at once to reject the experiences and accumulated knowledge of thousands of years. The Grammar of Ornament. Owen Jones
It must also be acknowledged that style cannot be formed in isolation. Style is always the sum of many. An individual can develop a series of works in which recurring features can be identified and therefore become his/her style, or common characteristics can be identified in the work of several individuals to determine a style. Indeed, there would be no styles without copying as we are irremediably
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influenced by our past and our surroundings. Classicism in architecture survives today among a band of dedicated enthusiasts but remains deeply embedded in the public imagination and western culture. When we look at a building we carry a deep-rooted memory of classical architecture as an aesthetic standard.
Style: In Defence Of… Classicism. Robert Adam. Machine Books. Oct - 2014 But it is also for this reason one must not forget that style is not only concerned with visual features; it involves many other forms of expression and it should be understood and analysed in the depth of its underlying principles. It is common to first look at style mainly through its visual elements -in fact, the first definitions of architectural style were mostly concerned with form and ornamental components, and often also with structure, construction method and building materials- yet two pieces of architecture can look very different and yet be very similar in terms of, for example; strategic approach, design method, contextual response, etc. Philosopher Georg Lukacs described the style of a piece of work as the attempt to reproduce one’s view of the world within it. Looked at in this way, he says, style ceases to be a formalistic category but rather, “it is rooted in content; it is the specific form of a specific content.” After all, style is not technique, but ought to convey an intention. Foreword of the Series “Style: In Defence Of…” . Austin William. Machine Books. Oct - 2014
Teaching Archive | 2011 - 2016
Throughout the semester we will critically engage with the captivating question of style to both continue learning from the past and further explore the many and diverse approaches to architecture.
The Architect’s Dream. Thomas Cole. A vision of buildings in the historical styles of the Western tradition, from Ancient Egypt through to Classical Revival
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Objectives
Constraints
Each of you have been preassigned an architectural style from this list to analyse in depth through a series of examples. It will be important to answer the following questions: ● which are the main visual features of this style? ● what prompted this style? was it a technological development? a social movement? a political situation? ● what are the principles of this style? what does it stand for? ● how does this style relate to the previously existing ones? did it react against or evolve from a previous style? ● which are the characteristic architectural elements of this style? ● what implications did this style have in society? did it involve a particular craft? did it provide new types of spaces? did it propose new ways in which society can relate to architecture? ➔ ➔
➔
Styles have been preassigned to students (2 and only 2 students per style) Styles can be traded if both parties agree and a notification is sent BY BOTH PARTIES to laralesmes@cuinda.com prior to Friday, Jan-22nd at 20:00. This meant that each student involved in the trade must send a confirmation email. trading of styles will NOT affect group distribution
Deliverables
A2 PLATES The following materials must be PRINTED in A2 plates (minimum 180 gsm paper): 1. one plate with the most relevant architectural elements of that period 2. one plate demonstrating the evolution of at least three elements throughout that period 3. one plate comparing the alterations of at least three elements between that period and its precedents, revivals, interpretations or regional currents that it diverted onto 4. one plate compiling a taxonomy of diagrams that demonstrates the relationship between elements and overall architectural character of that style (the diagrams might be plans, elevations, sections, axonometrics, etc. depending on the most relevant drawing for each style) 5. one master axonometric drawing explaining the construction techniques and material technology available at the time *All graphic materials in the A2 PLATES must be authored by the students **All data requested in the submission form must be correctly filled in PRESENTATION Digital presentation (aspect ratio 4:3) which could be a slideshow, video or a combination of both; presenting the research material and arguments for what the canons of that style are. The presentation should be graphically consistent throughout and graphic, photographic or written material that are not authored by the student should be credited. Follow this link for video tutorial support if needed.
Early Submission
Deadline Students will submit the following materials via Google Form no later than Thursday, February 11th at 20:00 Materials The following materials must be included for the submission to be considered complete:
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January 2016
● ●
.pdf compilation with photographic evidence of the 5 A2 plates printed link to digital presentation file in google drive
Conditions All materials must be uploaded to google drive and only links to google drive documents will be accepted. Links to google drive folders will not be accepted. The document permissions should be set to Anyone at INDA with the link - can view. If the permissions are not set and instructors cannot access the file the submission will be considered incomplete. Incomplete submissions will result in a deduction of 10% from the pinup grade. Glossary
follow this link to glossary
Schedule
8:30
Friday Jan-22
8:30
Tuesday Jan-26
8:30
Friday Jan-29
8:30
Tuesday Feb-02 8:30 Friday Feb-05 8:30 Tuesday Feb-09 8:30
First Class Introduction to the brief Choice
Style Exchange closes at 20:00. All style tradings must be notified and confirmed by both parties prior to this time.
Paired session presenting work in progress
Teaching Archive | 2011 - 2016
Tuesday Jan-19
Thursday Feb-11 20:00 Submission Online Submission via Google Form Friday Feb-12 8:00
PinUp 1
Sunday Feb-14 14:00
Portfolio
Presentation of all Phase 1 materials GSlides Portfolio Project Update
Gothic Cathedrals 12-13 centuries. Plans left to right: Chartres, Reims. Amiens, Beauvais . Unknown Source
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>> Phase 2 >> Remake >> Spring 2016 >> Faculty - Antonio Bernacchi, Patrick Donbeck, Peter Fisher, Lara Lesmes, Thomas Lozada, Patxi Martin, Pau Sarquella Fabregas, Joy Natapa Sriyuksiri, Carmen Torres, Tijn van de Wijdeven.
Remake:
reference & interpretation in architectural design
INDA year 2 studio | 2015-2016
The Columns of the Alhondiga. Bilbao, Spain. Philippe Starck, 2012. Top to bottom rows: Marble Columns,, Steel Columns, Bronze and Aluminium Columns, Wooden Columns and Brick Columns
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Studies on Design Methodology
Y2 ARCH DSGN I
February 2016
Introduction
As a continuation of the research into a particular style, the coming phase will be dedicated to designing versions of the elements studied in Phase 1, with the only condition that these new elements must be suitable and responsive to the conditions and technologies available in present times. Rather than copying, the style is now being referenced. An individual criteria must be developed to select the features that must be kept and the ones that can be changed for the style to remain recognisable through the alterations. The point is not only to be inspired by the characteristics of a style, but to translate its values and ideals as well. The exercise will be to design architectural elements at first -instead of a building- for two reasons: one, to echo an architectural style and not a particular building; and two, to be able to think about material, assembly, construction and technology in design. Even though the focus is on designing parts, the aim is NOT to design a modular system (it could eventually be, but it doesn’t have to) but to pay attention to discrete architectural moments (for the above mentioned reasons). Ultimately, the designs must demonstrate such an understanding of a style as to be able to reinterpret it.
Objectives
Design a series of architectural elements that are an evolution or interpretation of the ones studied in Phase 1 to suit the socio-cultural and technological needs and/or values of our times. The result will be a set of elements with which an architecture can be composed. Note that you might design elements that did not exist in the period when the original style developed. The elements will be divided into the following 5 categories: 1.
2.
Structural Elements a. column b. beam c. arch d. dome e. vault f. truss g. others... Surface Elements a. facade b. partition c. floor d. ceiling e. handrail f. fence g. eave h. curtains i. others...
3.
4.
5.
Teaching Archive | 2011 - 2016
Circulation Elements a. stair b. ramp c. elevator d. bridge e. escalator f. others... Aperture Elements a. window b. door c. skylight d. gate e. balcony f. others... Infrastructural Elements a. environmental (fireplace, air conditioning, radiator, fan, etc.) b. electrical (lighting, switches, etc.) c. plumbing (pipes, fittings, etc.) d. others...
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Students should design at least 5 elements covering a minimum of 3 of the following categories: ➢
Structural elements
➢
Surface elements
➢
Circulation elements
➢
Aperture elements
➢
Infrastructural elements
The definition of what an evolution or interpretation of an architectural period is and concerns is personal and shall be defined and stated throughout Phase 2.
INDA year 2 studio | 2015-2016
Constraints
Deliverables
➔
All designed elements must respond to the present times. Therefore, existing manufacturing, construction and material technology must be taken into consideration.
ELEMENTS The designed architectural elements shall be presented: 1. in a series of min. 5 plates (at least one per element, max. number unlimited) graphically composed in vertical A2 (minimum 180 gsm paper) 2. in a series of at least 2 physical models (one of each category) to scale (1:1 to 1:10) that accurately represent the material and structural qualities of the designs, with an emphasis on fabrication, joinery and assembly - how to make and put things together) PRESENTATION Digital presentation (aspect ratio 4:3) which could be a slideshow, video or a combination of both; presenting the arguments for the changes that have been made to the original elements, why and what consequences would these changes have. Follow this link for video tutorial support if needed
The Columns of the Alhondiga. Bilbao, Spain. Philippe Starck, 2012. Terracotta Columns
Early Submission
Deadline 1 - Midterm Review Students will submit the following materials via Google Form no later than Monday, February 22nd at 20:00 Materials The following materials must be included for the submission to be complete: ● ALL Phase 1 materials (as listed in the brief for Phase 1) ● .pdf compilation of scans of 20 x plates in vertical A4 developed during the Design Charrette. ONLY work submitted by the deadline can be presented at the midterm review.
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Studies on Design Methodology
Y2 ARCH DSGN I
February 2016
Deadline 2 - Exhibition of plates and models in progress Students will have their work displayed in studio as specified by each instructor by Friday, March 11th at 09:00 Materials The following materials must be included for the submission to be complete: ● a minimum of 4 final plates showing the design of 4 elements ● a minimum of 2 final models of 2 of the designed elements ● work in progress (preliminary models, material tests, sketches, etc.) Deadline 3 - PinUp 2 Students will submit the following materials via Google Form no later than Thursday, March 24th at 20:00 Materials The following materials must be included for the submission to be complete: ● .pdf compilation with photographic evidence of the A2 plates printed ● .pdf compilation with photographic evidence of the 2 models ● link to digital presentation file in google drive Conditions All materials must be uploaded to google drive and only links to google drive documents will be accepted. Links to google drive folders will not be accepted. The document permissions should be set to Anyone at INDA with the link - can view. If the permissions are not set and instructors cannot access the file the submission will be considered incomplete.
Schedule
Phase 2
Tuesday Feb-16 8:30 Friday Feb-19 8:30
Teaching Archive | 2011 - 2016
Introduction to the brief + Design charrette
Monday Feb-22 20:00 Submission Online Submission via Google Form MIDTERM REVIEW
Tuesday Feb-23 8:00
NO-CLASS
Friday Feb-26 8:30 Tuesday Mar-01 8:30 Friday Mar-04 8:30 Tuesday Mar-08 8:30 Friday Mar-11 8:30 Tuesday Mar-15 8:30 Friday Mar-18 8:30 Tuesday Mar-22 8:30
No work assigned Presentations of selected projects
Exhibition of plates and models in progress
Thursday Mar-24 20:00 Submission Online Submission via Google Form Friday Mar-25 8:30
PinUp 2
Sunday Mar-27 14:00
Portfolio
End of Phase 2 Tumblr Portfolio Project Update
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February 2016
>> Phase 2 >> Remake >> Spring 2016 >> Faculty - Antonio Bernacchi, Patrick Donbeck, Peter Fisher, Lara Lesmes, Thomas Lozada, Patxi Martin, Pau Sarquella Fabregas, Joy Natapa Sriyuksiri, Carmen Torres, Tijn van de Wijdeven.
Remake:
reference & interpretation in architectural design
INDA year 2 studio | 2015-2016
Desig Charrett
Tuesday, February 16th & Friday, February 19th The Design Charrette will be a 2 day collective workshop that will result on a series of draft designs of architectural elements. The workshop will kickstart Phase 2 with fast and fresh draft proposals to present at the Midterm Review together with your work from Phase 1
The aim of the Design Charrette is to produce draft designs for at least 4 architectural elements (a minimum of 5 variations of each element) in the spirit of the style you studied in Phase 1
4 elements x 5 variations = 20 A4 plates During the 2 sessions of the Design Charrette you will have the chance to seek advice from any instructor, although most of the time should be dedicated to production At the end of each session 30 minutes will be dedicated to display the day’s production What to do in advance: ● Read the Phase 2 brief carefully ● Prepare an initial list of elements you are interested in designing What we will provide: ● A4 grid templates (90 and 120 degree grids) What you should bring: ● A4 tracing paper (loose sheets not rolls) ● A4 watercolour/card paper (around 150 gsm) ● Pens, watercolours, pencils, brushes, etc. Anything you like to draw with! ● Your laptop with your plates and digital presentations from Phase 1 The 20 A4 plates (minimum) will be presented at the Midterm Review as Phase 2 work-in-progress. You can re-work your plates outside of class. Computer drawings (or any other formats) are allowed for presenting at the Midterm Review but we will work by hand in class in order to present work in the end of each session.
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Studies on Design Methodology
Y2 ARCH DSGN I
March 2016
Canonical Buildings: spatial composition, joinery & detailing
Teaching Archive | 2011 - 2016
>> Phase 3 >> Canonical Buildings >> Spring 2016 >> Faculty - Antonio Bernacchi, Patrick Donbeck, Peter Fisher, Lara Lesmes, Thomas Lozada, Patxi Martin, Pau Sarquella Fabregas, Joy Natapa Sriyuksiri, Carmen Torres, Tijn van de Wijdeven.
Plan and Elevation of a Round Chinese Pavilion - Ilya Vasilyevich Neyelov. 1770
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INDA year 2 studio | 2015-2016
Introduction
The last few weeks of the project will be dedicated to the design of a small scale building that encompases the characteristics of the studied style in present times. The building will house a chosen program and stand against a particular climate, but what will be considered its context is the style that each student has studied. This is not to disregard function or site as important conditions, but to emphasise on the fact that pragmatism alone will not deliver a design. Some design decisions do not respond to function and one needs to look elsewhere for reasons, guidelines, references, etc. Even when we think we are not looking, visual references are being registered in our mental archive constantly and, without knowing it, we apply them to our designs and we help form a style. For example: it is not by coincidence that most coffee shops nowadays have old leather couches and worn out wooden tables, it is the intense traffic of visual references that feeds expectations and assumptions resulting on the forming of, in this case, the hipster style. In other cases, it is not visual references but philosophical concepts, moral principles, political ideas, etc. that sets the basis for a style. But regardless of how it happens, what this leads us to is the absolute necessity of forming a personal agenda as a designer. Last semester we looked at how architects as individuals form their own agendas. This semester we have been looking at architectural styles that are collective architectural agendas formed -whether if consciously or not- by a group of individuals following common goals, values, ideals or tastes. Each student has been assigned a style and the interpretation of it is now a personal design agenda that helps make those design decisions that go beyond function and results on a personal and original approach to architecture, originated from conscious referencing.
8 of the 68 designs for the London Eiffel Tower Competition held in 1890
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Studies on Design Methodology
Y2 ARCH DSGN I
March 2016
The reason why we have asked for architectural elements first and buildings later is so that designs could be executed from a purely style-based approach responding solely to the newly formed architectural agenda and contemporary material and technological means, but without the usual decision-making escape routes provided by program or site. Now the architectural elements can be used to design a building with a certain program and in a certain climate and place. For this it is important to keep in mind that the architectural elements are strategies and not necessarily modules; meaning that the designs can be adapted, tweaked or modified whilst still having the same characteristics. One can, for example, take the reinforced concrete column as an architectural element and imagine it in many forms and sizes, yet it is still the same column. Now it is also the time to bring back the characteristics of the style that refer to composition, massing, distribution and any other areas of design that apply to the building as a whole and not the elements in particular. It is also the time to consider what type of space should be created as well as what form should the building have and with this conclude the project with a building design that transfers the features of the studied style to present times.
Objectives
Select one of the provided programs and climates from the micro-brief menu. You will respond to it with a design that uses the elements defined in Phase 2 as well as the values and features of the style studied in Phase 1. In this phase you will need to work out how parts come together. You should consider the style you have been working with so far as the cultural context of your project. The result will be a small scale building where all details are resolved. Some of these details were designed in Phase 2. Others will need to be designed in connection to them. These might be: additional elements required for the selected program and climate, joinery details to resolve how elements come together or variations of the previously designed elements to better fit Phase 3 requirements.
Constraints
➔ ➔
Teaching Archive | 2011 - 2016
Maximum height = 30 m Maximum area determined by each program
NOTE: It is not a requirement to use all 5 elements designed in Phase 2 but there should be a clear connection between phases and material and fabrication strategies must be transferred from Phase 2 to Phase 3. For this reason less time is dedicated to Phase 3.
Guard Houses, Alexander Gorlin. Battery park, NYC, USA. 1994
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INDA year 2 studio | 2015-2016
Deliverables
DRAWINGS The design shall be presented: 1. in a set of architectural drawings to scale 1:50. 2. in a series of three-dimensional drawings that explain: a. the relationship between the parts and the whole b. the construction and assembly sequences in construction 3. in a series of diagrams that explain: a. how the design responds to the given program b. how the design responds to the chosen climate 4. in a series of views that portray the material and atmospheric qualities of the space 5. one drawing at scale 1:50 complying to given graphic standards (TBD) *for deliverables 1,2,3 & 4 the graphic standards are to be determined by each student.
MODELS Physical models are not a requirement. Study models will be helpful throughout the design process. Additions to the models developed in Phase 2 might be useful in order to resolve the meeting points between parts. None of them are a requirement PRESENTATION Digital presentation (aspect ratio 4:3) which could be a slideshow, video or a combination of both; presenting the way in which elements have been composed and how the spatial qualities of the original style have been translated. Follow this link for video tutorial support if needed.
Schedule
Phase 3
Tuesday Mar-29 8:30 Friday Apr-01
8:30
Tuesday Apr-05
8:30
Friday Apr-08
8:30
Tuesday Apr-12
8:30
Friday Apr-15
8:30
Tuesday Apr-19
8:30
Friday Apr-22
8:30
Tuesday Apr-26
8:30
Friday Apr-29
8:30
Introduction to the brief
Paired session presenting preliminary designs
NO-CLASS
Online Updates & Feedback Exhibition of works including architectural drawing set and drafts of selected views
Final All works to be presented at the final review Submission submitted from 14:00 to 15:00 at Makkasan
**Please note that final review week is the week of May-2nd through May-8th, all students are expected to attend their group review and reviews of other years during the week. Please do not schedule other events during this period.
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Studies on Design Methodology
Y2 ARCH DSGN I
March 2016
>> Phase 3 >> Canonical Buildings >> Spring 2016 >> Faculty - Antonio Bernacchi, Patrick Donbeck, Peter Fisher, Lara Lesmes, Thomas Lozada, Patxi Martin, Pau Sarquella Fabregas, Joy Natapa Sriyuksiri, Carmen Torres, Tijn van de Wijdeven.
Canonical Buildings: micro -brief menu
Climate 1.
TROPICAL
➢
Tropical rainforest (Af)
➢
Tropical monsoon (Am)
➢
Tropical wet and dry or savanna (Aw)
➢
Hot desert (BWh)
➢
Cold desert (BWk)
➢
Hot steppe (BSh)
➢
Cold steppe (BSk)
➢
Dry-summer or Mediterranean (Csa/Csb)
➢
Humid subtropical (Cwa,Cfa)
➢
Maritime temperate or Oceanic (Cwb, Cwc,Cfb, Cfc)
2.
DRY
3.
TEMPERATE
➢
Temperate highland tropical with dry winters (Cwb, Cwc)
➢
Maritime subarctic or subpolar oceanic (Cfc)
➢
Dry-summer maritime subalpine (Csc)
➢
Hot summer (Dsa, Dwa, Dfa)
➢
Warm summer or hemiboreal (Dsb, Dwb, Dfb)
Teaching Archive | 2011 - 2016
4.
CONTINENTAL
➢
Subarctic or boreal (taiga) (Dsc, Dwc, Dfc)
➢
Subarctic with extreme winters (Dsd, Dwd, Dfd)
➢
Tundra (ET)
➢
Ice cap (EF)
5.
POLAR
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STYLE REMAKES
Y2 ARCH DSGN I
March 2016
Program
INDA year 2 studio | 2015-2016
1.
PETROL STATION
Plot size
900 sqm (including all car circulation and parking)
Program
Shop Male & Female Toilets Pumps Electrical charging stations Parking spaces Big sign
Site
Stands by the service lane of a generic highway surrounded by an open landscape with no vegetation.
Plot size
50 sqm (not including potential pop-up semi-enclosed spaces)
Program
Display shelves and hangers Counter Storage cabinet Shutter Sign Furniture (optional)
Site
Stands next to other market stalls that have the same size.
Plot size
250 sqm
Program
Outdoor sitting Indoor first aid area Office Changing room Hangers Staircase or ladder
Site
Stands on the sand, by the sea, in an area where the tide never reaches and where there is no vegetation.
2.
MARKET STALL
3.
BAYWATCH TOWER
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Studies on Design Methodology
Y2 ARCH DSGN I
March 2016
4.
DINING PAVILION
Plot size
500 sqm
Program
Dining area convertible to dancing area Bar Space for temporary food preparation area Toilets Storage Furniture (optional) Kitchen (optional)
Site
Stands in a vast lawn next to a big lake with some vegetation around but no other buildings in sight.
Plot size
100 sqm (not including the driveway and space occupied by the barrier)
Program
Indoor sitting area Outdoor sitting area Toilet and changing room Storage Barrier
Site
Stands by the T intersection that leads to a large unfenced private property.
Plot size
80 sqm
Program
Display system and hangers Counter Storage cabinet Refrigerated Storage Shutting system
Site
Stands on a vast public square that has no other buildings or furniture. The pavement is featureless and the square is surrounded by generic buildings.
Plot size
400 sqm
Program
Area to house and operate a large telescope Mechanical room Desk Toilet Pantry
Site
Stands on top of a hill surrounded by vegetation. There is no road access or any other buildings around.
5.
GUARD HOUSE
STREET KIOSK
Teaching Archive | 2011 - 2016
6.
7.
OBSERVATORY
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Y2 ARCH DSGN I
March 2016
8.
LIGHTHOUSE
Plot size
200 sqm
Program
Area to house a large lamp Toilet Pantry Resting area Electrical room
Site
Stands on top of a cliff with no vegetation, by the sea. There are no other buildings in sight and there is no road access.
Plot size
500 sqm (including all car circulation areas)
Program
4 booths: Signs Desk Chair Side counter Hangers Cabinet Auxiliary building Male & Female Toilets and Changing Rooms Pantry Lounge
Site
Stands on the highway in a desolate landscape.
INDA year 2 studio | 2015-2016
9.
TOLL BOOTH
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Teaching Archive | 2011 - 2016
Studies on Design Methodology
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INDA year 2 studio | 2015-2016
COPYCATS
160 \
Studies on Design Methodology
Y2 DSGN III
August 2015
THE CODE:
an exercise on architectural language
Teaching Archive | 2011 - 2016
>> Phase 1 >> The Code: an exercise on architectural language >> Autumn 2015 >> Faculty - Antonio Bernacchi, Peter Fisher, Alicia Lazzaroni, Lara Lesmes, Thomas Lozada, Pau Sarquella Fabregas, Joy Natapa Sriyuksiri, Carmen Torres, Natalia Vera Vigaray, Tijn van de Wijdeven
Mies Van Der Rohe plan drawings. Top to bottom and left to right: House and Atelier for the Painter Emil, Exhibition House, Barcelona Pavilion and Brick Country House.
Introduction
This first exercise will introduce you to the notion of architectural language. The idea that each architect has a language or style is a contentious and disputed one (for some of us, nerds). Whilst some might claim that form follows function others will say that modernism is also a style. One cannot neglect that the design of a building involves a bunch of predetermined and inevitable conditions which a
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August 2015
INDA year 2 studio | 2015-2016
good designer should be able to accommodate for, yet anyone who has attempted to design knows that in architecture there is a thousand answers to one problem and decision-making goes much further than constraints. Every design is of course informed by rational and invariable parameters such as program, context, budget or law; yet many decisions are based on our cultural background, our idea of what’s cool, the client's idea of what’s cool, what we saw in that last trip, blogs, magazines, books, etc. A complex bundle of references comes into the equation and makes us choose pink instead of blue. It is common that designers are not fully aware of their sources of inspiration or prefer to not talk about them in favor of originality, uniqueness or authenticity -which they see as some sort of purity- yet true innovation can only originate from the rigorous study and understanding of precedents and references which is, after all, acknowledging and being in control of one’s own style. A quick look at the history of architecture will introduce you to the wide range of languages that architecture has spoken, each one of them criticised, praised, surpassed, neglected, forgotten, revisited, reinvented, criticised… You will also find the numerous and diverse theories determining what architecture should and should not be. Rather than subscribing to an architectural religion and dive into designing a building, we would like you to first observe and learn from how others have done it.
Objectives
Each of you will choose a different architect and through a series of studies decipher his/her architectural language or code. Which are the common features in his/her works? How did he/she made choices beyond constraints? Which theories did he/she argue for? What was his/her intention? Which architects did he/she admire? Which ones did he/she criticized? Who are his/her contemporaries? What is the language his/her architecture speaks? First step is to make you choice. ➔ Choose wisely: Make sure you will have access to a considerable amount of information about the architect you pick. The more information you can consume the stronger your case will be. ➔ Challenge yourself: The most interesting architect to pick might not be the one whose work you like the most. Choose someone that intrigues you, surprises you, someone you don’t understand. Next will be to proceed with the study. ➔ Dig: you should gather as much information as possible. Look at drawings, sketches, models, photographs, texts, lectures, interviews, etc. in a wide array of sources such as books, magazines, blogs, websites, etc. ➔ Read: Architecture is not only consumed through the physical experience of the building or its photographs and drawings; it is also through texts and talks that architects convey their theories, principles and beliefs and it is often the case that an architecture will not be experienced in the same way after reading or listening to the architect talk about it. ➔ Compare: look at different projects by the architect you have chosen and find the similarities and differences amongst them ➔ Identify constraints: look for the different constraints in each project, such as program, site, context, etc. This will help you identify the aspects of the project where decision-making was predetermined and the ones where the architect’s language was applied
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Studies on Design Methodology
Y2 DSGN III
August 2015
Cross reference: search for ideas or concepts that were inherited from other projects or even other architects Finally you will make your case. ➔ Make your points: list out the set of arguments that summarize your study ➔ Question yourself: ask yourself why, question your arguments and re-work them until they are solid ➔ Identify the weaknesses: find the points where your case is not so strong and acknowledge them if you cannot resolve them ➔
➔
➔
Deliverables
The choice of architect must be unique to each student, there can be no duplicates in the whole class. In order to help with your selection we have prepared a list of architects that you can choose from. You may select an architect that is not in the list as long as you make sure that their oeuvre and the documentation of this is extensive enough. In order to keep track of the selections we will ask you to fill in this form with your choice asap and in any case no later than Tuesday, 18th of August at 13:00. Your presentation must incorporate at least the following chapters: ○ Repetitions ○ Copies ○ Tributes ○ Inconsistencies ○ Crap
Dossier Students should present an A4 dossier including all the information gathered. It should be ordered and marked so that information can easily be found in it if requested during the presentation. It does not need to be cleaned up, it is the evidence of research (underlining, post-its, annotations, pins, etc. may remain there). Presentation You should prepare a 3 minute digital presentation (aspect ratio 4:3) which could be a slideshow, video or a combination of both. The presentation should be graphically consistent throughout and the Follow this link for video tutorial support if needed
Teaching Archive | 2011 - 2016
Constraints
Etienne Louis Boullee section and elevation drawings. Left to right: Newton’s Cenotaph, Pyramidal Cenotaph.
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INDA year 2 studio | 2015-2016
Early Submission
Deadline Students will submit the following materials via Google Form no later than Thursday, September 3rd at 20:00 Materials The following materials must be included for the submission to be considered complete: ● .pdf compilation with photographic evidence of the dossier. As the dossier might not be a digital document, a series of photographs as evidence of the status of the dossier for the presentation are sufficient. If the dossier is a digital document then a link to the dossier .pdf file in google drive can be submitted instead. ● link to digital presentation file in google drive (please note that vimeo and youtube links will also be accepted for video files) Conditions All materials must be uploaded to google drive and only links to google drive documents will be accepted. Links to google drive folders will not be accepted. The document permissions should be set to Anyone at INDA with the link - can view. If the permissions are not set and instructors cannot access the file the submission will be considered incomplete. Incomplete submissions will result in a deduction of 10% from the pinup grade.
Glossary
follow this link to glossary
Schedule
Tuesday Aug-11 Friday Aug-14
9:00 FIRST CLASS 9:00
Monday Aug-17 16:00 CHOICE Tuesday Aug-18
Deadline for choosing architect via google form
9:00 MIGRATION New instructors based on choice of architect
Friday Aug-21
9:00
Tuesday Aug-25
9:00
Friday Aug-28
9:00
Tuesday
Sep-1
9:00
Thursday
Sep-3
20:00 SUBMISSION Early online submission via google form
Friday
Sep-4
Sunday Sep-6
8:30 PINUP 14:00 PORTFOLIO
Tumblr portfolio project update
OMA tower visualizations. Left to right: India Tower, Dubai Renaissance, Al Failaliah II, TGI de Paris, Torre Bicentenario, Boompjes 60-68.
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Studies on Design Methodology
Y2 DSGN III
August 2015
>> Phase 2 >> The Copier: architecture synthesizers >> Autumn 2015 >> Faculty - Antonio Bernacchi, Peter Fisher, Alicia Lazzaroni, Lara Lesmes, Thomas Lozada, Pau Sarquella Fabregas, Joy Natapa Sriyuksiri, Carmen Torres, Natalia Vera Vigaray, Tijn van de Wijdeven
THE COPIER:
architecture synthesizers
Teaching Archive | 2011 - 2016
Left to right: Camera Obscura, Jean Laurent Guidotti, 1760; idem.; Dürer’s Door, Albrecht Dürer (1525).
Introduction
The images above represent two types of drawing machines: the two images on the left represent the machine called camera obscura, the rightmost image demonstrates perspective. The former is an optical device, the later a mathematical algorithm. In art, the debate debate as to how much artists of the past employed mechanical and optical devices to produce paintings is yet to be resolved. To some, the use of devices such as the camera obscura would revoke the painter’s status as artist. Instead the use of geometry is commonly accepted. But, whether optical, mechanical or mathematical, aren’t they all devices? In architecture, the use of devices to assist representation is widely approved, yet the idea that the tools and methods we design with have an impact on what we design is not. But looking at the times when there was major shifts in architectural design and which new tools had then been introduced, one can appreciate the possible impact that these tools might have had, for example: the introduction of geometry facilitated gothic structures; the invention of perspective inspired the renaissance; the drafting table played a key role in modern architecture; and computer software and scripting has inspired a new wave of parametric design. Not only these practical tools have had an impact on design but also political and social movements (such as socialism, fascism, futurism, arts and crafts, etc.) as well as philosophical theories have influenced and formed architecture throughout history. Therefore, a design methodology or design code can be based on practical or conceptual tools.
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Y2 DSGN III
August 2015
INDA year 2 studio | 2015-2016
Objectives
Our attempt here is: 1. to identify, synthesise and partially automate a design methodology or design code that is based on the observation of another architect. 2. to create devices to design with -or copiers- that constrain, limit or direct design based on the architect’s code, leaving only certain variables open. Each of you will develop a copier or copying device tailored to the architect’s design language, a device that can write the architect’s code. This device might in some cases be a physical drawing machine, in others it might be a digital process, a conceptual process or even a combination of tools. The first step is to have a clear idea of what is your machine has to do. For this you must have concluded the previous phase, being able to condense in a series of steps the instructions or rules to design like this or that architect. In order to test the code that you argued in Phase 1, you may want to first proceed with reproducing a number of projects by the architect, remaking -copying- drawings and models to test yourself on how and what would you need to do it. This should help you choose the architectural representation format(s) that your machine will support. Common ways of representing architectural ideas are: ● sketches ● hand drawings ● computer drawings ● physical models ● digital models ● written or spoken concepts Now it is time to bring the code into the machine. You must design and constrain your machine in order for it to speak the architect’s code and allow for variation based on different inputs. These are design restrictions. What the machine can or cannot do is what the architect would or wouldn’t do based on the brief or context, but the wrong settings could result in architectural gibberish. You must produce a series of samples with your machine in order to test and refine its design and settings. This will start a looping cycle of designing and testing until you reach a satisfactory result proven by samples. You may use the briefs for existing projects done by the architect to test the machine and compare results. It is up to you to decide how much deviation from the original is acceptable. Most copying machines do not produce exact replicas but items of very similar nature, and certain briefs even if given to the same person twice can result in slightly different proposals. Finally, anyone with adequate training must be able to use the copier and produce projects that belong to the embedded architect’s code. Produced samples will be evaluated on a comparative basis against the architect’s original projects but also previous samples produced by the copier. The success of each device will not be measured by how alike projects are to those the architect produced, but based on the coherency between what the machine produces and what you claimed as the architect’s code in Phase 1.
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Studies on Design Methodology
Y2 DSGN III
August 2015
Constrains
➔
the machine should be able to be brought into the studio for a presentation where a demo will be conducted
Deliverables
Copier You should present the copier itself. Depending on its nature you might require different equipment. Samples You should produce a minimum of 5 samples produced with the copier in order to prove how it works. Each sample should be sufficient documentation by itself to communicate an architectural design. Video Tutorial You should produce a 3 minute video-tutorial on how to use the copier, which are the steps to follow, which are the adequate settings, best practices and how to read results. Machine Master Drawings A complete set of drawings showing how the device is built (physically or digitally) should be produced. This drawings should be clear enough for anyone else to be able to build the machine. Summarizing and collapsing information into as few drawings as possible would make understanding easier and faster. Prototypes, precedents and copies You should compile the copies of projects by the architect that you produced in order to design the copier, any additional studies of precedents for your device and any study models, prototypes or tests and bring them in for presentation.
Glossary
link to glossary
Early Submission
Deadline Students will submit the following materials via Google Form no later than Thursday, October 8th at 20:00 Materials The following materials must be included for the submission to be considered complete: ● max. 15mb .pdf dossier with photographs of the copier ● max. 15mb .pdf dossier with all samples produced by the copier ● link to the 3 minute video tutorial on how to use the copier ● link to master drawing file of the copier ● max. 15mb .pdf dossier with photographs and documents of prototypes, precedent studies and previous Conditions All materials must be uploaded to google drive and only links to google drive documents will be accepted. Links to google drive folders will not be accepted. The document permissions should be set to Anyone at INDA with the link - can view. If the permissions are not set and instructors cannot access the file the submission will be considered incomplete. Incomplete submissions will result in a deduction of 10% from the pinup grade.
Teaching Archive | 2011 - 2016
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Schedule
Tuesday
Sep-8
Friday Sep-11 Tuesday Sep-15
Introduction to Phase 2
9:00
8:30 PINUP
Exhibition of machine drawings & models. Pair discussions.
Friday Sep-18
9:00
Tuesday Sep-22
9:00
Friday Sep-25
9:00
Tuesday Sep-29
INDA year 2 studio | 2015-2016
9:00 INTRO
8:30 PINUP
Exhibition of machine prototypes. Paired presentations (shifted pairs).
Friday
Oct-2
9:00
Tuesday
Oct-6
9:00
Thursday
Oct-8
20:00 SUBMISSION Early online submission via google form
Friday
Oct-9
8:30 MIDTERM
Sunday Oct-11 14:00 PORTFOLIO
Machine drawing drawing machines. Pablo Garcia. Published on Designboom 12/04/2012 http://www.designboom.com/art/cnc-historical-drawing-machine/
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Studies on Design Methodology
Y2 DSGN III
August 2015
>> Phase 3 >> The Copy: Spaces of Production >> Autumn 2015 >> Faculty - Antonio Bernacchi, Peter Fisher, Alicia Lazzaroni, Lara Lesmes, Thomas Lozada, Pau Sarquella Fabregas, Joy Natapa Sriyuksiri, Carmen Torres, Natalia Vera Vigaray, Tijn van de Wijdeven
THE COPY: spaces of production
Frank Lloyd Wright at Taliesin West in Arizona, by Ezra Stoller, 1950.
Introduction
The second half of the semester will be dedicated to designing the architect’s workplace as this would be the most suitable program to embody the main principles and most prominent features of his/her oeuvre, as well as respond to the particular needs of the architect’s method. The architecture office or studio is not only a place to work but it is also a meeting place for the architect with potential clients, collaborators, etc. and, therefore, his/her presentation card. It can serve as sample of a certain approach to architecture spatially, stylistically or strategically. The space where architecture is produced responds also to the method of production itself. The space is shaped and organised around an activity. In the past, one of the main activities in an architecture studio was hand drafting, and the main tool was the drafting table. This particular working method required natural light and large space to accommodate drafting tables, which are larger than average desk. Nowadays most offices do a lot of work in computers, which has resulted in an increased density of staff and not so bright spaces. But even if some standard features can be identified, the spaces and organisation of each office differ significantly based on the design and production method >>> the architect’s code.
Teaching Archive | 2011 - 2016
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COPYCATS
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INDA year 2 studio | 2015-2016
Objectives
Requirements
August 2015
This exercise intends to: 1. explore a variety approaches to design methodology in architecture across the Y2 studio 2. understand the way in which space can be designed around a particular activity or process and vice versa: the way in which space can facilitate, determine and/or confine perception and behaviour After studying one architect for the first half of the semester, each of you has now an understanding of his/her design method. In this project you will apply and expand that method in order to produce a new design: the architect’s office. The project should strictly follow what you claimed to be the architect’s Code in Phase 1 and make use of the Copier produced in Phase 2. In some cases the Copier can be use to kickstart the project, generating initial ideas and sketches or conceptual models. In other cases the tool is analytical, and therefore some materials have to be produced as inputs for the Copier prior to using it. Aside from the general project constraints listed below, each of you will have additional ones determined by the architect’s code and therefore you must define your own brief. In this brief you must identify all requirements you must meet in order to make a good Copy. These requirements might affect some of the following areas of design: ● process ● geometry ● material ● program(s) ● light ● site ● size ● height ● ... Designs will be evaluated based on their response to the practical aspects of an architecture office space (specific to the chosen architect’s method) as much as by how coherent with the Code are both the final product and the design process. ➔
➔
PROGRAM ○ typical programs in an architecture office = ● studio ● offices ● meeting rooms ● kitchen and dining area ● workshop ● libraries (materials, books, etc.) ● storage SITE ○ plot size = 20m x 28.7m ○ setback = to be determined on a case by case basis ○ height limit = to be determined on a case by case basis ○ location = any (locations links must be submitted via email-form) ○ built area = 400 to 1000 sqm (sum of the surface of all floors)
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Studies on Design Methodology
Y2 DSGN III
➔
SIZE ○ ○
○
August 2015
number of employees = 30 to 40 typical departments in an architecture office = ● design ● production and not as often also including = ● business development ● construction administration typical roles in an architecture office = ● 1-3 principal(s) ● 2-5 associates ● 4-10 architects ● 2-10 designers ● 2-5 draftsmen ● 1-6 interns ● 2-5 clerks of works ● 2-5 administrators
Deliverables
Case-specific project brief Digital presentation of maximum 10 slides, aspect ratio 4:3, including diagrams (annotated where necessary) that explain the specific requirements of your project in order to meet the architect’s Code. Copier-made material Representations of the project produced with the Copier. Architectural Drawings The following architectural drawings must be submitted in 5 x vertical A3s, printed and mounted on rigid supports ● context map at 1:1000 or context diagram (doesn’t need to be A3) ● site plan at 1:200 ● plan(s) at 1:100 ● section(s) at 1:100 ● elevations at 1:100 Physical Model Physical model representing volumetric, formal and spatial features of the project at scale 1:100 Atmospheric Representation Representation of the project portraying its atmospheric and experiential qualities. Free media, free format.
Early Submission
Deadline Students will submit the following materials via Google Form no later than: 1. Monday, October 26th at 20:00 (for PinUp1) 2. Thursday, November 19th at 20:00 (for PinUp3) 3. Sunday, November 29th at 20:00 (for the Final Review) Pinup 1 Materials The following materials must be included for the submission to be considered complete: ● link to case-specific project brief ● Location pin via google form (detailed instructions will be emailed to you)
Teaching Archive | 2011 - 2016
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COPYCATS
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August 2015
Pinup 3 + Final Review Materials The following materials must be included for the submission to be considered complete: ● link to case-specific project brief ● max. 15mb .pdf dossier with photographs of all representations of the project produced with the Copier ● max. 15mb .pdf dossier with the full set of architectural drawings (as listed in “Deliverables) ● max. 15mb .pdf dossier with photographs of the physical model at 1:100 ● link to atmospheric representation of the project *There is no submission requirements for PinUp2, you will show work in progress **The submission requirements are the same for the PinUp3 and for the Final Review in order to get feedback on all materials prior to producing the final versions.
INDA year 2 studio | 2015-2016
Conditions All materials must be uploaded to google drive and only links to google drive documents will be accepted. Links to google drive folders will not be accepted. The document permissions should be set to Anyone at INDA with the link - can view. If the permissions are not set and instructors cannot access the file the submission will be considered incomplete. Incomplete submissions will result in a deduction of 10% from the pinup grade. Schedule
Friday Oct-16 10:30 INTRO Tuesday Oct-20 Friday Oct-23
9:00
9:00 NO CLASS
Introduction of the brief and group discussion Case-specific briefs + location Online Feedback
Monday Oct-26 20:00 SUBMISSION Early Submission for PinUp Tuesday Oct-27
8:30 PINUP 1
Drawings/models/etc. representing initial ideas
Friday Oct-30
9:00
Tuesday Nov-3
9:00
Friday Nov-6
9:00
Tuesday Nov-10 8:30 PINUP 2 Friday Nov-13 9:00
Tuesday Nov-17 9:00 NO CLASS
Paired session to review drawings and physical model progress
Online Feedback
Thursday Nov-19 20:00 SUBMISSION Early Submission for PinUp Friday Nov-20 8:30 PINUP 3
All materials for Final Review
Tuesday Nov-24 9:00
Friday Nov-27 9:00
Sunday Nov-29 20:00 SUBMISSION Early Submission for Final Review Tuesday Dec-1 Friday Dec-4
8:30
FINAL REVIEW
9:00 REPORT
Y2 Final Review (Phase 1, 2 & 3 presented) Mandatory attendance to Final Reviews
Sunday Dec-6 14:00 PORTFOLIO Tumblr portfolio project update
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DIGITAL STEREOTOMY
INDA year 4 studio | 2014-2015
T O O L S
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F O R
A R C H I T E C T U R E
DIGITAL STEREOTOMY: STONE BLOCKS FOR THE DIGITAL ERA
Stone Blocks in the Digital Era
Y4 - Architectural Design V
Jan 2015
>> Syllabus >> Architectural Design V >> Semester 02, 2014-2015 >> Lara Lesmes
Digital Stereotomy OBJECTIVES
INTRODUCTION
Teaching Archive | 2011 - 2016
The studio focuses on Stone Masonry constructions are Masonry and Stereotomy. ensembles of individual pieces capable of redirecting Masonry is the building of and transferring loads in structures from individual units non-vertical directions. that are shaped and laid in so as to This principle allows stand up against gravity. for creating what we Stereotomy is is the set of geometrical commonly refer to as knowledge and techniques of drawing spaces (understanding, and cutting the blocks of stone and their in this case, space as assembly into complex structures (vault, a partially enclosed arch, dome, etc.) related to architectural volume of air protected construction. from climate, to some The aim of the studio is to design architectural degree). demos or pilot structures for touristic purposes Each piece in a stone to display the qualities of new masonry systems structure is shaped in derived from historical precedents in locations order to perform in where stone extraction plays a significant role. an specific position in The studio will focus on the study of stone relation to the whole and architecture in order to understand how no piece can be missing structural principles respond to form and viceor misplaced, or else the versa and how the design of individual pieces can structure would collapse. implement the structure There are no tension The studio will emphasise on physical and elements in a masonry digital modelling tools. Physical modelling will construction (at the include foam, wood and stone in order to test scale of the ensemble), the performance of form, weight and texture thus, its form directly Gothic Voussoirs. Viollet Le Duc. successively. Digital modelling will include responds to the way gravity Rhinoceros (+ plugins), Autodesk FEA Simulation travels through mass. One could say that, masonry Mechanical and Cinema 4D in order to understand constructions are not compromised but stabilised and represent how form and piece-to-whole by gravity. At the scale of each piece there are also relationships can be implemented to improve structural properties to consider depending on the structural performance. mineralisation process that the rock went through, Students will develop masonry kits based on the direction of the cut when extracted from the different structural principles from historical quarry and the position of the stone in relation to precedents to later summarise them into a display the whole. It is of great importance to understand structure to be manufactured, assembled and that the design of this structures begins at the displayed on a location where the type of stone material source: the quarry, where different used by the student is available. machines to access, cut, drill and crush the material are used and different logistics and planning apply.
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INDA year 4 studio | 2014-2015
Masonry constructions can be classified into typologies based on structural elements such as arches, vaults or domes; or on particular structural systems within a larger family such as a fanned vault versus a ribbed vault. Each of these specimens follows a different structural and geometric principle. There are relations amongst them and sometimes they are combined or developed into another structural typology: for example the ribbed vault could have never been conceived before the understanding of the pointed arch, which in itself is an evolution of the rounded arch. These interconnections help us understand the evolution of masonry structures but also opens up for the idea of creating new combinations and evolutions or mutation of existing structures that could result in new typologies. The nature of masonry constructions is the one of an ensemble, therefore a kit of parts with which one could do a large number of combinations following the same principle. With this idea Renaissance Dome. the studio aims J. C. Palacios Gonzalo. to develop new masonry systems that can serve different purposes and can be organised in different arrangements, scale and different levels of complexity. It is far from common these days to use stone as structural material. Technologies that were developed throughout centuries have completely fallen out of use, but our fascination with stone
Jan 2015
remains and grows proportionally to the time past since the last stone construction was built. The older a complex masonry structure is, the more impressive. We find it difficult to believe that back-in-the-date masons were capable of resolving geometrical problems but stereotomy dates back to the 10th century and today we still wonder how. Staring at a gothic vault, a renaissance dome or a baroque staircase for long enough, one can begin to see the geometric patterns that divide its form into pieces (voussoirs) and the relationships amongst them: stereotomy unfolds and the threedimensional puzzle is getting resolved. A step further is drawing them, then one could figure out how to cut those shapes from a solid block, how to assemble them together and construct spaces. The studio aims to take on where stone construction was left and develop new possibilities for masonry systems that take advantage of the new technologies available whilst learning from the very rich history of stereotomy. When using natural stone, masonry constructions imply aggressive modifications of the landscape which are not considered part of the design but a necessary side effect. Interestingly and regardless of this, natural stone is still considered one of the most sustainable of the industrial minerals. The extraction process in a quarry is a calculated choreography of destruction in which what used to be the an area of activity becomes later the path, ramp or step that leads to a new working area. Quarries attract large numbers of visitors nowadays who are curious to witness the spectacle of such uncanny landscapes. The studio will aim to address the quarry as a dynamic site, considering the extraction logistics as a part of the construction process of masonry structures that support touristic leisurable activities as its context is being reshaped.
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Stone Blocks in the Digital Era
Y4 - Architectural Design V
Jan 2015
1
Masonry Specimens 3x3
Deliverables: stone map _
Deliverables per specimen: _ overall view _ exploded view _ FEA diagram _ piece cutting sequence _ foam model _ wooden model
fabrication sequence of each part _ FEA development diagrams _ assembly method diagrams _
3
Place of Interest
Students will design a condensed version of their masonry systems at a location where the material used is available and to be used for touristic purposes. The program should be selected considering the form of tourism suitable to the area that would make the structure not only a sight but a Place of Interest. The design must serve this program as well being a demo or pilot to display the properties of the masonry system designed and of the type of stone used.
Teaching Archive | 2011 - 2016
Students will study examples of the 3 main structural elements in masonry constructions: the arch, the vault and the dome, and take each of them through at least 3 steps of formal implementation to enhance structural performance. These studies will be based on physical and digital testing, allowing the designs to move back and forth from developing piece to whole and whole to piece. During this phase students will be introduced to software that will allow them to develop geometry and test structural performance, and to physical modelling techniques that will serve as tools for designing the fabrication and assembly of pieces.
structural kit drawing and model _
Deliverables:
2
fabrication sequence on site _
Masonry System
Students will design a masonry system to be built out of stone and a secondary material of the student’s choice. Each student should choose what type(s) of stone are to be used in the system in order to understand and exploit its qualities, as well as finding out the stone’s source and its condition as natural resource.
assembly sequence on site _ FEA diagrams of the development of the structure _ set of drawings demonstrating the qualities of the Place and its effect on the site _ large scale fragment model _
a
J.
Cutting of a stone piece in a dome. C. Palacios Gonzalo.
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Y4 - Architectural Design V
Jan 2015
TRIP
MATERIAL COSTS
The studio will travel to Rome to study ancient masonry constructions and renaissance and baroque stereotomy, and will have a short trip to visit the quarries of Carrara, near Florence.
As the studio will involve intensive modelling attached is an estimated costs of materials and services that the projects will require:
The trip is optional and will only be carried out if the studio group can afford it.
FOAM
+/- THB 2,000.00
WOOD
+/- THB 2,000.00
STONE
+/- THB 8,000.00
INDA Admin Fee
+/- THB 4,000.00
Flight BKK-ROME
+/- THB 36,000.00
Accommodation 5 nights +/- THB 15,000.00 Domestic Travelling
+/- THB 5,000.00
TOTAL
+/- THB 60,000.00
This costs are estimated and students might be able to obtain materials at lower prices. GRADE DISTRIBUTION _ STRUCTURAL SPECIMENS
25%
_ MASONRY SYSTEMS
25%
COLLABORATIONS
_ PLACE OF INTEREST
35%
Bangkok Modern Granite
_ BLOG & RESEARCH BOOK
5%
The studio will collaborate with Bangkok Modern Granite, a company that processes and supplies marble and granite across Thailand. Students will be able to visit the facilities to learn about different techniques to process stone and the different properties of different materials. BMG will also advise students on material choices and fabrication techniques and produce a large scale fragment of their designs.
_ PARTICIPATION
5%
Adam Nathaniel Furman Designer Adam Nathaniel Furman will collaborate with the students during the trip to Rome. Adam is currently a resident at the British School at Rome under the Rome PRize for Architecture. He will share with us some of his work, which includes extensive research on vault systems and digital fabrication, as well as joining us in some of the visits to share his knowledge and views on roman architecture. House of SPoP The studio will have access to Space Popular facilities at the House of SPoP for bootcamp sessions and fabrication of models as well as to their digital and physical libraries.
SCHEDULE Studio will take place on Tuesdays and Fridays from 09:00 -to16:30 12:00 13:00 Jan-16th
Day 1
Jan-20th & Jan-23rd
Bootcamp 1 - Software RH5/FEA/C4D
Feb-21st
Day Trip to Bangkok Modern Granite
Feb-3rd
Review 1
Feb-4th to Feb-9th
Trip to Italy
Feb-27th
Review 2
Mar-10th & Mar-13th
Bootcamp 2 - Model Fabrication
Apr-10th
Review 3
May-2nd
Final Submission
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ACTIVE FIELDS
INDA year 4 studio | 2014-2015
A C T I V E
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F I E L D S
ASEAN: DECENTRALISED AGENCIES
ASEAN Decentralised Agencies
Y4 - Architectural Design IV
Aug 2014
>> Syllabus >> Architectural Design IV >> Semester 01, 2014-2015 >> Lara Lesmes
Teaching Archive | 2011 - 2016
Active Fields : ASEAN Decentralised Agencies
The Vietnamese prime minister meets Singaporean counterpart on the sidelines of the 20th ASEAN Summit. Photo: Duc Tam VNA
Objectives This semester, Active Fields studio will seek proposals for institutional spaces to house one of the different agencies (ministerial meetings) of ASEAN, taking its current stage as an architecturally undefined institution to be an opportunity to rethink the contemporary format of institutional architecture, learning about the direct influence of architecture in social behaviour and vice versa, the development and evolution of such spaces history, developing methods to design architecture having social interaction as the main construction material and acquiring further knowledge in creative solutions for temporary ambulatory structures. In accordance with the project brief, special emphasis will be given to presentation and discussion sessions both with external guests and with the studio group alone in order to provide the students with debate skills -being capable of assimilating feedback, negotiate agreements and have these be productive rather than compromising their projects. This will
require the group to establish a tight intellectual link, share information and ideas and feel responsible for their peers’ projects as much as their own. Also conforming with the studio topic, motion graphics will be included as a necessary format for design and illustration - video tutorials for the suggested animation and video editing softwares will be provided. Introduction The idea of institutionalisation is a relatively modern one. Although the word “institution� was coined in the 14th century, its meaning as we understand it today was not in use until the early 19th century, when new social structures arose. An institution, by definition, is a structure of social order that governs behavior through norms, rules and ends, but to the eyes of the general public an institution becomes accountable once it makes itself perceivable and identifiable, most commonly through the use of
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graphic symbols (masons’ marks, logotypes, coat of arms, flags, etc), allowing members to identify each other and thus, the institution materialises.
INDA year 4 studio | 2014-2015
The role of architecture in the forming of an institution has historically been more concerned with issues of identification (continuing from the graphic symbols to architectural symbols) than problems of function, which are resolved with the use of preexisting layouts or standards.
Tondo at Ospedale Degli Innocenti, Florence. Filippo Brunelleschi . 1419.
Spandrel at Palacio de Telecomunicaciones, Madrid. Antonio Palacios . 1907.
Earlier institutions adopted the neo-classical style as a form of communicating the idea of establishment as it was the style of the time (18th century) and it evoked the political values of Ancient Greece and the creative thrust of the Renaissance as well as, accidentally, the grandiosity of the Roman Empire. The product was an architecture of facades, in which what is communicated is the fact that something is institutionalised generically, leaving the specific symbolisation of the institution to smaller elements of the architecture. Modernism, globalised the institutional type stylistically and developed specific spatial schemes according to program, given the functional philosophy of the movement. Postmodernism reintroduced historical references, not necessarily related to local architecture but to the recurring themes of the style: ancient Greece and Egypt. In the past 3 decades iconicity has been the dominating topic when it comes to institutional architecture: the building becomes a large scale monument having as themes context and program, as well as external references with indirect links. The building, as a whole, is a symbol - an ornament. But the tectonic character of institutional architecture is yet to be challenged. Even when political institutions support and promote democratic, non-imposing, inclusive and flexible agendas, its architecture
still chooses to symbolise the determinism of its Constitution; set in stone. With the introduction of cross-cultural nonhierarchical institutions such as the European Union comes the problem of representation. Unable to address issues of identity and scope, its architecture appears improvised and characterless, which perhaps shall not be judged as a failure but as an opportunity for defining a new form of institutional architecture that is transient and decentralised, constantly defining and updating its ideals rather than preestablishing a singular identity. Too late for the EU since it has already materialised into several buildings, the younger institution of similar nature ASEAN (Association of Southeast Asian Nations) is still at a stage open to speculation when it comes to its architecture. ASEAN summits and ministerial meetings take place in improvised venues that are converted for each specific occasion, with an array of events organised around it as a display of the host country’s strengths and attributes. Hosting such events is seen as an opportunity to get international attention through media coverage which could potentially trigger interest from a broader public. Therefore, large budgets are allocated for these
Portland Municipal Services Building, Oregon. Michael Graves . 1982.
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ASEAN Decentralised Agencies
Y4 - Architectural Design IV
events, sometimes polemically contrasting with the economical situation of the host country. ASEAN’s diversity is sometimes regarded as a lack of institutional capacity and its identity as artificial, but, from the point of view of an architect this could be seen as a call for a new form of institutionalisation that addresses issues of decentralisation, change and impermanence as something to work with rather than something to be fixed, resulting in a network of ever-changing and interconnected meeting rooms temporarily scattered over the southeast asian geography. FOOTNOTES: 01. Stanford Encyclopaedia 02. Architectural Type and the Institutional Programme. E. K. Morris.
04. Example: Niemeyer’s proposal for the UN headquarters was chosen over Le Corbusier’s for providing a civic square in front of the generic modernist building. Unfortunately, this square -which was meant to symbolise the institution as a service to the people- never took shape due to Le Corbusier’s influence over a young and admiring Niemeyer. See image 4. 05. Example: the highly criticised Portland Public Services building by Michael Graves features reinterpreted Classical elements that have little to do its context or function, but it references institutional historical archetypes. See image 5. 06. Example: the recently completed Wujin city’s Planning Bureau takes on the shape of a lotus flower to reference nature and features innovative temperature control systems to communicate the city’s preoccupation with such issues. 07. Building as ornament: iconography in contemporary architecture. Michiel Van Raaij 08. http://www.12thaseansummit.org.ph/how -toorganize-an-event-like-the-asean-summit.html 09. http://www.cariasean.org/news/myanmar-spendus34m-host-asean-summit/ and http://www.interaksyon. com/article/48251/p11m-budget-for-aquino-attendanceat-asean-summit 10. http://www.ft.com/intl/cms/s/0/04ec8f4c-0ea611e1-b83c-00144feabdc0.html#axzz38oABZrC9
Teaching Archive | 2011 - 2016
03. Example: Brunelleschi’s Ospedale degli Innocenti appears formally as a generic example of Renaissance architecture, leaving the identity of the institution (a hospital for abandoned children) to the sculptures within the tondi -circular ceramic pieces placed on the spandrels. See image 2. Similarly, the spandrels of the eclectic Palacio de Correos in Madrid symbolise the function of the institution: the national post office. See image 3.
Aug 2014
City Planning Bureau, Wujin. studio505. 2014.
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Phasing The project will be divided in 3 phases: an initial mapping exercise to study and understand a chosen agency, a second exercise to study a series of meeting rooms and a final design phase to develop a proposal for the next ministerial meeting space for the chosen ASEAN agency.
INDA year 4 studio | 2014-2015
Semester Grade Distribution 20% PHASE 1 25% PHASE 2 45% PHASE 3 5% PARTICIPATION 5% RESEARCH BOOK+BLOG
1
Agency Mapping
In the first phase students will choose one of the agencies listed on the ASEAN directory to work with and begin their research by producing a series of maps that portray the different roles of the agency. These maps will tackle issues such as: ¤
Historical relationships/conflicts
¤
Evolution of the agency
¤
Natural resources
¤
Industry
¤
Imports/Exports
¤
Socio-cultural relations
Aug 2014
benefit from the attention brought by the event? This choices must be included as another layer in the map. Deliverables: Students will generate 2 maps at two different scales (recommended 1:10000 and 1:100) in plates of 80x80cm. In each of them information will be presented in 2 forms: static and dynamic; overlapping 2 different techniques: print and projection. Students must demonstrate an understanding of the qualities of such techniques and its limits concerning resolution and overlap of information. Note: video tutorials for video editing software will be provided for this phase, but students are encouraged to experiment with other motion picture formats. Grading Criteria: ¤ 65% Analysis (depth, scope) ¤ 35% Graphics (consistency, clarity)
The aim of the maps is to understand general aspects of the agency; the history behind it (what conditions lead to creating an agency), the current situation of ASEAN in relation to that specific topic and the possible overall implications of the agency in the different countries; as well as particular aspects of the meetings; budgets, location choices, scheduling, guests, communicates and press-releases, media involvement, etc., The exercise will conclude with a choice of site and a definition of conditions for the next meeting of the chosen agency: Which country should be the next host? Is it important for the location to be central or remote? Does it have to be in the capital? Which context should it address? Who could and should
Behavioural mapping of Traffalgar square, London. AF I
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ASEAN Decentralised Agencies
Y4 - Architectural Design IV
Aug 2014
2
Meeting Rooms
Grading Criteria: ¤ 55% Analysis (depth, scope)
Deliverables: Students will collectively agree on a series of drawings and layout that should remain consistent throughout all case studies and should touch upon the following aspects: Location:
Procedure:
¤ Access
¤ Opening
¤ Visibility
¤ Timetable
¤ Surrounding programs
¤ Breaks
Infrastructure :
¤ Speeches
¤ Furniture
Consumables:
¤ Electronics
¤ Mode
¤ Software
¤ Infrastructure
Arrangements:
¤ Provenance
¤ Meeting notice
¤ Sensorial effects
¤ Attendance confirmations ¤ Representation
¤ 30% Graphics (consistency, clarity) ¤ 15% Peer to peer evaluation
3
Decentralised Agencies
Students will design a temporary structure to host the next meeting of the chosen agency on a site specified as conclusion for Phase 1. The projects should answer the following questions: ¤ should the structure aim to represent ASEAN or contribute to construct its image? (should ASEAN have an image?) ¤ should it be a travelling structure or a design that is recreated in each location? ¤ should the structure present historical architectural references from the specific location? ¤ should any parts of the structure remain on location after the event?
Teaching Archive | 2011 - 2016
Students are to study a series of 10 meeting rooms of different scales and both historical and contemporary, with the aim of understanding the scope of design and the specificity of choices involved, resulting in a collective index of meeting spaces.
¤ are the specific topics discussed in the space to be represented? ¤ are institutions or industries related to the discussed topics to participate/sponsor the structure? ¤ is there contrast or continuity between interior and exterior?
¤ Meeting time/place agreements
¤ should the interior be open to the exterior or, on the contrary, abstracted from it?
¤ Elements influencing the choice of place
¤
should there be a seating layout or an open plan?
what additional activities are needed in order to keep up interest and attention? ¤
¤ should the infrastructure for broadcasting be hidden or exposed and what are its effects on behaviour and self-awareness? ¤
how comfortable should one be?
should the structure contrast with its immediate environment or aim to blend in? ¤ ¤
what is the value of physical vs. virtual presence?
¤
how much is recorded/how much is visible?
Table installation on new forms of augmented communication. AF II
5 of 7 |
| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
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ACTIVE FIELDS
Y4 - Architectural Design IV
Aug 2014
INDA year 4 studio | 2014-2015
A plenary meetnig at the chamber. AF II Project: A dining table for Europe. Kornkamon and Kanyaphorn Kaewprasert. 2014.
Deliverables: 1. Behavioural construction drawing set: technical drawings of the space designed in which behavioural diagrams are overlapped, with the aim of understanding and visualising how behaviour and structure/infrastructure depend on one another. The set must include: ¤
behavioural control (usually furniture set)
¤
lighting control (usually electric set)
2. 10 min video presentation explaining: ¤
introduction to the agency
¤
choice of site and date
¤
behavioural format
¤
spatial/structural response
¤
performance of the structure
future of the structure (afterlife and consequences) ¤
¤ temperature control (usually air conditioning set) ¤
spatial control (usually structure set)
¤
assembly method/timeline
Grading Criteria: ¤ 55% Analysis (depth, scope)
(each of the above mentioned sets must include plans of all floors, sections in at least 2 axes, all elevations and relevant three-dimensional representations)
¤ 30% Graphics (consistency, clarity) ¤ 15% Peer to peer evaluation
Trompe l’oeil models of the plenary chamber. AF II Project: Repository of Temporal Identities. Jariyaporn Praachasartta. 2014.
6 of 7 |
186 \
| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
ASEAN Decentralised Agencies
Y4 - Architectural Design IV
Aug 2014
Schedule (all classes from 08:30 am to 12:00 pm -noon in Room 605) Week
Date
1
Mon
08-11
No-class
Wed
08-13
No-class
Mon
08-18
Wed
08-20
Mon
08-25
Wed
08-27
Mon
09-01
Wed
09-03
Mon
09-08
Wed
09-10
Mon
09-15
Wed
09-17
Mon
09-22
Wed
09-24
Mon
09-29
Wed
10-01
Mon
10-06
Wed
10-08
Mon
10-13
Wed
10-15
Mon
10-20
Wed
10-22
Mon
10-27
Wed
10-29
Mon
11-03
Wed
11-05
Mon
11-10
Wed
11-12
Mon
11-17
Wed
11-19
Mon
11-24
Wed
11-26
Mon
12-01
FINAL All Phases
Wed
12-03
FINAL All Phases
3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
PIN UP Phase 1. Agency Mapping
PINUP Phase 2. Meeting Rooms MIDTERM Phase 3. Structure
Teaching Archive | 2011 - 2016
2
Agenda
PINUP Phase 3. Work in Progress
PINUP Phase 3. Final Design
PINUP Phase 3. Final Presentation Preview SUBMISSION Final Submission of ALL materials
7 of 7 |
| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
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RIVER CRAFTING
INDA year 3 studio | 2014-2015
R I V E R
188 \
R A F T I N G
LARGE SCALE INTERVENTIONS IN THE CHAO PHRAYA RIVER
Large Scale Interventions in the Chao Phraya River
Y3 ARCH DSGN III
January 2015
River Block
Teaching Archive | 2011 - 2016
>> Project 1 >> Site Analysis >> Spring 2015 >> Faculty - Dr. Scott Drake, Fredrik Hellberg, Francisco Garcia Moro, Hans-Henrik Rassmussen, Pau Sarquella Fàbregas, Pannasan Sombuntham, Peter Strzebniok, Noelle Teh, Tijn van de Wijdeven,
Introduction The Chao Phraya River is unique, as all rivers. Infinitely complex on a small scale with its rich fauna of opportunistic wildlife and forgotten treasures building up a human made strata of things dropped from boats and bridge. Yet infinitely simple on a large scale, a squiggly blue(ish) line, thin at the top, and fat at the bottom where it merges with a big blob, the Bay of Bangkok. Seen in isolation like the Chao Phraya is simply a long body of polluted water, slowly moving south. Seen as part of the metropolis that it runs through, a subject infinitely fascinating to study. The river and its canals is truly the mother and source of Bangkok as the name implies. The Chao Phraya River will this term be our source, subject and object. You will first study an area of the river on an urban scale and eventually select a specific site for more in depth research. The term will start with an excursions along the river from bottom to top in order to geographically build up an overview resulting in a 1/2000 model/map hybrid.
1 of 5 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
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RIVER CRAFTING
Y3 ARCH DSGN III
January 2015
Project 3.1 - River Block
INDA year 3 studio | 2014-2015
Each group, made up by nine students (or eight) will have nine choices of sites along the river. After decisions have been made each group will cover all the nine sites, meaning no one in the group will have the same site as someone else. Students will however have the same site as nine other students, all from other groups. This will form “Parallel Groups” together covering the river from Bang Sue in the north to Bang Chak in the south. During project 1.1 the parallel groups will work together to create maps of their river block based on research and site visits. River Block Model/Map Your River Block is big, roughly 450 hectares or 4.5km². In order to conduct the analysis and acquire the data needed the parallel groups are going to have to work collaboratively. A basic vector map of your site will be provided to be used as a guide and scale reference. The emphasis will be on the river itself and its life throughout a typical day but you will also have to map 500 meter inland from the center of the river (see drawings below). Your research will result in a model/map hybrid. Most of the information that you will gather will be printed while the depth of the river and the height of the buildings will be physical and show dimensions in the designated scale 1/2000. Any material may be used for the hybrid model/map as long as its transportable and the information is legible. Minimum the following is to be covered by the model/map hybrid: ➔
Land
Road network ◆ Sizes ◆ Uses ➔ Public transport (current and planned) ◆ Bus lines ◆ MRT/BTS ◆ Train lines ➔ Architecture ◆ Physical models of all buildings with a footprint larger than 100m² ◆ Landmarks highlighted ◆ Zoning ◆ Building uses along the river front ➔ Public Activities ➔ Green Areas
River
➔ ➔ ➔
River Depth Piers and terminals Boat traffic covering 24 hours
River Block Video Each group must document their site in video. This video should be between 2 - 5 min and describe the urban character of the river block. The video should include: ➔ Full video capture of both sides of the river as seen from a boat. (this may have to be sped up to fit the time restriction) ➔ Video of boat activity along the river block showing mooring, and usage. ➔ Interviews with at least three people working on or with boats along the river block. Constraints ➔ The analysis must cover the predefined blocks in its entirety. If a group wishes to extend further please discuss this with your instructor. Deliverables Friday 6th of January 13:00 ➔ River Block Model/Map in scale 1/2000 ➔ River Block Video. 2 - 5 min HD video ➔ Additional drawings and diagrams Grading Distribution 1. River Block Model/Map Hybrid, craft and content 2. River Block Video, quality and relevance 3. Digital Submission. Photos of model and video
70% 25% 5%
2 of 5 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
190 \
Large Scale Interventions in the Chao Phraya River
Y3 ARCH DSGN III
January 2015
Project 3.2 - River Site
You will now select a site no larger than 15.000m² and no smaller than 10.000m² to be the final site for your individual projects for a future terminal. The site you choose does not need to have a terminal or pier currently but it has to be directly connected to the river. In this phase you will also propose a schematic master plan for the site to carry forward to the next phase. River Site Analysis After you have found a site that addresses your interests regarding the river and its future activities you will now analyse this site in more detail. You will need to spend some time at your site, get to know the people who lives and works there, and collect data for your drawings and models. The material produced should as a minimum describe the following: ➔ Building types and usages ➔ Businesses and institutions ➔ Roads and circulation of different forms of transportation on land ➔ River activities River Site Schematic Master Plan After the necessary data has been gathered your will now judge your sites capacity for a terminal program through a schematic master plan. This should describe as a minimum the following. ➔ Proposed location and size of terminal building(s) ➔ Proposed circulation network ➔ Proposed approach routes to and from the site on water ➔ Proposed area dedicated to public space
Deliverables Friday 13th of February 13:00 ➔ Isometric drawing of the site in its current status. Should include all the gathered information. A1 minimum ➔ Plan drawing of schematic master plan. A1 minimum Grading Distribution ➔ Isometric drawing of site, Graphic quality and quality of researched content ➔ Plan Drawing of schematic master plan. graphic quality and planning strategy ➔ Digital Submission ➔ TOTAL Outline and Evaluation RIVER BLOCKS ➔ The Block ➔ The Site ➔ TOTAL
60% 35% 5% 100%
Teaching Archive | 2011 - 2016
Constraints ➔ The site cannot be smaller than 10.000m² and not larger than 15.000m² ➔ The Site must connect directly to the river
60% 40% 100%
3 of 5 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
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RIVER CRAFTING
Y3 ARCH DSGN III
January 2015
INDA year 3 studio | 2014-2015
Schedule JA N
4
Tu e
2701
1
FIRST CLASS
1.1 RIVER BLOCK
Introduction to brief and term. Mapping starts
JA N
4
Fri 3001
2
RIVER TOUR
1.1 RIVER BLOCK
Mandatory river tour for all students and staff
FE B
5
Tu e
302
3
DESK CRIT
1.1 RIVER BLOCK
FE B
5
Fri 602
4
PINUP
1.1 RIVER BLOCK
Scale model/maps combined in studio
FE B
6
Tu e
1002
5
DESK CRIT
1.2 RIVER SITE
FE B
6
Fri 1302
6
PINUP / LECTURE 1.2 RIVER SITE
Pinup of SITE research & intro to project 2
River Block Groupings
Tue27Jan
Fri30Jan
Tue3Feb
Dr. Scott Drake
1
3
5
Fredrik Hellberg
2
4
6
Francisco Garcia Moro
3
5
7
HansHenrik Rassmussen
4
6
8
Pau Sarquella Fàbregas
5
7
9
Pannasan Sombuntham
6
8
1
Peter Strzebniok
7
9
2
1
3
2
4
Y3 ARCH DSGN III Noelle Teh
Tijn van de Wijdeven,
8 9
January 2015
4 of 5 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
192 \
Large Scale Interventions in the Chao Phraya River
Y3 ARCH DSGN III
February 2015
River Craft
Teaching Archive | 2011 - 2016
>> Project 2 >> River Craft >> Spring 2015 >> Faculty - Dr. Scott Drake, Fredrik Hellberg, Francisco Garcia Moro, Hans-Henrik Rassmussen, Pau Sarquella Fàbregas, Pannasan Sombuntham, Peter Strzebniok, Noelle Teh, Tijn van de Wijdeven,
Introduction Before you begin designing the terminal building(s) the possibilities of the river will be explored with the design of a vehicle that can travel on water and carry people or a combination of goods and people. The “River Crafts” may be of any type, have any shape and serve any function as long as its primarily supported by water. Transportation on the Chao Phraya and its canals is a evolution possibly millenias in the making. Its boats, rafts, canoes etc are the result of endless experimentation. This process never stops, therefore this brief asks for a vision of the future, what will river transportation be like in 30 years?
1 of 4 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
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RIVER CRAFTING
Y3 ARCH DSGN III
February 2015
Project 2 - River Craft
The “River Crafts” may be of any type and serve any function as long as its primarily supported by water, and carry a minimum of four passengers and maximum 30 passengers. The design might be inspired from your site or Thailand at large or from something else entirely as long as its design and purpose supports your vision for the future of the river. The purpose of the River Craft should primarily be transportation but other uses could also be included. Watercrafts (any vehicle that travels on water) comes in a myriad of different types, you are encouraged to explore this maritime world and get inspired from exciting examples that correspond with your vision.
INDA year 3 studio | 2014-2015
Boats can be categorized into three main types: ➔ Unpowered or human-powered boats. Unpowered boats include rafts and floats meant for one-way downstream travel. Human-powered boats include canoes, kayaks, gondolas and boats propelled by poles like a punt. ➔ Sailboats, which are propelled solely by means of sails. ➔ Motor Boats, which are propelled by mechanical means, such as engines. River Craft Model The geometry and shape of watercrafts have over millenias become incredibly complex. The hydrodynamic designs of a hull has historically been sculpted over generations and tested in the form of one to one prototypes but as hulls gets more refined scaled models gets more and more important in order to represent the three dimensionality of the hull and the craft. You will not be asked to prove the hydrodynamic qualities of your river craft but you will need to build a scaled model that can be visually and tactilely inspected. This model should be complete with, hull, deck, superstructure, people /goods. you may use any material you wish to construct your model. Please see table below for scale directions for your model. It will depend on the size of your river craft. The model will not have to pass buoyancy tests. River Craft Drawings Scaled models of watercrafts are usually accompanied by orthographic drawings. You will be asked to make a minimum of three drawings; two sections, - one that cuts through the craft from the bow to the stern showing the full length of the craft and what happens below the deck in the hidden interior of the craft (if there is any). - One that cuts the other direction, from gunnel to gunnel and keel to mast (if any) and shows the shape of the hull and cabin (if any) - And one plan drawing/diagram of the craft that shows the movement of people and goods on and of the craft. These drawings may be arranged in anyway you wish but should be drawn in the same scale as the model is built. Length of Crafts Meters / Feet
Scale
Model length. cm
0 -5 / 0 - 16
1:10
0 - 50
5 - 20 / 16 - 66
1:20
25 - 100
20 - / 66 -
1:50
40 -
River Craft Research In order to make informed decisions regarding your design you will need to find examples of watercrafts that can inspire you, both regarding hydrodynamic qualities (hull design) and operations. Choose minimum two watercrafts to research. You will need to produce your own drawings of the crafts, minimum one plan and one section as well as additional images and diagrams.
2 of 4 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
194 \
Large Scale Interventions in the Chao Phraya River
Y3 ARCH DSGN III
February 2015
Constraints ➔ The River Craft must be primarily supported by water ➔ The River Craft could carry a combination of goods and people but not only goods ➔ The River Craft should carry a minimum of four passengers and a maximum of 30 passengers ➔ There is no size limit for the River Craft Deliverables F riday 27th of February 13:00 ➔ River Craft Model in scale 1:10, 1:20 or 1:50. No material restrictions ➔ Two Section Drawings in scale 1:10, 1:20 or 1:50.* ➔ One Plan drawing/diagram describing the movement of people and goods on and off the craft. in scale 1:10, 1:20 or 1:50.* ➔ WaterCraft Research, drawings and images.* ➔ Additional diagrams * No restrictions for arrangements of drawings and size of paper Digital Submission Monday 2nd of March 20:00 ➔ Photograph of River Craft Model. White background ➔ All drawings of River Craft ➔ 100 - 200 word text describing your River Craft Grading Distribution ➔ River Craft. Design and Innovation ➔ River Craft Model, Drawings & research, Craft & Relevance ➔ Digital Submission, Complete Submission
55% 45% 5%
FEB
6
Fri
1302
6
PINUP / LECTURE
1.2 RIVER SITE
FEB
7
Tue
1702
7
DESK CRIT
2.1 RIVER CRAFT
FEB
7
Fri
2002
8
DESK CRIT
2.1 RIVER CRAFT
FEB
8
Tue
2402
9
DESK CRIT
2.1 RIVER CRAFT
FEB
8
Fri
2702
10
MIDTERM REVIEW
2.1 RIVER CRAFT
MAR
9
Tue
303
11
LECTURE / DESK CRIT
3.1 THE BERTH
Dictionary ➔ Berth: A ship's allotted place at a wharf or dock. ➔ Mooring: A mooring refers to any permanent structure to which a vessel may be secured. ➔ Fluvial: is a term used in geography and geology to refer to the processes associated with rivers and streams ➔ Craft: A boat or ship ➔ Watercraft: The term watercraft covers a range of different vehicles including ships, boats, hovercraft and submarines, and differs from a simple device that merely floats, such as a log raft. ➔ Hydrodynamics: T he branch of science that deals with the dynamics of fluids, especially incompressible fluids, in motion. ➔ Hull: The shell and framework of the basic flotation-oriented part of a ship ➔ Bow: The front of a vessel. ➔ Stern: T he rear part of a ship ➔ Superstructure: The parts of the ship or a boat, including sailboats, fishing boats, passenger ships, and submarines, that project above her main deck. This does not usually include its masts or any armament turrets.
Teaching Archive | 2011 - 2016
Schedule
3 of 4 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
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RIVER CRAFTING
 Y3 ARCH DSGN III
February 2015
INDA year 3 studio | 2014-2015
Â
HMS Royal Sovereign, midship section. 1936 A
Inner flat keel plate
H
Longitudinal bulkhead
O
Electric lead
W
Upper deck
B
Outer flat keel plate
I
Air space
P
Side armour
X
Forecastle deck
C
Vertical keel plates
J
protective bulkhead
R
Protective deck
Y
Deck beams
D
Bracket plates
K
Oiltight flat
S
Middle deck
Z
Shelter deck
Main deck
E
Longitudanals
L
Lightened plate frames
T
F
Outer bottom plating
M
Protective side keel
U
Side armour
G
Inner bottom plating
N
Bilge keel
V
Zed bar frames
4 of 4 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
196 \
Large Scale Interventions in the Chao Phraya River
Y3 ARCH DSGN III
February 2015
River Connection
The Grand Canal and the Church of the Salute. 1730. Canaletto
Introduction The final part of the River Connection project will challenge you to design an infrastructural hub linking the river with the city. Your river craft, still disconnected from the shore will now dock with your site and together with your terminal building, public spaces and additional programs conclude your vision for the future of the Chao Phraya River. You will as in previous projects begin with the details, in this case the mooring strategy (the way the craft attaches to the shore) of your craft and onto land with the design of a terminal building and eventually linking to public infrastructure and the rest of the city.
Teaching Archive | 2011 - 2016
>> Project 3 >> River Craft >> Spring 2015 >> Faculty -Dr. Scott Drake, Fredrik Hellberg, Francisco Garcia Moro, Hans-Henrik Rasmussen, Pau Sarquella Fàbregas, Pannasan Sombuntham, Peter Strzebniok, Noelle Teh, Tijn van de Wijdeven,
The final design will include; ➔ A terminal building (or a series of buildings) serving your transportation vision for the future of the river using the River Craft designed in project 2. The terminal will require additional programs that will be specific to each project and chosen by you. The additional program could be directly linked to the particular function of your River Craft or something else entirely. ➔ Public space, including street furniture, wayfinding, lighting etc ➔ Connections to public transport
1 of 6 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
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RIVER CRAFTING
Y3 ARCH DSGN III
February 2015
Project 3.1 - The Berth
Before you begin designing the actual terminal building you will create the interface between land and water with a mooring strategy that links the river craft and the city. A berth is a designated location in a port or harbour used for mooring vessels when they are not at sea. The berth of the craft will be as unique as the river craft itself and require a specific and focused solution. Some questions you will need to answer and describe in drawings:
INDA year 3 studio | 2014-2015
➔ ➔
➔
How does the craft approach the berth? How does the mooring (attaching) of the craft happen? Typical examples of permanent mooring fixtures includes: quays, wharfs, jetties, piers and anchor buoys. An anchor is an example of a non permanent mooring. How does people and goods get from craft to shore and vise versa?
The final mooring strategy and the design of the berth will directly inform the design of the terminal and the urban planning of the remaining site. In order to make the right decisions regarding the exact location of the berth(s) you will simultaneously need to complete the master plan of your site and how it connects to the city. This includes taking decisions regarding the size, height and locations of the following required programs: ➔ ➔ ➔ ➔
Berth(s) for the river craft Public space, minimum 1000m² Terminal building(s) (built area), minimum 3000m² Access and connections to public transport on land
Please see the details regarding project 3.2 and for more information.
Deliverables
Below is a list of minimum submission requirements to be delivered. You are encouraged to independently consider which are the most suitable formats to represent your project. PinUp Mar-17th (The Berth)
Early Online Submission Monday March-16th by 20:00 ➔
➔
Grading Distribution
Detailed drawings describing the mooring strategy of your project. This should indicate the attachment system of the craft and the method of loading and unloading goods and or people. Site plan (or isometric drawing) indicating the intended size, height and locations of all the required programs and structures as well as access to public transportation and road network.
Project 3.1 Mooring Strategy, ➔ Site Master plan ➔ Digital Submission ➔
45% 50% 5%
2 of 6 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
198 \
Large Scale Interventions in the Chao Phraya River
Y3 ARCH DSGN III
February 2015
Project 3.2 - The Terminal
The site analysis, the river craft and its mooring strategy will in project 3.2 lead to the design of a building or a series of buildings that facilitates the movement of people (and goods) from land to water and vise versa. Your river site which covers between 10.000m² and 15.000m² will contain all necessary functions related to the transportation service as well as additional public programs that you will choose yourself. The additional program may be related directly to the activities of the craft or be a compliment to it. The built area must be no smaller than 3000m². There is no height or depth requirement. Each project must answer the following questions: ➔ What role will the Chao Phraya River play in the future of Bangkok? ➔ How can the Chao Phraya River serve as a transportation link of people and goods within the city. ➔ How can we engage and manipulate and use the Chao Phraya Rivers banks and waters while maintaining a sustainable ecology and thriving wildlife. ➔ How can the designing of terminals and new transportation routes be used to strengthen and improve the Chao Phraya Rivers connections to the cultural and spiritual values of Bangkok and its people Through the different phases of the project the design of your River Connection is primarily concerned with the local and immediate scale of the neighborhood of your site. however it also directly affects Bangkoks transportation network as your craft has the possibility of traveling up and down the river, and possibly even to the sea! The last part of the project will bring us back where we started. You will now begin to zoom out to an urban scale again and design routes for your river crafts along the river as well as connect your site to the land infrastructure. The following questions has to be answered in drawings: How does one reach your River Connection from land? Should indicate routes at a minimum of 1 kilometer Where else will there be terminals which are compatible with your River Craft and how many will there be? ➔ How does your terminal and its land and water transportation operate over the course of a day?
➔
Teaching Archive | 2011 - 2016
➔
Cities Without Ground. Hong Kong is a city without ground. Adam Frampton
3 of 6 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
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RIVER CRAFTING
Y3 ARCH DSGN III
February 2015
Deliverables
Below is a list of minimum submission requirements to be delivered on specified dates for project 3.2. You are encouraged to independently consider which are the most suitable formats to represent your project. Progress PinUp Apr-3rd (The Terminal)
Early Digital Submission Thursday April-2nd by 20:00 ➔ ➔
Progress PinUp Apr-21th (The Urban Plan)
Early Digital Submission Monday Apr-20th by 20:00 ➔ ➔ ➔
INDA year 3 studio | 2014-2015
➔
Final Review May-4th to May 10th (Full Project)
Work in progress; Plan of terminal building(s) Work in progress; Three dimensional representation of terminal building(s)
Work in progress; Section Work in progress; Urban Plan Work in progress; Three dimensional representation Work in progress; Isometric drawing or physical model
Early Submission Saturday May-2nd time TBD. ➔
➔
➔ ➔
➔
➔
➔
➔
Site plan indicating the craft berths, terminal buildings, public spaces and access to public infrastructure. Urban Plan indicating the projects infrastructural reach throughout the city on land and water. Plans of Terminal building(s) Section through entire site showing terminal building(s) and the river Isometric drawing of the entire project OR a physical model of the entire project at minimum 1:200 scale Physical model at 1:2000 scale to be placed on the River Block Group Model/Map Hybrid. Three dimensional representation of the project (images) Exhibition Panel. Size will be announced at a later date
You will present work from the whole semester during the final review as one complete project. All materials from Phase 1, Phase 2 and Phase 3 should be delivered on this date. No additional materials will be accepted for presentation beyond this date. Final Blog Submission May-4th (Full Project)
Grading Distribution
➔ ➔ ➔ ➔
Online Submission Monday May-4th by 20.00. ➔
All material produced for during the entire semester composed into one single blog post. Does not have to be chronological. The post should be composed in a way so that it can be understood without prior knowledge of your project.
Project 3.2 (Final Review) Design Execution Representation Presentation (final review) Digital Submission
50% 35% 10% 5%
4 of 6 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
200 \
Large Scale Interventions in the Chao Phraya River
Y3 ARCH DSGN III
February 2015
Schedule FEB
8
Fri
2702
MIDTERM REVIEW
MAR
9
Tue
303
LECTURE / DESK CRIT
3.1 THE BERTH
MAR
9
Fri
603
DESK CRIT
3.1 THE BERTH
MAR
10
Tue
1003
DESK CRIT
3.1 THE BERTH
MAR
10
Tue
1303
DESK CRIT
3.1 THE BERTH
MAR
10
Fri
1703
PINUP
3.1 THE BERTH
MAR
11
Fri
2003
DESK CRIT
3.2 THE TERMINAL
MAR
12
Tue
2403
DESK CRIT
3.2 THE TERMINAL
MAR
12
Fri
2703
DESK CRIT
3.2 THE TERMINAL
MAR
13
Tue
3103
DESK CRIT
3.2 THE TERMINAL
APR
13
Fri
304
PINUP
3.2 THE TERMINAL
APR
14
Tue
704
DESK CRIT
3.2 THE TERMINAL
APR
14
Fri
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3.2 THE TERMINAL
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1404
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1704
DESK CRIT
3.2 THE TERMINAL
APR
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3.2 THE TERMINAL
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DESK CRIT
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EARLY SUBMISSION
3.2 THE TERMINAL
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FINAL REVIEW
MAY
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705
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Outline & Evaluation
Coronation Day
NO CLASS
Project 1. River Block (Total Semester Weight) ~ Duration ~ 3 Weeks
Project Weight 25%
Teaching Archive | 2011 - 2016
1205
2.1 RIVER CRAFT
1.1 The Block 1.2 The Site 2. River Craft (Total Semester Weight) ~ Duration ~ 2.5 Weeks
20%
2.1 The Craft 3. River Connection (Total Semester Weight) ~ Duration ~ 9 Weeks
50%
3.1 The Berth 3.2 The Terminal Participation Total
5% 100%
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RIVER CRAFTING
Y3 ARCH DSGN III
February 2015
INDA year 3 studio | 2014-2015
6 of 6 International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
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Teaching Archive | 2011 - 2016
Large Scale Interventions in the Chao Phraya River
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THE COLLECTIVE HABITAT
INDA year 3 studio | 2014-2015
T H E
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C O L L E C T I V E
SPECULATIVE PROJECTS ON FUTURE FORMS OF INHABITATION
H A B I T A T
Speculative Projects on Future Forms of Inhabitation
Y3 - ARCH.DSGN II
Aug 2014
>> Project 1 >> Architectural Elements >> Fall 2014 >> Faculty> Dr. Scott Drake, Ornnicha Duriyaprapan, Sebastian Ewers, Francisco Garcia Moro, Fredrik Hellberg (coordinator), Hans-Henrik Rasmussen, Pannasan Sombuntham, Peter Strzebniok, Tijn van de Wijdeven
Teaching Archive | 2011 - 2016
Architectural Elements
¤ The BrasĂlia TV Tower Oscar Niemeyer, 1967
Introduction There are many ways to start when creating architecture, many things to be inspired or influenced by and many methods to adopt. In the creation of a building for public housing this semester you will start from the inside, from the core, literally. You will start with the structural skeleton of the building and work your way out to the light through a series of short projects which will define the structural elements of the building .
There are many things to learn of a building by studying its structural system. Even if minimal efforts went into the creation of the structure it will still give you clues of the buildings ambitions, ideology and intentions. The structure directly defines what the building is able to achieve both physically, culturally, socially and politically. In this first project you will create a structural unit composed of vertical, horizontal and boundary defining elements that not only is structurally sound and innovative but also defines your personal visions for the future of public housing.
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THE COLLECTIVE HABITAT
Year Code - Course Code (i.e. Y1 - DTS01)
Aug 2014
1.1. Column. Resisting Compression
Perhaps the most fundamental of all architectural elements is the column. It can simply be defined as a rigid, structural element designed primarily to support axial, compressive loads applied at the elements ends. The column as we know it today in its myriad of variations is millenniums in the making dating back from the earliest forms of architecture.
INDA year 3 studio | 2014-2015
In the first stage of the project on architectural elements you will experiment your way to a series of prototypes that will eventually lead to a final design of a column. You will present your design in models and drawings. Objectives To design a structurally innovative column structure that is stackable and capable of receiving vertical loads from beams. Deliverables Tuesday 19th of August 13:00 ¤ Photographs and/or drawings of five examples of column structures to be studied as inspiration for the prototypes ¤
¤ Felic Candela’ reinforced concrete thin shells in the shape of ruled surfaces cast on full scaffolding.
1.2. Beam. Resisting Bending In order for a structure to span horizontally rigid structural members designed to carry and transfer transverse loads across space are necessary. The first know beams were made of wood although the only surviving ancient beam structures are made of stone and can be found in egypt, the middle east and greece. To span distances horizontally is and has always been the most difficult of the fundamental structural challenges. Unlike a column a beam has to finely measure its weight to its length. A strong beam is often also heavy which transfers more load onto the columns and further down the structure. In other words, the lighter a beam is, the longer it can span.
Two prototypes
Friday 22nd of August 13:00 (SILENT PIN UP) ¤ One final model measuring 30 centimeters in height minimum. Scale is optional. ¤ Orthographic Drawings on an A3 sheet including one elevation and one plan. Scale is optional. ¤ Isometric Drawing on an portrait A3 sheet. Base angles should measure 30°
Grading Distribution 1. Prototypes, craft and innovation 2. Final Model, craft and innovation 3. Drawings, craft and quality
In this stage of the project you will design a beam structure that can span the distance between your columns from the previous stage of the project. As your column design might already perform also as a beam, spanning from post to post this part of the project will also involve closing the spaces that might appear between the beams. This could be achieved with additional spanning structures such as domes, arches or decks of various kinds creating a ceiling and roof structure that will facilitate stacking of inhabitable levels.
20% 60% 20%
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Speculative Projects on Future Forms of Inhabitation
Year Code - Course Code (i.e. Y1 - DTS01)
Aug 2014
Objectives To design a structurally innovative beam structure that is capable of spanning the horizontal distance from column to column using the final model from 1.1. The beam structure should also perform (either in itself or with the help of additional spanning structures) as floor/ceiling/roof. Constraints Any material may be used in the making of models and prototype but the chosen material should correspond with a proposed material intended for a 1:1 version.
Deliverables Tuesday 26th of August 13:00
Teaching Archive | 2011 - 2016
¤ Eladio Dieste - Atlantida Church, Uruguay - 1952
Tuesday 2nd of September 13:00 (SILENT PIN UP) ¤ One final model measuring 30 centimetres in length minimum. Scale is optional. ¤ Orthographic Drawings on an A3 sheet including two elevations and one plan. Scale is optional. ¤ Isometric Drawing on an A3 sheet. Base angles should measure 30°
Grading Distribution 1. Prototypes, craft and innovation 2. Final Model, craft and innovation 3. Drawings, craft and quality
20% 60% 20%
¤ Photographs and/or drawings of five examples of column structures to be studied as inspiration for the prototypes ¤
Two prototypes
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Year Code - Course Code (i.e. Y1 - DTS01)
Aug 2014
1.3. Wall. Defining Boundaries
INDA year 3 studio | 2014-2015
You now have a comprehensive and structurally sound module that defines the edges of cartisian spaces. In the final stage of project one you will design the boundary defining element we call the wall. A wall serves to enclose, divide or protect an area and is what we travel through to reach different spaces in a building. In order to make that possible walls needs to feature openings of various kinds usually referred to as doors and windows. Your design should be able to perform both as a secure barrier and as a two dimensional interface that inhibits or encourages forces such as light, sound, smell, weather, temperature and behaviour. Objectives To design a innovative wall structure that is capable of dividing spaces and offer openings and barriers for light, sound, smell, weather, temperature and people. The wall might serve exclusively as a spatial divider or as a structural element working together with the structural frame created in the previous two stages. Constraints Any material may be used in the making of models and prototype but the chosen material should correspond with a proposed material intended for a 1:1 version. Deliverables Friday 5th of September 13:00
Friday 12th of September 13:00 (SILENT PIN UP) ¤ One final model enclosing the two dimensional area between the columns and beams created in the two earlier phase. Scale is optional. ¤ Orthographic Drawings on an A3 sheet including one elevations, and one section. Scale is optional. ¤ Isometric Drawing on an A3 sheet. Base angles should measure 30° Monday 16th of September 18:00 ¤ Blog upload of all the drawings produced so far as well as high quality photographs of the models with white background.
Grading Distribution 1. Prototypes, craft and innovation 2. Final Model, craft and innovation 3. Drawings, craft and quality
20% 60% 20%
Outline and Evaluation Architectural Elements 1. Column. Resisting Compression 2. Beam. Resisting Bending 3. Wall. Defining Boundaries 4. Digital Submission (Total Semester Weight)
20% 30% 30% 20% 25%
¤ Photographs and/or drawings of five examples of walls to be studied as inspiration for the prototypes ¤
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Speculative Projects on Future Forms of Inhabitation
Y3 - ARCH.DSGN II
The Habitat
Teaching Archive | 2011 - 2016
>> Project 2 >> The Habitat >> Fall 2014 >> Faculty> Dr. Scott Drake, Ornnicha Duriyaprapan, Sebastian Ewers, Francisco Garcia Moro, Fredrik Hellberg (coordinator), Hans-Henrik Rasmussen, Pannasan Sombuntham, Peter Strzebniok, Tijn van de Wijdeven
Sep 2014
¤ Hemmets Forskningsinstitute - Study Apartment 1963
Introduction The term habitat comes from ecology, and includes many interrelated features, especially the immediate physical environment, the urban environment or the social environment. At the individual and collective levels, one’s habitat is one’s home and the buildings in which one goes about daily life. In this second phase of the project on public housing you will define an individual habitat as a model for the future of public housing in Bangkok. You will unite your architectural elements into a structural whole
which together with a definition of an inhabitant will serve as your manifesto for your final project. For most of us our home represents the most fundamental and solid element in our lives, the platform from which we operate. We perceive the modern world in constant change when it comes to things like technology and entertainment but often exclude the dwelling from any form of ephemeral
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THE COLLECTIVE HABITAT
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Sep 2014
INDA year 3 studio | 2014-2015
reflection. One only has to look back a few decades, or ask a grandparent to realize just how much and how fast our living habits and standards are changing. Which of course means that our present time is also a part of the ever changing habits of living. Architecture changes, people change, cultures change and we can only speculate how our homes will change in the coming decades. Your project will represent your own personal vision for the future of collective living for the city of change, Bangkok. You could choose to assume that our living conditions have stagnated and will not change much over the coming decades, or you could envision a Bangkok on the brink of a domestic revolution, with massive changes on our doorsteps. Your thoughts will be encapsulated in your design.
2.1 The Individual Habitat Introduction After developing a series of structural elements, together capable of creating space you will now be challenged to unite your ideas into a finite enclosure. This enclosure could be referred to as an apartment, a domestic cell or a dwelling. The most elemental aspect of these examples are that they by definition belong to a collective whole, a collection of individual habitats in this context could be referred to as a residential building, an apartment building or as frequently named, condominium in the Thai context. The arrangement of individual habitats and the links between them is what generates the collective habitat. In this first phase of project two you will be free of the challenges of these conditions and will instead focus exclusively on the interior qualities of the habitat. Inhabitant Before you create the enclosure for your habitat you will find/choose/create your inhabitant. This means that the person that will live in your habitat is part of your design. The possibilities/restrictions regarding this design is as follows: The inhabitant lives permanently in Bangkok. ¤
¤ The inhabitant should represent a majority either in the present or in an imagined future demographic of
¤ Joe Colombo- Total Furnishing Unit - 1972
Bangkok ¤ The inhabitant can be of any origin but should should have permanent residency in Thailand ¤ The number of inhabitants is not restricted but must all live together in one single habitat/apartment ¤ The social constellation of the inhabitants (if more than one) could be any. ¤ The inhabitant could be of any socioeconomic class but should be representative of your vision for public housing in Bangok
Your inhabitant(s) will be the representative for the collective of inhabitants that will later inhabit your building together. It is therefore important that you consider the above mentioned points well. The collective habitats that will make up your building for public housing should accurately and responsibly correspond with your vision for Bangkoks housing situation. Inhabitant Report You will arrange the collected/constructed information regarding the inhabitant in a book or dossier which should contain the following: ¤
Inhabitant fact sheet
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Speculative Projects on Future Forms of Inhabitation
Y3 - ARCH.DSGN II
Sep 2014
¤ Extended habitat. Where does the inhabitant work, socialize etc ¤
Inhabitants possessions
¤
Inhabitants Routines
The Habitat Manifesto Before you unit your elements into a physical enclosure for your habitat you will unit your thoughts into a written manifesto. Using your inhabitant as the subject describe your vision of public housing and collective habitation in 300 words. Constructing the Habitat You now have five elements; Columns, Beams, Walls, inhabitants and a manifesto. They will now together crystallize in a physical enclosure. Using at least one of your structures from project 1 you will design a primarily interior habitat for your inhabitants. This will concern aspects such as: ¤
Form
¤
Size
¤
Structure
¤
Light
¤
Colour
¤
Layout
¤
Furniture/possessions
¤
Spatial dividers
¤
Entrances
¤
Sanitation
¤
Consumption
¤
Behaviour
Teaching Archive | 2011 - 2016
¤ Kisho Kurokawa - Nakagin capsule Tower - 1972
All the above mentioned points has to be addressed in your design for the individual habitat. The only external element included into the equation will be the inhabitant and daylight. The Canonical View Your vision is now manifested in a space sustaining the life of your inhabitant. You will now proceed to produce a view (perspective) of that space.
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THE COLLECTIVE HABITAT
Y3 - ARCH.DSGN II
INDA year 3 studio | 2014-2015
Sep 2014
¤ David Hockney. Mr and Mrs Clark and Percy (1970–71), Tate Gallery, London.jpg
This view will serve as a unique and distinguished exemplar demonstrating the individual habitat and the inhabitants him/her/themselves and their possessions. You may use any technique you wish to produce this image. Objectives To construct an argument for the future of individual habitats in Bangkok in the form of a discrete spatial enclosure, illustrated in written text drawings and images. Constraints Size: The habitat may have any size but should reflect current and imagined conditions of public housing in Bangkok in a responsible feasible way. Previous work: You must use at least one of the developed structures from the previous phase.
Deliverables ¤ The Habitat Manifesto. Bound book or dossier. A4 ¤ Written Manifesto.300 words minimum describing your vision for the future of the individual habitat in Bangkok. ¤ Inhabitant Report. Describing the “pilot” inhabitant for Bangkoks future of public housing. ¤ Canonical View:. Any image making technique is allowed. Should not be smaller than A1. ¤ Isometric Drawing of the individual habitat
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Speculative Projects on Future Forms of Inhabitation
Y3 - ARCH.DSGN II
Sep 2014
Circulation systems Grading Distribution
¤
Inhabitant Report
10%
¤
Written Manifesto
20%
¤
Canonical View
40%
¤
Individual Habitat, Design
30%
¤
Isometric Drawing
10%
Distribution and ratio of functions such as sanitation, cooking, sleeping, storage and leasure areas within the units . ¤ Distribution and ratio of public and private space ¤
2.2 Case Study: The Collective Habitat Introduction Residential buildings with multiple occupants as a typology is over two thousand year old. In ancient Rome the streets were lined with buildings resembling Bangkokâ&#x20AC;&#x2122;s shop houses, only the Romans â&#x20AC;&#x153;insulaeâ&#x20AC;? could be as tall as ten stories. The arrangement of individual housing units into larger collective habitats is one of the most fundamental of architectural challenges. Before you start experimenting with arrangement of your individual habitat, creating a collective habitat you will learn from exciting examples. Choose two residential buildings to conduct case studies on. One of these has to be and exampl of public housing. Your choice should be directed by your own interests and intentions regading your vision for public housing. The studies should focus on the following things: Arrangment and oranization of individual units ¤ ¤
Vertical and horizontal
Light intake
The above mentioned points should all be indicated on a single plan drawing of a typical floor plan of the building. Objectives To learn from excisting examples of residential buildings, specifically regarding their layout and spatial distribution. Deliverables ¤
Plan drawings on minimum
Grading Distribution ¤
Choice of Case Study
10%
¤
Plan Drawing
60%
¤
Digital Submission
30%
Outline and Evaluation Architectural Elements 1. Individual habitat 2. Case Study 3. Digital Submission (Total Semester Weight)
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The Public Habitat
INDA year 3 studio | 2014-2015
>> Project 3 >> The Public Habitat >> Fall 2014 >> Faculty> Dr. Scott Drake, Ornnicha Duriyaprapan, Sebastian Ewers, Francisco Garcia Moro, Fredrik Hellberg (coordinator), Hans-Henrik Rasmussen, Pannasan Sombuntham, Peter Strzebniok, Tijn van de Wijdeven
Oct 2014
¤ Habitat 67. Moshe Safdie. 1967
Introduction “Public housing is a form of housing tenure in which the property is owned by a government authority, which may be central or local. Public housing is an umbrella term referring to rental housing which may be owned and managed by the state, by non-profit organizations, or by a combination of the two. “ Wikipedia 2014 This is ultimately the framework for your projects. Through your manifesto you have defined the foundations for the conditions your project addresses and you will now realize your visions for the future of public housing in Bangkok. Whether your manifesto deals with the current situation or if you are speculating with a future scenario you will
now have to answer for the choices you have made and create a comprehensive design for a building which stands strong against both political, social and structural challenges. Although the common goal of public housing is to provide affordable housing, the details, terminology, definitions of poverty and other criteria for allocation vary within different contexts and does not necessarily apply directly to issues of income inequality. In Sweden for instance there is no income restrictions for tenants. This is up to you to define. The origins of public housing lie in the dramatic urban population increase caused by the Industrial
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Speculative Projects on Future Forms of Inhabitation
Y3 - ARCH.DSGN II
Revolution of the 19th century in England. As an architectural typology it has a much longer history of course as various forms of dense dwellings have been around as long as cities but as a way to organize the creation and operation of urban habitation public housing is a new invention with a mere 150 year history, and it is in constant change. This is important for you to consider as your projects are a vision of the future of public housing in Bangkok. A city where this form of habitation is and has been less common that other major cities in the world. This is your chance to put forward a proposal, for what you would like to see for the future of your city.
Oct 2014
Objectives To collect information about the chosen site and process that information into comprehensive presentation material that eventually lead to a decision regarding the physical arrangement of the 100 habitats, public spaces, urban connections and possible additional programs on the site.
¤ Habitat Peurto Rico. Moshe Safdie. 1971
Requirements ¤
3.1 . Site Introduction You will begin the second half of the term by finalizing your site analysis. You already have a chosen site and will now begin more in depth research regarding the site resulting in drawings and diagrams describing the life of the site as well as zoning and regulation. The final aim of this analysis is to produce an isometric drawing (which means 3D modeling your site) that clearly shows the massing of the building you will spend the rest of the term designing. You will not be asked to do detailed design of the layout of spaces for this phase but a realistic and responsible solution should be presented which should include/fit; the 100 habitats, horizontal and vertical circulation, public spaces, urban connections and site boundaries. Additional information will be expected but will be unique to each project and your specific interests.
Teaching Archive | 2011 - 2016
¤ ArchiZoom. No Stop City. 1974
The site must fit exactly 100 habitats
Deliverables ¤
Massing drawing in isometric view showing the 100 habitats arrangements on the site on minimum A1
¤
Additional drawings and diagrams that could describe:
¤
Site boundaries
¤
Urban connections
¤
Zoning, high restrictions, setback
¤
Life on and around the site
Grade Distribution ¤
Isometric drawing
¤
Massing Strategy
40 %
¤
Additional research
30 %
(Total Semester Weight)
30 %
10 %
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INDA year 3 studio | 2014-2015
Oct 2014
¤ Ramot Polin Housing Complex by Zvi Hecker. 1972
3.2 100 Habitat Introduction You now have; a design for an individual habitat, a structural system, a site, a concluding massing strategy for that site and a guiding manifesto, all leading up to this final phase of the project which will result in a building containing 100 habitats. You will start by arranging your habitat to create a system of aggregation which will result in areas (or floors) complete with circulation, public spaces, daylight access, service access such as plumbing and electricity and a structural system. You can now either revisit the structures you designed in phase 1 or adapt the embedded structure in your habitat to create an holistic system that in a modular manner can be repeated so that your 100 habitats all have well considered qualities matching your ambitions outlined in the manifesto. The structure of your building have to be well considered and reflect your ambitions from phase 1.
Using your massing studies you can then begin to connect the key urban access points with key circulation points in the building and design the buildings interface with the city. ( facade and external structure of your building will be dealt with in your Environmental Technology class) You will also have to clearly define your model for public housingâ&#x20AC;&#x2122;s allocation policy. This involves clarifying who will be eligible for tenure in your public housing scheme, how they apply, how their application gets processed and eventually under what conditions tenants are allowed to stay. Your final design will require well considered representation. The deliverables for this final phase outlined below asks for a minimum requirement and are not a guarantee for a complete set of representation. Your individual projects will require unique approaches to drawings, diagrams, models,
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| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
Speculative Projects on Future Forms of Inhabitation
Y3 - ARCH.DSGN II
Oct 2014
¤ DOGMA. Live Forever: The Return of the Factory. Proposal for a living/working unité d’habitation for 1600 inhabitants at the Balti Station area, Tallinn, 2013
Objectives To design a building for public housing in Bangkok to be the model for your vision of this type of housing for the future of this city.
Deliverables ¤
Site plan
¤
Ground floor plan
¤
Typical floor plan
¤
Detailed floor plan of one habitat
¤
Section of entire building, minimum one
¤
Three dimensional representations of building and its urban context
¤
Allocation Policy and statement as appendix to the inhabitant report
Requirements ¤
The building must fit exactly 100 habitats
¤
The building must have clearly defined urban connections
¤
The building must have a resolved structural system
¤ ¤
Teaching Archive | 2011 - 2016
views and animations which you are challenged to be responsible for in order to make a truly great and well resolved project.
Grade Distribution ¤
Argument
20 %
The building must have a resolved system of internal circulation
¤
Design Execution
30 %
¤
Representation
30 %
Your design must be accompanied by a clear allocation policy and statement indicating how and who are eligible for renting a habitat in your building
¤
Presentation
10 %
¤
Digital Submission
10 %
(Total Semester Weight)
40 %
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Oct 2014
¤ Facade of Park Hill, a council housing estate in Sheffield, England.
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| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
Speculative Projects on Future Forms of Inhabitation
Oct 2014
Teaching Archive | 2011 - 2016
Y3 - ARCH.DSGN II
造 Narkomfin building. 1932. Moisei Ginzburg, Ignaty Milinis
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| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
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ARCHITECTURE OF DIPLOMACY
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IDENTITY AND REPRESENTATION IN ARCHITECTURAL DESIGN
Identity and Representation in Architectural Design
Y2 ARCH DSGN I
January 2015
WHAT MAKES A COUNTRY?
World Map distorted according to Net Migration Rate. Mark Newman. Territory size shows the relative levels of net immigration in all territories (immigration less emigration).
Introduction
When attempting to address the sense of belongingness at a large scale in geographical, political and socio-cultural terms, two ideas are predominant: Country and Nation. On a regular basis we utilize both terms interchangeably but they have very different connotations: COUNTRY 1. an area of land that has its own government, army, etc. 2. all the people who live in a country NATION 1. a country, especially when thought of as a large group of people living in one area with their own government, language,traditions, etc. 2. a large group of people of the same race who share the same language, traditions, and history, but who might not all live in one area
Teaching Archive | 2011 - 2016
>> Phase 1 >> What makes a Country? >> Spring 2015 >> Faculty - Saul Appelbaum, Peter Fisher, Francisco Garcia Moro, Karin Knott, Lara Lesmes, Hans Henrik Rasmussen, Evgeniia Sidorova, Peter Strzebniok, Nuno Sousa, Pau Sarquella, Natalia Vera Vigaray
National identity is not an inborn trait. A person's national identity results directly from the presence of elements from the "common points" in people's daily lives: national symbols, language,national colours, the nation's history, national consciousness, blood ties, culture, music, cuisine, radio, television, etc. The flag or banner of a nation-state, the coat of arms of the land and/or ruling dynasty, the seal or stamp of the land and/or ruling dynasty, the associated device and/or motto, the national colors and other symbols also perform an important role in emphasising the sense of belongingness. National identity is a person's identity and sense of belonging to one state or to one nation, a feeling one shares with a group of people, regardless of one's citizenship status. National identity in psychological terms is seens as an awareness of difference, a feeling and recognition of 'we' and 'they'. This first phase of the project asks students to define a country of their choice and to depict graphically the qualities that identify such country as nation, both from the inside (from the nationals’ perspective) and from the outside (from an international and perhaps more stereotypical point of view).
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INDA year 2 studio | 2014-2015
Objectives
In this phase the students will make their choice of country for the remainder of the semester. This will be the country that they will design an embassy for in Phase 3. Students will study the country and create maps that explain at least the following aspects at different scales: ➔ forms of living ➔ customs ➔ national celebrations ➔ religions ➔ social groups ➔ political status ➔ representations (flags, emblems, etc.) The maps will serve as graphic explorations of what is involved in constructing national identity. Such task will involve studying many different cultural, geographical and cultural aspects that influence one another in order to look beyond stereotypes. The maps are representing not only geographical aspects but also socio-political and cultural issues that contribute to form the identity of the country now. The aim is for students to get an overall idea of what constitutes the identity of the country, how the country chooses to represent itself towards an international audience and how this concepts can become design tools.
Constrains
The maps must follow the guidelines listed below: ➔ hard copy (printed) ➔ minimum surface area equivalent to 2xA0 ➔ proportion: any
Meta-mapping of trading in the ASEAN region.Bunyapha Thanachet. Animated maps were projected onto a 3D relief map.
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Identity and Representation in Architectural Design
Y2 ARCH DSGN I
January 2015
Deliverables
Students must deliver: ➔ 1 x Map of their selected Country
Blog Entry
Deadline
Sunday, Feb-15th at 14:00
Guidelines
All uploaded images should be 1000px in width
Content ➔ ➔ Title
A Map of Country-Name
Labels ➔ ➔ ➔ Schedule
image of your map explanatory text accompanied by zoomed in images
your blogger name (check on file shared with you) your instructor surname Map
Jan
3
Fri
01-30 Tutorials
Feb
4
Tue
02-03 Lecture “Maps” + Tutorials
Feb
4
Fri
02-06 Tutorials
Feb
5
Tue
02-10 Tutorials
Feb
5
Thu
02-12 Early Online Submission by 20:00
Feb
5
Fri
02-13 Review
Teaching Archive | 2011 - 2016
MONTH W DAY DATE Jan 3 Tue 01-27 Intro + Lecture “What is a Country?”
Map of Deforestation in the ASEAN member countries. Patrattakorn Wannasawang. Bar height shows level of deforestation, bar colour shows
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>> Phase 2 >> What makes an Institution? >> Spring 2015 >> Faculty - Saul Appelbaum, Peter Fisher, Francisco Garcia Moro, Karin Knott, Lara Lesmes, Hans Henrik Rasmussen, Evgeniia Sidorova, Peter Strzebniok, Nuno Sousa, Pau Sarquella, Natalia Vera Vigaray
WHAT MAKES AN INSTITUTION?
INDA year 2 studio | 2014-2015
Palace of Assembly, Chandigarh. Photographer Paolo Rosselli. One of the many buildings designed by Le Corbusier as part of the new capital city “unfettered by the traditions of the past, a symbol of the nation's faith in the future”.
Introduction
The idea of institutionalisation is a relatively modern one. Although the word “institution” was coined in the 14th century, its meaning as we understand it today was not in use until the early 19th century, when new social structures arose. An institution, by definition, is a structure of social order that governs behavior through norms, rules and ends, but to the eyes of the general public an institution becomes accountable once it makes itself perceivable and identifiable, most commonly through the use of graphic symbols (masons’ marks, logotypes, coat of arms, flags, etc), allowing members to identify each other and thus, the institution materialises. The role of architecture in the forming of an institution has historically been more concerned with issues of identification (continuing from the graphic symbols to architectural symbols) which we may as well refer to as Representation. In architecture, the field of representation is concerned with -amongst other things- being able to predict the associations that built forms will create in people’s minds, what the building will look like.
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Identity and Representation in Architectural Design
Y2 ARCH DSGN I
January 2015
Objectives
In this phase the students will study an institutional building as a reference of how architecture can be a tool to construct institutional identity. Students will study the building and create a set of drawings and diagrams explaining how the following aspects are used to express identity: ➔ architectural language ➔ construction techniques ➔ materiality ➔ ornamental elements The aim is to understand the different ways in which architecture can be capable of communicating to society. Students must find a topic of study within the chosen institutional building and research that topic throughout different architectural qualities such as materiality, circulation, light, ornamentation,
Constrains
Students must produce a 3D model of the building which could serve as basis for architectural drawings, diagrams or other forms of representation chosen by the student. Students should deliver a booklet containing the following materials: ➔ Title: students must find a title for their study which should explain the topic of analysis ➔ Intro: a 100 to 200 word intro to summarise the topic of analysis should be included in the first page of the booklet. There might be additional text throughout the booklet as well. ➔ Architectural Drawings: the booklet must contain relevant architectural drawings (such as plans, sections, elevations, etc.) to provide an understanding of the building through their topic of analysis ➔ 3D representation: there should be one or several 3D representation(s) of the building studied in the booklet, enough to explore their topic of analysis ➔ Diagrams: there must be enough diagrams (in isolation or in combination with other drawings) to explain the conclusions from the analysis ➔ Graphic Language: the booklet must follow a specific graphic language that is best to explain and represent their analysis and conclusions ➔ Layout: the booklet must have a consistent layout throughout all the pages ➔ Binding: the binding method of the booklet should be considered from the very beginning, as this might constrain the layout and printing formats The submissions for the booklet must follow the guidelines listed below: ➔ hard copy (printed) ➔ minimum surface area of a spread (2 pages) equivalent to 1xA3 ➔ minimum of 15 spreads (2 pages) ➔ proportion: any
Repository of Temporal Identities. Jariyaporn Prachasartta. INDA AF2 2014. A dynamic debate chamber for the EU where identity is created and recreated at all times.
Teaching Archive | 2011 - 2016
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Deliverables
Students must deliver: ➔ 1 x Case Study Booklet
Blog Entry
Deadline
Sunday, Feb-29th at 14:00
Guidelines
All uploaded images should be 1000px in width
Content
INDA year 2 studio | 2014-2015
➔ ➔ Title
A Study of name-of-building
Labels ➔ ➔ ➔ Schedule
images of your case study explanatory text accompanied by zoomed in images
your blogger name (check on file shared with you) your instructor surname Institutions
MONTH W DAY DATE Feb Fri 02-13 PinUp for Phase 1 + Intro to Phase 2 5
Feb
6
Tue
02-17 Lecture “Institutional Architecture” + Tutorials
Feb
6
Fri
02-20 Lecture “Case Studies” + Tutorials
Feb
7
Tue
02-24 Tutorials
Feb
7
Thu
02-26 Early Online Submission by 20:00
Feb
7
Fri
02-27 Midterm Review
“Plenum. Places of Power” Austrian Pavillion at the Venice Biennale 2014. Photo courtesy of Archdaily.com. Over 200 models at a scale of 1:500 of national parliaments were exhibited: “the places where the power of the people has found its home,”
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Identity and Representation in Architectural Design
Y2 ARCH DSGN I
March 2015
>> Phase 3 >> Embassy >> Spring 2015 >> Faculty - Saul Appelbaum, Peter Fisher, Francisco Garcia Moro, Karin Knott, Lara Lesmes, Hans Henrik Rasmussen, Evgeniia Sidorova, Peter Strzebniok, Nuno Sousa, Pau Sarquella, Natalia Vera Vigaray
EMBASSY
Architecture of Diplomacy
Aboriginal Tent Embassy, Canberra. 1972. AIATSIS. A semi-permanent assemblage claiming to represent the political rights of Aboriginal Australians.
Introduction
An Embassy building is commonly referred to as Chancery and is the type of building that houses the Diplomatic Mission, which is a group of people present in another state to officially represent the sending state. The country where the Embassy is physically located will be referred to as Host Country, and the country that sent the diplomatic mission will be referred to as Represented Country.
Objectives
Students will design a medium scale self standing building to serve as Embassy of the chosen country in Bangkok. In dealing with extraterritoriality and beyond the purely practical set of requirements specified later, design proposals must address concepts such as: territoriality, border, security, asylum, bureaucracy, diplomacy, community, representation The aim is to learn how to develop contextual design beyond the immediate site, in which socio-cultural aspects inform and are communicated/represented by the architecture. Pragmatically, the designs should define two clearly identifiable systems:
Teaching Archive | 2011 - 2016
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INDA year 2 studio | 2014-2015
Network System
it must define the geometry of the spatial network organising all spaces and therefore dealing with: ● Program: how are the different uses organised in relation to one another so as to function as a single organism? ● Structure: what is the structural principle that accommodates the desired spatial organisation? what is it based on? does it play a representational role as well?
Surface System
it must define the boundary conditions between spaces and, in doing so, define the spaces themselves by addressing: ● Material: how are different spaces defined and what are the transitions between them? which are the environmental requirements of each space (visuals, acoustics, illumination, temperature, etc) ? ● Behaviour: how is each space meant to be used and how does the architecture provide and reflect that?
Program
(See Annex 1). A list of required programs for a typical embassy is provided. Regardless, students are encouraged to add and/or modify it based on the specific requirements of their represented country.
Site
Embassies have a dual context in which site conditions are given by both the represented and the host country, therefore designs must address site beyond the physical location of the building, as the social, cultural and political field between both countries.
Plot
(See Annex 2). Basic documentation of the plot will be distributed. Students might do additional observations of the surroundings but further documentation of the plot is not required as students might not be able to access it.
Constraints
Chinese table tennis players at the United Nations Headquarters. 1971. Unknown. The origin of ping-pong diplomacy refers to the exchange of table tennis players between the US and PRC in the early 1970s that paved the way to a visit by President Nixon
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Identity and Representation in Architectural Design
Y2 ARCH DSGN I
March 2015
Deliverables
Below is a list of minimum submission requirements to be delivered on specified dates. Students are encouraged to independently consider which are the most suitable formats and materials to represent their projects. Progress PinUp Mar-17th (Network Systems)
Early Online Submission Monday Mar-16th by 20:00 ➔ master axonometric drawing describing the logic behind the spatial network, relating program organisation and structural principle ➔ any additional materials (drawings, diagrams, videos, models, etc.) to support the argument
Progress PinUp Apr-7th (Surface Systems)
Early Online Submission Monday Apr-6th by 20:00 ➔ updated master axonometric drawing describing the boundary conditions and atmospheric qualities of all spaces in relation to the network organisation: program and structure (updated from the previous one) ➔ architectural drawings (plans, sections, elevations) ➔ any additional materials (drawings, diagrams, videos, models, etc.) to support the argument
Teaching Archive | 2011 - 2016
Final Early Submission Saturday May-2nd time TBD. Review ➔ 1x master axonometric drawing May-4th to ➔ architectural drawings (plans, sections, elevations) May 10th (Full Project) ➔ 3D representations ➔ atmospheric representations ➔ Physical Model (same as the one submitted for ConsTech) Students will present work from the whole semester during the final review as one complete project. All materials from Phase 1, Phase 2 and Phase 3 should be delivered on this date. No additional materials will be accepted for presentation beyond this date.
Julian Assange giving a speech from the balcony of the Ecuadorian Embassy in London. 2013. Unknown. On June 19th 2012 Julian Assange (founder of wikileaks) was granted political asylum in the Ecuadorian Embassy in London. He has not left the embassy ever since, only able to give speeches from the balcony.
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Blog Entry 1
Deadline
Sunday, Mar-22nd at 14:00
Guidelines
All uploaded images should be 1000px in width
Content
➔ ➔
Master Axonometric drawing explanatory text accompanied by zoomed in images
Title
Network System for the Embassy of Country of Choice
Labels
➔ ➔ ➔
your blogger name (check on file shared with you) your instructor surname Networks
INDA year 2 studio | 2014-2015
Blog Entry 2
Deadline
Sunday, Apr-12th at 14:00
Guidelines
All uploaded images should be 1000px in width
Content
➔ ➔ ➔
Master Axonometric drawing Architectural drawings explanatory text accompanied by zoomed in images
Title
Surface System for the Embassy of Country of Choice
Labels
➔
➔ ➔
your blogger name (check on file shared with you) your instructor surname Surfaces
Blog Entry 3
Deadline
Sunday, May-3rd at 14:00
Guidelines
All uploaded images should be 1000px in width
Content
➔ ➔ ➔ ➔ ➔ ➔
Master Axonometric drawing Architectural drawings (plans, sections, elevations) 3D representations Atmospheric Representations Physical Model (same as the one submitted for ConsTech) explanatory text accompanied by zoomed in images
Title
Embassy of Country of Choice in Bangkok
Labels
➔ ➔ ➔
your blogger name (check on file shared with you) your instructor surname Embassy
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Identity and Representation in Architectural Design
Y2 ARCH DSGN I
March 2015
Glossary
asylum an ancient juridical concept, under which a person persecuted (right of) by their own country may be protected by another sovereign authority, a foreign country, or church sanctuaries (as in medieval times).1 border the edge or boundary of something, or the part near it, commonly referred to as the line separating two political or geographical areas, especially countries.2 bureaucracy the administrative system governing any large institution, commonly criticised when becoming too complex, inefficient, or too inflexible, in which case bureaucracy can have dehumanising effects.3 community the perception of similarity to others, an acknowledged (sense of) interdependence with others, a willingness to maintain this interdependence by giving to or doing for others what one expects from them, and the feeling that one is part of a larger dependable and stable structure4 depiction a form of non-verbal representation in which images are regarded as viable substitutes for things seen, remembered or imagined.5
representation the use of signs that stand in for and take the place of (arts) something else. It is through representation that people organize the world and reality through the act of naming its elements. Signs are arranged in order to form semantic constructions and express relations.8 security the degree of resistance to, or protection from, harm. It applies to any vulnerable and valuable asset, such as a person, dwelling, community, nation, or organization.9 semiotics the study of meaning-making, the philosophical theory of signs and symbols. 10 territoriality term associated with nonverbal communication that refers to how people use space to communicate ownership/occupancy of areas and possessions
Teaching Archive | 2011 - 2016
diplomacy the art and practice of conducting negotiations between representatives of states6 and, generally, the skill in managing negotiations, handling people, etc., so that there is little or no ill will7
1
http://en.wikipedia.org/wiki/Right_of_asylum https://www.google.co.th/search?q=define+border&gws_rd=cr,ssl&ei=5dbqVKXCMseDuwSpn4DIDQ http://en.wikipedia.org/wiki/Bureaucracy 4 http://en.wikipedia.org/wiki/Sense_of_community 5 http://en.wikipedia.org/wiki/Depiction 6 http://en.wikipedia.org/wiki/Diplomacy 7 http://dictionary.reference.com/browse/diplomacy?s=t 8 http://en.wikipedia.org/wiki/Representation_(arts) 9 http://en.wikipedia.org/wiki/Security 10 http://en.wikipedia.org/wiki/Semiotics 2 3
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Schedule
MONTH W DAY DATE Feb Fri 02-27 Arch Des 1 Midterm Review 7 Mar 8 Tue 03-03 Introduction to Phase 3 Mar
8
Fri
03-06 Lecture “Representation” + Tutorials
Mar
9
Tue
03-10 Talk by ex-Ambassador Laurie Markes + Tutorials
Mar
9
Fri
03-13 Tutorials
Mar
10 Mon 10 Tue
03-16 Early Submission by 20:00 03-18 Collaboration with ConsTech Day 1
Mar
10 Wed 10 Fri
Mar
11
Tue
03-24 Lecture “Drawings”
Mar
11
Fri
03-27 Tutorials
Mar
12
Tue
03-31 Tutorials
Apr
12
Fri
04-03 Tutorials
Apr
13 Mon 13 Tue
04-06 Early Submission by 20:00 04-08 PM Event: Selected Projects Review with LM
Apr
13 Wed 13 Fri
Apr
14
Tue
04-14 Holiday - No Class
Apr
14
Fri
04-17 Tutorials
Apr
15
Tue
04-21 Tutorials
Apr
15
Fri
04-24 Tutorials
Apr
16
Tue
04-28 Tutorials
May
16
Fri
05-01 Tutorials
May
16
Sat
05-02 Final Submission
May
17 Mon 17 Sat
Mar
INDA year 2 studio | 2014-2015
Mar
Apr Apr
May
03-17 Progress PinUp (Network Systems) 03-20 Tutorials
04-07 Progress PinUp (Surface Systems) 04-10 Tutorials
05-04 Final Review Week May-4th to May-10th 05-10 Final Review Week May-4th to May-10th
Congress of Berlin (1881): Final meeting at the Reich Chancellery on 13 July 1878. Anton von Werner. The Congress of Berlin was a meeting of the European Great Powers, the Balkan States and the Ottoman Empire's leading statesmen led by Otto von Bismarck before WW1.
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Identity and Representation in Architectural Design
Y2 ARCH DSGN I
March 2015
>> Phase 3 - Annex 1 >> Site >> Spring 2015 >> Faculty - Saul Appelbaum, Peter Fisher, Francisco Garcia Moro, Karin Knott, Lara Lesmes, Hans Henrik Rasmussen, Evgeniia Sidorova, Peter Strzebniok, Nuno Sousa, Pau Sarquella, Natalia Vera Vigaray
EMBASSY
Annex 1: Program
Overview
An Embassy has a dual vocation of representation and reception, and it also constitutes an area in which office activities are performed under the authority of the Ambassador.
Areas
Controlled Access Area accessed through a security checkpoint equipped CA with a metal detector and an Xray tunnel. Protected Access Area accessible from the CA (controlled access) area, PA accessible to authorised personnel and, occasionally to identified and accompanied visitors. Reserved Access Area accessible from the PA (protected access) area RA through a single point with an armoured door and a security vestibule.
Users
National Staff An Embassy accommodates the services of the various ministries of the represented country and their employees. They hold nationality of the represented country and reside in the host country for the duration of their assignment. Local Staff Within the Embassy there is local personnel, for instance translators, assistants, maintenance personnel, etc. with limited access to the building. Institutional Visitors An Embassy receives visitors from the represented country, the host country or from third countries. These might be personalities that play an important role in bilateral relations in the fields of politics, economics, science, culture, etc.
Teaching Archive | 2011 - 2016
Professional Visitors An Embassy has contacts with professionals from different fields developing a project or mission of special relevance in the host country. These relations take place in the form of meetings, consultation, conferences, presentations and public events. General Public An Embassy receives nationals from the represented and from the host country who require consular services. Suppliers & Service Deliverymen, couriers, local postal services, maintenance contractors, cleaners, etc. are required to enter the site, sometimes with a vehicle.
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Access
Pedestrian Embassies usually have more than one pedestrian access point, separating staff, visitors and the general public. Vehicles Vehicles of important visitors, some of the staff and the suppliers and maintenance people will enter the building.
Program Breakdown
Below is a list of the typical facilities of an Embassy of usable area of 1000 to 1500 sqm: PROGRAM SIZE NO. OF PEOPLE FACILITIES
INDA year 2 studio | 2014-2015
Diplomatic 100 Chancery sqm PA Economic 100 Mission sqm CA
75 Dept. of Culture and Cooperation sqm CA Dept. of Press 50 and Information sqm PA Dept. of IT and Telecommunications RA
50 sqm
Consular 100 Service sqm CA Visa 200 Centre sqm CA Administration 100 Offices sqm CA Archive of Records 50 and Documentation sqm RA
12 Ambassador’s office 12 Counsellors’ office(s) 3 Secretaries 4 Chief of Mission’s office 5 Secretaries 3 Assistants’ office(s) 10 to 12 Local organisation premises 2 Head of dept. office 5 Secretaries 4 to 6 Trainees 4 Head of dept. office 6 Administration office(s) - Storage of documents - Coding Room - Network Room 2 to 3 IT office 6 8 3
Consul’s office Administration office(s) Document processing facility
20 to 50 Waiting room(s) 10 to 15 Visa Counters 6 Reception office for special cases 6 Consular office 10 to 15 Administration office(s) - Storage of documents Copistery Storage of documents
General services such as sanitary facilities, pause areas, meeting rooms, access halls, etc. and any additional programs are to be considered, sited and sized by
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Identity and Representation in Architectural Design
Y2 ARCH DSGN I
March 2015
>> Phase 3 - Annex 1 >> Plot >> Spring 2015 >> Faculty - Saul Appelbaum, Peter Fisher, Francisco Garcia Moro, Karin Knott, Lara Lesmes, Hans Henrik Rasmussen, Evgeniia Sidorova, Peter Strzebniok, Nuno Sousa, Pau Sarquella, Natalia Vera Vigaray
EMBASSY
Annex 2: Plot
Teaching Archive | 2011 - 2016
MAP GRID=500m. The plot is situated in the south end of Witthayu Road, approx. 200m from the intersection with Rama IV and Sathorn Road .
Coordinates
13.728099, 100.545734
Location
The plot is located in the south end of Witthayu Road, approximately 200 meters from the intersection with Rama IV and Sathorn Road. Link to Google Map
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Adjacencies
The plot is adjacent to plots occupied by embassies or by land designated for embassies on 3 sides: north, east and south; and by Lumpini park on the west side.
Area
The plot is a rectangle of 150mx100m = 15000 sqm.
Topography
The plot is essentially flat and has no significant vegetation to be preserved.
Constraints
➔
➔ ➔
INDA year 2 studio | 2014-2015
No Embassy program can be placed in a perimeter of 25 meters off the boundaries of the plot No pedestrian accesses can be located in the South and East sides of the plot No vehicular accesses can be located in the South side of the plot
MAP AREA=1000m radius. The plot is a rectangle of 150mx100m = 15000 sqm.
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International Program in Design + Architecture | Chulalongkorn University | Faculty of Architecture | Bangkok, Thailand
Teaching Archive | 2011 - 2016
Identity and Representation in Architectural Design
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VISCERAL INTRICACY
INDA year 4 studio | 2013-2014
V I S C E R A L
238 \
NATURALLY ARTIFICIAL
I N T R I C A C Y
Naturally Artificial
Y4 - Architectural Design V
4 Visceral Intricacy IV. (Vi4) 4 Architectural Design V 4 Semester 02, 2013-2014 4 Carl Fredrik Valdemar Hellberg
Jan 2014
www.visceralintricacy.com
Artificially Natural
The Agritechture of Tomorrow
The members of Vi4 will explore the visceral and intricate world of plants and humans past, present and future potential symbiosis with them. The challenge will be to create a place where a specific plant can be grown, processed and consumed in an holistic composition of carefully crafted experiences. Members of Vi4 will:
4 Explore and study the intricate spaces of wild natures
4 Specialize on a specific plant and its growth, use, and culture
4 Travel to Singapore to see some of the most advanced d conservatories in the world
4 Chose any site in the world.
Introduction No man made environment presents such intricacy and complexity as pure and wild as natural spaces. For design inspiration architects and designers often look at other designs similar to the challenge before them. Nature might infuse design of objects and machines but seldom architecture. And when it happens it is usually integrated in exteriors on a purely symbolic level, and it is often something that emerges in a post rational stage to please clients seeking easy metaphors. Members of Vi4 will approach nature from a different point of view, not from the back, but towards the front. will walk through nature into the W e th final design project. We will wi study proportions, study the spaces, proportion st volumes, textures, colours, colour transitions, phenomenons, phenomenon transformations and ligh light conditions nature, cond co n itions of natur before know beefore we even kno b what w at we will need it wh for. working for. fo r This workin approach approach will offer ap e the possibility tth h he possibilit of finding ndin qualities that we di did not even not no eve know kno kn ow w was wa there, rather rathe than than look th loo for things thing we hop hope t o find. nd
Teaching Archive | 2011 - 2016
Visceral Intricacy is a studio of research and innovative architectural design that seek new experientially driven design methods for the 21st century. We have searched in vast artificial environments underground (Vi1), in publicly performed religious ceremonies (Vi2), in virtual prosthetics of ancient ruins (Vi3), and now. In flowers...
造 Junya Ishigami 2 of 11 |
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Background Architecture has always been what separates us from the dangers of nature but it has always been constructed from nature. The architectural origin myths of the primitive hut understands all architectural form as representations of the first structures man built out of branches and trees. The primitive hut was used as an example by theorists like Marc-Antoine Laugier in the 18th century to prove that although technology brings our built environment to abstraction, all architecture has its roots in the ground that feeds it and is formed by its constraints.
¤ Drawing by Johnathan Webber. Commisoned work for the book “How to Grow a Chair” by Richard Reames
Organized manipulation of nature began at least 10,000 years ago as early technology made agriculture possible. The transition from huntergatherer to agricultural societies, based on evidence from south west Asia and China, indicates an antecedent period of intensification and increasing sedentism in south West Asia and the Early Chinese Neolithic in China. As agriculture made it possible for societies to form in permanent locations manipulation in plant origin and growth soon moved from being a purely practical act of producing food, medicine and material for construction and became culturally used ornamentally or to form places of pleasure. Egyptian Pharaohs planted exotic trees and cared for them; they brought ebony wood from the Sudan, pine and cedar from Syria. Hatshepsut’s expedition to Punt returned bearing thirty-one live frankincense trees,
Jan 2014
the roots of which were carefully kept in baskets for the duration of the voyage; this is the first recorded attempt to transplant foreign trees. As the built environment became some what natures in their own right in the mega cities of the world our relationship to plants have faded during the last centuries. And the links between cities and the lands that produces plants for food or construction is lumbering and outdated. Vi4 and the Future Plants are what we eat, what we wear, what we live in, and even what we breathe. Bellow Vi4 proposes a list of statements to be agreed or disagreed upon by all members. Vi4 respectfully bow for plants, but also celebrates our ability to artificially manipulate their natural habitat and natural growth patterns for our needs and desires. Vi4 Does not exclude the possibility that plants might have senses and could form something similar to what we call thoughts. Vi4 also understand the disaster ahead if we do not better treat the very source of our lives as we clumsily temper with fragile systems that we do not understand. Vi4 understands the risks and even possible disasters that the spread of Genetically Modified Plants could result in globally but does not exclude it as a way to save humans from starvation and as a natural way to artificially reanimate evolution. Vi4 Wilfully accepts the fact that our state of mind and emotional state is heavily influenced by what we choose to consume, of which all matter has its roots in plants. Vi4 believes in a bright future of increased plant/human symbiosis where our never ending desire for innovation and development can mean more biodiversity, not less, and a more sustainable and interesting planet and solar system. Vi4 sees that plants are our neglected mentor which with never ending trust and support shall be rewarded and celebrated. Vi4 members will in their own unique ways create sustainable places that offers an insight into the future of agriculture/horticulture/forestry/ botany for a post industrial digital world.
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Naturally Artificial
Y4 - Architectural Design V
1
Natural Spaces
We will begin by visiting the wild life reserve Bangpoo situatied on along the coastline of Samut Prakan just south of Bangkok. Bangpoo is famous for bird watching during the dry season when rare birds migrate from the north to escape the cold, but Bangpoo also provides some of the most lush mangrove forests and a variety of other species of plants. We will explore the intricate and visceral spatial qualities produced by threes, shrub’s and weed’s. We will be working in groups of three with one specifically selected natural space in the Bangpoo for each group. The space will be measured photographed, filmed, sketched and scanned. This material will then be processed and converted to digital 3D models and drawings from which analytic conclusions can be drawn.
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The particular formation of a little opening in a forest for instance has no force as a single unit, there
¤ lathyrus odoratus. Macoto Murayama. 2009
¤ Papaver somniferum. Botanical Drawing. 1930
Architects seldom speak of natural spaces like forests, meadows, fields, jungles etc in terms of spatial qualities. Perhaps this is because architects, unlike landscape architects have very little training in talking and even thinking about them as spaces. Perhaps it even has something to do with the fact that architects find it hard to judge something that has not been created by man.
Teaching Archive | 2011 - 2016
is no designer. Every single living organism in the space has through evolution an empirical behaviour with clear goals, but they all operate independently and with no oversight, such as a designer would have had. The independent forces from each plant, the conditions given by the land, the climate and the sun offers such a complex and intricate network of events that is incomprehensible to most people, and perhaps especially for architects who tend to seek the bigger picture. Perhaps the final most inexplicable fact about a space in nature is that it is in constant change. As long as it is alive, it is growing and decaying in a pace that is not possible for us to perceive in the moment, but if it was possible for us, to speed up time, as is possible with a film camera we would see the boiling energy in constant and never ending change as plants fall and rise. We will through our observations and survey of a natural space in the Bangpoo, full of life, complexity and change work towards growing more cerebral fibres , bridging the gap between our rational knowledge about plants and ecosystems, and the more emotional and subjective sensitivity we cannot ignore when observing nature. Perhaps the most dictating factor in wild nature is the phenomenology of the changing climatic conditions such as seasons and the radical change from night
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Y4 - Architectural Design V
造 Junya Ishigami. Japanese Pavilion. Venice Architecture Biennale 2008
till day. We will spend a full day at the Bangpoo observing the changes in light, temperature and atmosphere. The final goal for this first phase is to produce drawings and physical models that through abstraction manages to describe the static spatial conditions of the space. Ones this is done each member of the group will chose one subjective reading of the space to develop further, using the material collectively produced by the group.
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The choice of space should be done considering the following points
4 Complexity. That the space presents a satisfying amount of spatial and formal complexity.
4 Biodiversity. That the space presents a high of different species and types of plants.
4 Enclosure. That the space presents a clear enclosure that produces something that could be defined as a space or a volume.
2
Plantigation (Plant Investigation)
The final challenge of Vi4 is to create a place where a specific plant can be grown, processed, consumed and or sold. One plant will be chosen in this phase and investigated in great detail. The choice of plant is a crucial part of the project as it will inform the coming phases of the project as the plant will have vastly different needs in terms of climate, light, life span processing etc. The study will be concerning everything from the plants molecular structure to its decorative applications. The plant chosen could be small as a rose, or large as a maple tree. The plant should have the following criteria:
造 The garden city movement is a method of urban planning that was initiated in 1898 by Sir Ebenezer Howard in the United Kingdom.
4 Carry flowers or elements of similar centrality 4 Have a cultural relevance and cultural history in one or more areas of the world.
4 Have the possibility of processing, resulting in a product consumed as food, drink of medicine or as material (by humans.)
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Naturally Artificial
Y4 - Architectural Design V
Jan 2014
The following points will be covered in the study: 1.
Biology 1.1. Molecular structure 1.2. Growth 1.3. Appearance 1.4. Geography 1.5. Phenology
2.
Process 2.1. Processing history 2.2. Processing methods 2.3. Processing results and usage Consumption 3.1. Food 3.2. Perfume 3.3. Drink 3.4. Materials 3.5. Medicine
4.
Culture 4.1. Cultural relevance 4.2. Myths and folklore 4.3. Decorative Use
5.
Ornamentation and nd
Decorative Arts 5.1. In architecture ure 5.2. In cloths and nd fabrics 5.3. In art
Singapore
We will also visit:
4 Chang Architects 4 WOHA Architects
4
Site Research Sit
¤ Junya Ishigami
The Plantigation will result in a comprehensive set of drawings, diagrams and documents that together will serve as the source of future design decisions.
3
4 Singapore Botanical Gardens 4 Singapore Herbarium 4 Library of Botany and Horticulture 4 Garden’s by the Bay 4 Singapore Zoo 4 National Orchid Garden 4 Chinese Garden
From garden city to city in a garden. This is Singapore’s vision for its future. A city which is seen through leaves and branches. Where the plants take the primary role in forming spaces in the city where people meet. It might seem obvious but this approach is rather radical, and its making Singapore an even more desirable place to live and to visit. Singapore also have a wide array of botanical gardens, herbarium, green houses and parks. We will
Plants relates deeply Plan to location to its geographical g concerning conditions cco on ncce such ssu uch as temperature, ecosystem’s, seasons, eco ec eco soil so conditions etc. The site for the final project could be b anywhere in the world but should w be b chosen carefully with wi the research in mind. min What conditions are ideal for the plant? i Or there are Or perhaps p sites would benefit ssiites that th massively ma m ass s iivvely from the plant but b bu ut lack l ck the ssuitable conditions? la will on type of Ther Th eere er re wi illll be no rrestrictions es site conditions as it will depend on the wide range of conditions required by the plant. If for instance the rose has been chosen, a climatically controlled rooftop greenhouse in a mayor metropolis might be possible. If the chosen plant is the rubber tree, a tropical site with vast amounts of plantation land would be necessary.
Teaching Archive | 2011 - 2016
3.
travel together to Singapore to study these green places. The places of most interests to us will be:
The following points will be covered in the site research:
4 Climate 4 Culture 4 Geography 4 Natural Spaces
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Design
The final challenge is to create a place where a specific plant can be grown, processed, consumed and or sold.
Jan 2014
There will be no size restrictions for the projects, as the size depends solely on the specifications and conditions required for the plant.
The final projects will include the following:
INDA year 4 studio | 2013-2014
4 Greenhouse (depends on the plant) 4 Research centre 4 Growing facilities 4 Processing facilities 4 Offices 4 Sales area 4 Visitors area 4 Additional program Plants essential role in human life has traces in all cultural practice, in all eras of civilisation. Plants are found either directly as building materials or as symbolic elements in art and architecture. The first part of this final design phase of the project a series of new interpretations of those ancient representations studied in The Plantigation phase will be explored and realized, both looking into the past and into the future. The exploration could take many paths and the results will range the full spectrum of symbolic and artificial representations of the chosen plant. The studies could focus on everything from colour and texture transitions to growth pattern, layering of leaves to states of decay. The Plantigation phase will contribute with many essential building blocks such as the plants cultural, decorative and ornamental applications, which will be integrated into the production of the new interpretations. This phase will result in a series of botanical style drawings describing the new interpretations of the plants symbolic and cultural applications as well as images showing conceptual spaces composed of the new interpretations that will find its place as either driving forces to the design or as details. Each project will have its unique issues and challenges as each plant requires different conditions and each site offers different conditions. The final design must function both as a growing facility with careful considerations regarding the plants needs with production and post production facilities, but also as a culturally meaningful place where people can come to work, learn, teach and enjoy.
造 Cedar-House. 19th Centry Etching. Unknown
Grading
----- 1. Natural Spaces ----- 2. Plantigation ----- 4. Singapore
15% 25% 5%.
----- 5. Site Research ----- 6. Design ----- Blog ----- Participation
10% 35% 5% 5%
Trip
Location: Duration: Proposed time: Cost:
Singapore 5 days/4 nights 5 Days 4 nights. 12th - 16th February 35.000 THB
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Teaching Archive | 2011 - 2016
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A C T I V E
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A DEBATE CHAMBER FOR EUROPE
A Debate Chamber for Europe
Y4 - Architectural Design V
Jan 2014
>> Syllabus >> Architectural Design V >> Semester 02, 2013-2014 >> Lara Lesmes
Active Fields : A Debate Chamber for Europe
Teaching Archive | 2011 - 2016
He did not sit here
L’Ultima Cena (english: The Last Supper). Leonardo da Vinci. 15h century.
Objectives This semester, Active Fields studio will seek proposals for a debate and conference chamber for the European Union, taking its closure since 2012 due to cracks in the ceiling1 as an opportunity to reconsider its political and architectural format, learning about the direct influence of architecture in social behaviour and vice versa, the development of such spaces history and the evolution of its symbolism, developing methods to design architecture having social interaction as the main construction material and acquiring further knowledge in creative solutions for damaged structures. In accordance with the project brief, special emphasis will be given to presentation and discussion sessions both with external guests and with the studio group alone in order to provide the students with debate skills -being capable of assimilating feedback, negotiate agreements and have these be productive rather than compromising their projects. This will require the group to establish a tight intellectual link,
share information and ideas and feel responsible for their peers’ projects as much as their own. Also conforming with the studio topic, motion graphics will be included as a necessary format for design and illustration -video tutorials for the suggested animation and video editing software will be provided. Introduction Parliaments are everywhere. The term is derived from the French “parlement”, the action of “parler” (“to speak”): a parlement is a discussion2. People constantly meet, discuss, take decisions and move forward. Everyday, everywhere, countless informal parliaments surround us. These are spaces where a network of people sharing information of their concern is organised around a specific event or topic. These parliamentary groups are formed by chance or necessity, leading to hierarchical rules or constitutions that often have not been clearly
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stated or agreed upon, yet members acknowledge them either by following or breaking them. Some examples of Everyday Parliaments can be: a family discussion around the dinner table, a neighbour’s association meeting about replacing the carpet in the corridors, friends arranging next weekend’s trip at a coffee shop or work colleagues discussing strategies for tomorrow’s meeting in the pub. These small groups require simple infrastructures, usually a flat slab-like surface with some consumable goods on it, maybe some seats, and environmental comfort conditions. They follow different procedures according to age range, culture or linkage and their debates reveal behavioural patterns accordingly. Everyday parliamentarians get organised and often succeed in reaching a conclusion within the agreed meeting time. Everyday Parliaments make things happen. Most discussions of the above mentioned kind happen around a Table, a flat slab supported in one or more legs or other supports3. The table, in a way, epitomises social life, as it brings us together to keep us apart. Tables have witnessed and orchestrated world-changing events and some of its designs can be held accountable for stating hierarchical systems: King Arthur’s Round Table around which him and his knights met with no hierarchies, as its shape denotes -eventhough King Arthur was seating on a throne...-, introduced what now has become the round-table discussion format in which all participants have the same weight4; the Left-Right political spectrum was established by the seating arrangement of members at the table for the National Assembly during the 1789 French Revolution5; it took over 8 months for all parties to agree on the table design for the Paris Peace Talks in 19686, in which the issues of representation and recognition were crucial for some of its members; and contrary to what many christians might believe, Jesus did not seat in the middle of a long table during the Last Supper, He was sitting on the far right corner of a U-shaped table so nobody would sit to His right -as only He can sit to the right of His Father who is also Himself-, neither did Jesus and the Apostles sit upright in chairs at a table, rather they reclined on ground or on mats and pillows, leaning on their left elbow (either forward or back) and eating with their right hand, their legs stretched out behind them7, an arrangement that would seem rather informal today; the table-less setting for AA (Alcoholics Anonymous) meetings aims to expose vulnerability in order to create a more intimate link amongst participants8, perhaps
Jan 2014
similarly to the improvised setting around which world leaders sat during the Copenhagen Climate Summit in 20099. And if these examples have failed to prove the social implications of the table, a brief observation of families’ seating arrangements today in relation to cultural baggage and class (i.e. how the patriarch’s seat has been taken over by the baby’s high chair in northern european societies as a portrayal of progressive society desperately proving itself against traditions) might do. Representation issues are shared by architecture and politics. In architecture, the field of representation is concerned with -amongst other things- being able to predict the associations that built forms will create in the people’s minds, what the building will look like -or the table. In politics and since the introduction of democracy, representation is the solution for decision-making systems in which large amounts of people must have an equal voice, for which a body of representatives are elected to stand for -representa much larger group of people with common ideals or aims. This format is usually applied in a fractal pattern -there is a representative of a group of representatives- which leads to Metarepresentation. The European Union gives examples of vertiginously multilayered representation series in which an EU parliamentarian represents an ideology of a party that is represented in its country of origin by a national commission that is subdivided into provincial delegates that are representing city councils that represent neighbourhoods associations that represent people. And not only is the issue of political representation delicate, architectural representation as well. Most EU institutional buildings are simple volumes clad in glass and steel, with no ornamental features and no cultural associations, only a simplistic style often mistaken for modernism. In contrast, most local parliaments of member states feature strong cultural references in their facades and keep their interiors removed from context usually by blocking all views outside and avoiding ornamentation10. The question of the EU’s identity has been brought up often lately with approaches such as AMO’s Eneropa project, which proposes a new map and new flag for the territory in which all countries are represented rather than none11; or Sloterdijk’s Pneumatic Parliament, which proposes an almost transparent, thin, silvery outer shell which is a symbolic reference to the vulnerability of the democratic order12.
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A Debate Chamber for Europe
Y4 - Architectural Design V
Jan 2014
With the ceilings of its transparent buildings collapsing and undergoing an economic crisis due to lack of political transparency, the EU has now an open window (or an open roof) for the design of a new Debate Chamber that encompases the social and architectural approaches of its territories today. How do we seat Europe around the table?
Parliament’s timetable. In early December 2012, it became known that the damage was more serious than previously thought, and that the closure of the hemicycle was expected to last “until November 2013”. All “mini plenary” meetings in Brussels until this date were scrapped, a decision that was met with “fury” by some MEPs. Since, as of December 2012, the European Parliament is “having trouble” finding a company to carry out the repair work, it is likely that the reopening of the Brussels hemicycle may take place only in 2014.”
Endnotes:
2.
http://en.wikipedia.org/wiki/Parliament
1.
3.
http://en.wikipedia.org/wiki/Table_(furniture)
4.
http://en.wikipedia.org/wiki/Round_Table
5.
http://en.wikipedia.org/wiki/Left%E2%80%93right_ politics
6.
Shape-of-the-Table Negotiations at the Paris Peace Talks on Vietnam. Allen H. Kitchens - Department of State
7.
http://blog.adw.org/2010/01/the-seating-plan-at-the-lastsupper/
8.
http://voices.yahoo.com/how-effective-aa-meetingchairperson-6245086.html
9.
http://www.telegraph.co.uk/earth/copenhagen-climatechange-confe/6843304/Copenhagen-climate-summit-dealagreed-amid-chaos.html
10. Some examples of this are the Reichstag building in Berlin, which has drawn criticism for over a century because of its mixture of styles and keeps its debate chamber away from context even if the building aims to be inclusive of the public with its transparent dome that only allows views out onto the city, where visitors already came from; and the House of Lords in the Palace of Westminster, London, in which inside and outside follow Pugin’s Gothic Revival motifs but offers no views outside from the chambers and only views into courtyards from the building’s numerous corridors.
Teaching Archive | 2011 - 2016
From Wikipedia.org: “On 7 August 2008, 10% of the ceiling of the plenary chamber collapsed. No one was injured, as Parliament was not meeting at the time (it was in summer recess), though a number of seats were damaged. A first part of the ceiling collapsed at 18.00 CET followed by a second part at 22.36 CET. No extreme weather conditions were reported and the structure was new, so it was assumed that the false ceiling had a defect. The President’s office stated that a third of the ceiling had been affected and that “The preliminary results have revealed that the partial collapse of the ceiling resulted from the breakage of parts holding the suspended ceiling that connects it with the actual structure of the ceiling.” Repair work began immediately, but it became apparent that it could not be repaired in time for the next sitting. Thus, the session starting on 1 September was moved to the Brussels hemicycle. Parliament was expected to move back to Strasbourg for the session starting on 22 September but had to remain in Brussels for that session as well as safety inspections dragged on. The event was greeted with joy by those who oppose the Parliament’s presence in Strasbourg, and mocked by eurosceptics who wore hard hats to the first plenary in Brussels after the incident (if Parliament had been sitting at the time, the collapsing ceiling would have hit members of the eurosceptic parties). In August 2012, the Paul-Henri Spaak building in Brussels which houses the hemicycle was found to be defective as well. Cracks in the beams that support the ceiling led to a security closure of at least six months, as announced by an estimate released on 9 October 2012 by the Parliament administration. This in turn led to a reshuffle of the
11. AD - Radical Post-Modernism. Charles Jencks 12. Making Things Public. Edited by Bruno Latour and Peter Weibel 13. see reference in note. 1
Chamber of the European Parliament in Strasbourg. No Credits Available
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1
Everyday Parliaments
INDA year 4 studio | 2013-2014
Students will start by looking at small gatherings (5 to 20 people), networks of people sharing information and organised around a specific event or topic (i.e. dining table, bar, community council, neighbourhood associations, coffee shop). The chosen gatherings must establish an identifiable link amongst participants and a shared agenda (aims, issues or ideals). Each student should analyse a minimum of 3 different parliaments and the following aspects should be tackled: Arrangements: ¤
Meeting notice
¤
Attendance confirmations
¤
Representation
¤
Meeting time/place agreements
¤
Elements influencing the choice of place
Infrastructure : ¤
Furniture
¤
Electronics
¤
Software
Procedure: ¤
Introduction
¤
Speech turns
¤
Gesticulation
¤
Languages
Consumables: ¤
Mode of consumption
¤
Infrastructure for consumption
¤
Provenance
¤
Sensorial effects
Deliverables: Students must deliver a motion picture (less than 3 minutes total duration) that unveils all the elements, procedures and consequences behind the debates. It might compare the 3 instances or expose
Jan 2014
them separately, and it should touch upon, at least, the following points: ¤ explanatory
diagrams of the event timeline, from the raising of the issue to the conclusion of the debate and its possible consequences
¤ physical
infrastructure used - assembly, role and effects
¤ virtual infrastructure used ¤ identification
of hierarchies amongst members’
behaviour ¤ identification
of agreed and/or spontaneous debate procedures
¤ infrastructure involved and its role ¤ tracking of arguments ¤ tracking
of goods’ provenance, consumption and effects
Note: video tutorials for video editing software will be provided for this phase, but students are encouraged to experiment with other motion picture formats. Grading Criteria: ¤ 40% Argument ¤ 35% Analysis (depth, scope) ¤ 25% Graphics (consistency, clarity)
2
Tables
Students will design and construct an installation to serve as debate platform for one of the studied Everyday Parliaments, including the set up of the physical elements (and in some cases the custom design of these) as well as the procedure of the event. The installations must be particularly concerned with the way in which the table and its contents play an architectural role (together with other elements involved in creating the environment) in the the set up for event and how it all together influences social behaviour. Students must also devise feedback mechanisms specific for their installations. Filming angles will be particularly important in this case and it might
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A Debate Chamber for Europe
Y4 - Architectural Design V
Jan 2014
The aim of the installation is not to serve as experiment but as research. An experiment is carried out with the goal of validating a hypothesis but research is carried out in order to gain knowledge. But for research to be fruitful, a systematic procedure must be devised in order to analyse and evaluate results and reach conclusions. Students must devise a feedback method, a way to get feedback from the installation itself (directly from participants, from observations of their interactions, from the use of the elements utilised, etc.). These feedback methods can be trace maps, short assignments, questionnaires, elements in which marks are accidentally left (such as tablecloth, floor mats, etc.), elements given to the participants such as notebooks, papers, or other materials subject to transformation; to name a few. The students must arrive to certain conclusions based on the reading of the feedback method, therefore, ways to read these must be previously stated so as to ensure that the installation will be fruitful and relevant.
Master Axonometric drawing installation at scale 1:100
Metarepresentation
During the studio trip and the two weeks following it prior to the Midterm Review, students will work as a research group in developing studies of the European Union representation mechanisms and more specifically the Paul-Henri Spaak building in Brussels or the Louise Weiss building in Strasbourg, both former seats of the EU parliament. General topics will be covered by the group and specific topics of interest will be covered in individual short articles. Architecture:
Politics:
¤ Form
¤ Events Schedule
¤ Facade
¤ Debate Formats
¤ Details
¤ Debate Procedures
¤ Way finding
¤ Members roles
¤ Circulation
¤ Seating layout
¤ Boundaries
¤ Voting Criteria
¤ Furniture
¤ Lobbying (or alike)
¤ Lighting
¤ Agreement evidence
¤ Signs and Symbols
¤ Branding
Deliverables: ¤ Individual
article of minimum 750 words (all image credits by the author, except for references)
¤ Studio
Deliverables: ¤1
3
Teaching Archive | 2011 - 2016
require more than one camera to catch all required information. The placement -exposure or hiding- of the camera must be considered in relation to the effect that it might have on the participants. Light conditions should be designed according to its effect on the event set-up but also in relation to the camera being used to ensure proper documentation.
of
the
Research Book in A4 saddle stitch binding (all image credits by the authors, except for references)
¤ 1 Shop drawing of the table at scale 1:10
Note: a demo of publishing software will be given for this phase.
¤ Documentation of the event
Grading Criteria:
¤ Feedback
¤ 30%
received from the participants and conclusions extracted from it
Individual Article Argument coherence, clarity and relevance
¤ 10%
Grading Criteria: ¤ 45% Table Design ¤ 35% Documentation ¤ 25% Feedback method and Conclusions
Cohesion (the different parts are connected to each other and topics tackled are interrelated)
¤ 10%
Graphics (coherent graphic system across the document)
¤ 50%
Peer evaluation (students anonymously evaluate each others’ performance)
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A Debate Chamber for Europe
Deliverables: ¤ Presentation narrative
Students will design a Debate Chamber for the European Union plenary sessions at one of the two collapsing locations: the Paul-Henri Spaak building in Brussels or the Louise Weiss building in Strasbourg. The design must accommodate for all programs formerly carried out in the plenary chambers of the above mentioned buildings considering the current size of the EU parliament (number of MPs in 2014), as well as any other programs proposed by the student.
INDA year 4 studio | 2013-2014
Jan 2014
The existing physical and political structures must be considered and the projects must address the cultural diversity, territorial history and current situation of Europe, as well as the proven role of new technologies in participatory systems. Projects must ultimately be constructed upon networks of human interaction. Projects should address, at least, the following points:
¤ Map
of Human Interaction (Network Logic/ Behaviour Diagram)
¤ Master
axon of the intervention at scale 1:100 in A0
¤ Physical
Models of the main structural details at scale 1:20 or larger
¤ Set
of Architectural Drawings of the intervention at scale 1:50
Grading Criteria: ¤ 40% Argument ¤ 25% Presentation ¤ 35% Craft
Total Semester Grade Distribution: ¤ 15% Everyday Parliaments ¤ 20% Tables ¤ 10% Metarepresentation ¤ 50% A Debate Chamber for Europe ¤ 5% Participation
¤ Boundaries
Trip:
¤ Enclosure
Location: Brussels/Hague/Luxembourg
¤ Transparency ¤ Environmental control ¤ Form
Dates:
11th to 18th of February
Cost:
THB 52,000.00
(10% added for exchange rate fluctuation)
¤ Symbols
Breakdown:
¤ Circulation ¤ Participants distribution ¤ Virtual augmentations ¤ Construction/Installation ¤ Dialogue with the collapsing structure
Flight
THB 32,000.00
Accommodation
THB 9,000.00
Domestic Travelling
THB 3,000.00
Administration Fee
THB 4,000.00
Total
THB 48,000.00
Members of the European parliament take part in a voting session in Strasbourg on Thursday. Vincent Kessler/Reuters
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| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
A Debate Chamber for Europe
Y4 - Architectural Design V
Jan 2014
Schedule (all classes from 08:30 am to 12:00 pm -noon in Room 405) Date
1
Tue
01-14
Fri
01-17
Tue
01-21
Fri
01-24
Tue
01-28
Fri
01-31
Tue
02-04
Fri
02-07
Tue
02-11
Fri
02-14
Tue
02-18
Fri
02-21
Tue
02-25
Fri
02-28
Tue
03-04
Fri
03-07
Tue
03-11
Fri
03-14
Tue
03-18
Fri
03-21
Tue
03-25
Fri
03-28
Tue
04-01
Fri
04-04
Tue
04-08
Fri
04-11
Tue
04-15
Fri
04-18
Tue
04-22
Fri
04-25
Tue
04-29
Fri
05-02
Tue
05-06
Fri
05-09
2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
Agenda First Meeting (time and location TBC)
PINUP Phase 1 - Everyday Parliaments submission
PINUP Phase 2 - Table submission TRIP 02-11 to 02-17
MIDTERM REVIEW Phase 3 - Metarepresentation submission
Teaching Archive | 2011 - 2016
Week
DEBATE Logic/behaviour diagrams, A0 master axon draft
PINUP Overall design proposal. A0 master axon submission
DEBATE Detail models submission
PRE REVIEW Phase 4 - A Debate Chamber for Europe submission
FINAL REVIEW All Phases
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V I S C E R A L
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I N T R I C A C Y
DIGITAL PROSTHETICS: THE VIRTUAL GRAMMAR OF ARCHITECTURE
Digital Prosthetics
Y4 - ARCH DSGN IV 2541412
Aug 2013
Visceral Intricacy III
Teaching Archive | 2011 - 2016
Digital Prosthetics
Illustration by Kilian Eng
The Virtual Grammar of Architecture www.visceralintricacy.com
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Visceral Intricacy III. Architectural Design IV Fall 2013
www.visceralintricacy.com
Carl Fredrik Valdemar Hellberg
Visceral Intricacy III
Digital Prosthetics Virtual Grammar of Architecture
INDA year 4 studio | 2013-2014
Introduction If you ask an architect to choose the single most significant technological innovation in architectural history, he or she is not likely going to look in his/ her own epoch for answers. Might it be Vitruvius and Marc-Antoine Laugier theory of the primitive hut? The first sticks and branches that were arranged to conform the first shelter? Or innovations in materials like glass or steel? Or maybe the harvesting of new energy forms like electricity or oil and its subsequent effects on construction? As an abstract thought, architecture exists under the laws of physics in the realm of physical reality. This is literally the foundations of architecture. In our time, we have taken the longest (or deepest) architectural leap in history, we have moved to another dimension. We are entering a digital virtual world. It is in this world, that Visceral Intricacy will operate this term, the new final frontier. The Deep Leap Through technical innovation we have created computer systems that can simulate architecture and spatial experience in such immersive ways that our central nervous system is deceived and we can no longer distinguish the physical reality from the virtual. The Swedish neuroscientist Henrik Ehrsson scientifically proved for the time in 2004 that the experience of immersive virtual worlds can create clinical outer body experiences by overriding the brains sense of ownership of one’s body and project the mind into an artificial body in an artificial virtual world. Many modern buildings today not only exists virtually as drawings and models before they enter the physical world in construction but through modern collaborative three dimensional software’s referred to as BIM (Building Information Modelling) a building exists in its entirety before construction begin. Window profiles, plumbing, furniture, air ducts, generators, elevators, escalators etc are
¤ Eliciting illusions of entire bodies. (A) The mannequin illusion (Petkova & Ehrsson, 2008) and the participant’s perspective in this illusion. (B) The out-of-body-illusion (Ehrsson, 2007) and what the participants see. (C) The ‘bodyswap illusion’ and the participant’s perspective (Petkova & Ehrsson 2008). In all experiments the participants are wearing a set of headmounted displays connected to two video cameras placed on the mannequin’s head (A), a tripod 1.5 m behind the participant (B), or on the head of the investigator (C). Synchronous somatic and visual events are provided by touches applied to the mannequin’s belly and the participant’s belly (A), the participant’s chest and the “chest” of the “illusory body” (B), or by the repetitive squeezing of the hands (C).
allocated in the same three dimensional digital model together with every single other detail of the building down to nuts and bolts. In order for contractors to have full control of complex mechanical systems they now use virtual reality simulations in order to design, document, analyse and evaluate the system.
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| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
Digital Prosthetics
Y4 - ARCH DSGN IV 2541412
Virtual Architecture and Language In the digital virtual environment, the existence of a “building” is purely symbolic. It is a reference to a real world structure, created in a space where none of the utilitarian functions - protection from the elements, air condition, seating, etc. - have any relevance. It’s symbolic functions bring legibility to what could otherwise be an incomprehensible abstract space. In virtual environments like webpages or computer games, if you want to return to where you started, you push the “home” button. If you want to explore new spaces you push the “open” button. If you want to leave, you push the “exit” button. We open and close “windows”, we place documents on “desktops” and organize folders in libraries. This phenomenon has been defined with the term “Skeumorphism”. In order to navigate virtual worlds we have imitated an existing semiotic grammar. Since virtual architecture does not serve any physical purposes, it is pure architectural language. There is no point to an object or space in a virtual environment if it does not communicate possibilities to us. Content and meaning is always a complicated issue with physical architecture, virtual architecture is nothing but content, which requires a new kind of architect.
Visceral Intricacy believes that architects should and could have a role in the creation of virtual architecture, which would require new intellectual processes and design methodologies where imagination is not only a process but a place. We will create three dimensional spaces build only from information and language in ways that have never been done before.
Teaching Archive | 2011 - 2016
¤ BIM CAVE at Texas A&M’s Department of Construction Science
Aug 2013
The Dreaming Architect The ability to create and perceive space free of physicality has always been closely connected and necessary to the working process of architects. Man in general has always been imagining and dreaming but the fact that the imagined belongs to the individual alone means that it is difficult to incorporate in to our life’s where the communal is often more important than the individual. Most of our experience is never activated because it is never communicated or even internally reflected. A lifetime of dreaming possibly including the individuals’ strongest experiences, spatial and emotional often pass by unnoticed due to its non material nature and the lack of an appropriate language. Commonly the concept of real and unreal is the mental boundary used to judge the perceived world but indeed a dream can be even more real and engaging than a material experience of space. It is not the true sensational value that positions the experience, though, but the collective understanding of perception, and that
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understanding is in our time only repressing our experience. An architect’s vision becomes real the moment it appears in his/her mind, only to later become material, if that was the intention. Indeed it is believed that the architect and his/her associates are the only space generators in our societies but as mentioned, you can read space with your body but also in many other ways that are the product of other disciplines. A writer creates space that is read in code rather than physical material and it is the reader that then decodes the experience and perceives it through his interpretation. Likewise a director of a film uses the vision and audio to impose an experience. If we now agree that architecture does not necessarily have to be physical in order to exist or be real we can open our minds to a greater spatial sensation, and realize that if you are capable of describing a space to yourself and others, you are creating architecture. Whether you are imagining it, dreaming it, telling it, showing it, designing it or building it. The mind must strive towards a free perception without predetermined value over the spatial sensation for either material or nonmaterial architecture. To imagine it is to design it, and designing it is making it.
Aug 2013
of information. The Greeks called it Mnemonics (the art of memory). This complex and intricate system for creating and storing images and words in memory entailed a sequence of steps. First one had to create in one’s imagination a place where the materials to be remembered could be stored. Such imagined places were deeply based on architectural metaphors. The imagined space had to be logical so that the information could be easily found when needed. It is believed that the monks vision of the cathedrals were very similar to the ones actually built much later. The creator after haven created the main architectural elements began to place icons and ornaments in the different rooms and spaces of the cathedral to be able to store many details of information in the space. And if you walk through a gothic cathedral today the amount of ornaments, symbols and details as incomprehensible as they might be makes you understand that there is much to say about why the building stands. What it really is, is a memory bank full of stories to be told. One of the most intriguing example of such imagined structures was practised and used communally at St Gall. Its plan was drawn prior to the meditation and the monks were guided through the rooms and spaces of the elaborate nonmaterial monetary.
Representing complexity Often nonmaterial architecture which receives many “visitors” exists within some sort of spiritual or religious context, either if it is an afterlife world like Heaven and Hell or an imagined space visited voluntarily trough meditation or reading. The Gothic Cathedral of Europe with it striking visual appearance and geometrical beauty and complexity is one of man’s greatest architectural achievements. They were built with great effort to symbolize and demonstrate the glory of God’s Heaven, and today they still stand tall in cities as landmarks of a time when architecture was the means to illustrate the greatest places of them all. So it might be astonishing to learn that some of the first cathedrals spaces humans conceived were never meant to be built. Only later were these imaginary spaces translated into material architecture. These nonmaterial spaces were used by monks in meditation in order to store and recall great amounts
Left: The plan of St. Gall, an elaborate and detailed blueprint of a monastery, was used by monks as a tool for meditation, Right: Buddist mandala. From SCOTT, Robert A. (2003) The
Gothic Enterprise. London. University of California Press Ltd Similarly the Mandala used in Hinduism and certain branches of Buddhism in Tibet is a mental visual representation of the cosmos visited in meditation in the pursuit of enlightenment. And like the gothic cathedral the Mandala is realized as architecture across Asia.
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Digital Prosthetics
Y4 - ARCH DSGN IV 2541412
Ayutthaya Few historical sites have had such a deep impact on a nation and culture as the historical park of Ayutthaya. The entire city and kingdom was destroyed in bloody dynastic struggles in the late eighteenth century and left the old glorious city in ruins as it physically remains today, but virtually, the city and culture of Ayutthaya lives and thrives in the minds of people who either learn from school or through stories on screen and stage. When you stand before the remains of the monuments of Ayutthaya your mind completes the image with imagination, like phantoms one imagines the missing spire of the stupas and absent roofs over columns. Ayutthaya’s historical park and ruins will be the grounds for our visceral and intricate imagination this term. We will not only complete the missing material parts of the structures but ad information that would otherwise we impossible to perceive. We will create spaces constructed only by information and surround the structures. In order to be able to create these spaces we must not only learn as much as we can about the old
Kingdom and its rituals, hierarchy, social structure, routines, materials, trade etc. But also how information regarding Ayutthaya is communicated today. In the beginning we will be tourists as we analyse the three main museums in Ayutthaya and their communication strategies as well as how the actual ruins are explained on site though audio guides, signs, models, diagrams, guided tours and even role-play. Museum information interfaces are notoriously outdated and give little insight into the depths of possible knowledge one could acquire about an important architectural artefact. We will also study some of the previous projects dealing with digitizing and augmenting Ayutthaya. At this final stage of the project we will already have spent the majority of the term experimenting and developing systems and understandings for how information can be communicated in threedimensional virtual environments. The projects will eventually be presented on site in Ayutthaya using available interfaces for augmented reality, virtual reality and beyond where the visitors will be able to see in to the past and future as they are simultaneously touching the brick and smelling the grass.
Teaching Archive | 2011 - 2016
What is perhaps most interesting about these two examples of imagined space, is the transition from nonmaterial to material. But it must be said that all man made architecture has gone through the same transition. The architect imagines and constructs the space in various virtual ways, and then begins the long process of translation into comprehensible communication devices that can then be read and assembled into material architecture. Much like the writer mentioned earlier. But unlike the written word material architecture has the inevitable faith of destruction which could either mean a transition back into imagination or a complete disappearance.
Aug 2013
References: 4 Ehrsson H.H., Spence C and Passingham RE. ‘That’s my hand!’ Activity in the premotor cortex reflects feeling of ownership of a limb. Science, (2004) 4 BIM CAVE at Texas A&M’s Department of Construction Science 4 SCOTT, Robert A. (2003) The Gothic Enterprise. London. University of California Press Ltd
¤ Prometheus 2012. Ridley Scott. 3D virtual map of a galaxy. 5 of 12 |
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Things
INDA year 4 studio | 2013-2014
Now here is the challenge: In its long history, design practice has done a marvellous job of inventing the practical skills for drawing objects, from architectural drawing, mechanic blueprints, scale models, prototyping etc. But what has always been missing from those marvellous drawings (designs in the literal sense) are an impression of the controversies and the many contradicting stake holders that are born within with these. In other words, you in design as well as we in science and technology studies may insist that objects are always assemblies, “gatherings” in Heidegger’s meaning of the word, or things and Dinge, and yet, four hundred years after the invention of perspective drawing, three hundred years after projective geometry, fifty years after the development of CAD computer screens, we are still utterly unable to draw together, to simulate, to materialize, to approximate, to fully model to scale, what a thing in all of its complexity, is. A Cautious Prometheus? A Few Steps Toward a Philosophy of Design (with Special Attention to Peter Sloterdijk) Keynote lecture for the Networks of Design* meeting of the Design History Society Falmouth, Cornwall, 3rd September 2008 Bruno Latour, Sciences-Po
Latour’s ambitious challenge for designers and academics strives towards a perhaps unreachable goal, nonetheless the desire to reach perfection is the driving force behind the innovations he mentions. Methods to represent things in the making or existing in all of their complexity is to be able to read them, and to understand them, a fundamental human desire. The member’s first challenge will be to do just that. To draw together, to simulate, to materialize, to approximate, to fully model to scale what a thing in all of its complexity, is. What things remains from the kingdom of Ayutthaya and the other two main kingdoms of Thailand, Sukhothai and Thon Buri will be our subjects. Choosing carefully from Bangkok’s National Museum collection of artefacts from the Kingdoms each member will analyse a thing no larger than a cubic meter with a significant importance to the former kingdoms.
Aug 2013
We will begin by observing how the artefacts are exhibited in the museum and what type of information the visitors have access to. Some museums already have digital interfaces that the visitors can access either via personal digital devices such as smart phones and tablets or mounted screens and projections. Most exhibits offers astonishingly little information and in unproductive mediums. The museum experience is for the devoted learner often dictated by how many hours your back will hold, bent forward to read the description mounted in waist height. The introduction of the audio guide in the early 50’s added a new freedoms that the guided tours did not offer and the development of projectors and screens offered a replacement for the ambitious dioramas of wars and poor villages as interactive diagrams and animations took its place. Artefacts in national museums are often utterly meaningless without the narrative that might inform you that a little grey rock ones was a part of a statue situated in a palace of royalties, or that a wooden peg ones held a garment made of gold thread together. The narrative around a thing with meaning or importance to a culture is a delicate and difficult subject to handle and represent. - What is meaningful? What is there to tell and to whom? The material facts on the other hand are more tangible. We will start by measuring, weighing and analysing the artefacts. This will result in a detailed digital model of the artefact that can then be analysed in greater detail. We will also be using 3D scanning. We will continue to add information concerning the artefacts history. Who made it? For who? What was it used for? What happened to it? The last level of information that we will search for is the most difficult, the artefacts narrative and impact. What does the artefact it mean? To who? How does it fit within the narrative of its larger context as in both the past and the present? During this process we will together define as many aspects as possible that we might draw from the thing. The gathering of information ranging from material to cultural will during the process of collection be ordered into a three dimensional digital diagram in such a way that all the information can be read from one point when seen in a two dimensional representation.
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Digital Prosthetics
Y4 - ARCH DSGN IV 2541412
Reading Complexity
Our capacity to perceive and to read information has limits. Those limits are extraordinarily difficult to identify as every individual not only perceives the world differently, but also read it differently based on previous knowledge, memory and cultural and social background. To understand perception in its entirety is impossible but we will attempt to understand the ways in which we perceive and read information in specific scenarios.
correct choices and not walk in to walls, strangers or cars. This requires a rich and updated semiotic vocabulary acquired by living and interacting in the places we live. This can be illustrated by imagining a scenario with a county side Swede or Mongolian farmer’s first impression of central Bangkok. With a new and unfamiliar urban semiotic grammar the Swede or Mongolian will move very slowly, observing every step with grate caution not to end up under a car or in someone’s living room instead of at the tailor.
Teaching Archive | 2011 - 2016
2
Aug 2013
Iron Man’s Mark VII HUD By Jayse Hansen
All members will choose a route through a space in Bangkok with the aim of extracting perceptive data such as what we saw, what we looked at, what we attended to and focused on visually and sonically . We will then post analyse the memory of our experience and extract what we remembered reflected against what we don’t remember. The results from this experiment will lead to a manipulation of the video recording of our experience recorded from our view point as we moved though the route. To successfully move through an urban interior such as the one we will now have experienced requires a semiotic grammar tuned not only to cities in general but specifically to Bangkok and the specific route. As we move through space we by looking, seeing, attending to and focusing process vast amounts of information that we process live in order to make
The members will use their own semiotic vocabulary to try and understand the choices and criteria’s of movement made during the route. This information will then be combined with the material already in the video. The last step will be to add readings and information not in the subject’s semiotic grammar at the time the experience took place. This might be information that might have changed the route if the subject possessed the vocabulary beforehand or information that is impossible to perceive but still present in the space of the route. The aim for this analysis is to gain an understanding of how much information you can perceive and read, and how much time it takes. This will be very important for the final design of a virtual environment meant to be read and understood under very specific circumstances.
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3
Virtual Phantoms
The members will now with new insight regarding their ability to perceive and read information in space design a virtual room for the artefact from part one.. Members are free to organize and design their virtual space as they see fit with the following constraints
Aug 2013
4
Ayutthaya
The site and subject for the final projects is the historical park in of Ayutthaya, the former capital of Siam and the seat for the royal family. Each students will chose a monument/ruin/temple/palace to analyse on several levels. This specific physical structure will be both the subject of analysis and the physical site for the new virtual architecture.
4 All recorded data must be readable inside the room
INDA year 4 studio | 2013-2014
4 The virtual space may have any size 4 The artefact must be present (virtually or physically) in the centre of the space
Using the three dimensional digital diagram containing all the collected data regarding the artefact the members will now construct a virtual grammar of architecture with the aim of finding a strong logic that will serve as the framework for the way a visitor read and experience the virtual space. What type of data is suitable for areas closer to the artefact? What type requires a representation in one to one? What requires a representation in images, text, numbers or architectural elements? Architects are increasingly concerned with representing complex sets of information, and often missing the point. Instead of explaining the information architects often simply show that the information has been collected by composing it into complex and unreadable diagrams. The virtual spaces for the objects have to be clearly organized in a grammar so that all the information visible is also readable. The virtual space and the artefact (virtual or physical form) will the presented to visitors in the form of an augmented reality in studio at the faculty as well as in Bangkok National Museum.
Before students engage fully with their individual research we will together study the history of Ayutthaya and its importance and presence even in modern Thailand. A place like Ayutthaya that exists currently in the form of remains and ruins have a far more powerful existence as a virtual and nonmaterial place of legends and history with immense impact than as a physical structure. While in Ayutthaya we will collect video footage of each structure to be used in the final representation of the project. Several other recording methods such as 3D Scanning will also be used in order to get an objective model of the physical reality of the structures. Other information regarding the physicality of the structures and the surroundings will also be gathered such as:
4 Time and change 4 Climate 4 Geography 4 Materiality 4 Sound 4 Flora and Fauna 4 Time 4 Light Once back in Bangkok each member will continue the research into a specific and nonphysical aspect regarding their individually chosen structure. This might concern political, social, and ceremonial aspects etc. The study done of the structures individually will result in a colossal amount of information which will serve as the construction material for the coming virtual space.
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Digital Prosthetics
Y4 - ARCH DSGN IV 2541412
The final project involves designing a new virtual grammar of architecture using the collected data both from the site in Ayutthaya and the chosen nonphysical aspect. Members will utilize and evolve the grammar and logic produced in part 3 as a template for how the information regarding the historical site in Ayutthaya might be represented in a virtual prosthetic to the already existing structure. Members will chose the method of representing their virtual architectural and three dimensional communication. This may include digital interfaces such as handheld devices or other digital interfaces that can be carried around the historical park, projections on various mediums and materials, sound etc, or even though stories told though various mediums. The final stage of the project involves designing the architectural interface where the information concerning the physical site will take form digitally to then be experienced live on site in Ayutthaya. All the projects have to react directly to the physical site in the historical park in Ayutthaya where additional physical structures might be added in the final design to aid the virtual project. The projects have to be designed with a particular visitor in mind such as tourists, researchers, conservationists, artists, architects etc. The interface should be open for a two way communication where visitors can depending on the specifics of each project interact with the interface. The final projects will be illustrated though a live experience in Ayutthaya as well as through a film where the virtual architecture of communication can be seen together with the physical structure.
Notes 1. Things Hardware:
4 4
3D Scanner from TBC DSLR or other digital camera with HD video capacity
Software:
4 Rhinoceros 3D 4 Adobe Illustrator CS6 Readings:
4 LATOUR, Bruno. 2008. A Cautious Prometheus? A Few Steps Toward a Philosophy of Design (with Special Attention to Peter Sloterdijk) Keynote lecture for the Networks of Design* meeting of the Design History Society Falmouth, Cornwall,
Visits:
4 Bangkok National Museum 2. Representing Complexity Hardware:
4 Pupil Eye Tracker. Will Patera / Moritz
Teaching Archive | 2011 - 2016
5 Architectural Interface
Aug 2013
Kassner. TBC
4 DSLR or other digital camera with HD video capacity
4 Tablet or Smartphone Software:
4 Rhinoceros 3D 4 Autodesk 3D Studio Max 4 Adobe After Effects CS6 4 Adobe Illustrator CS6 Readings:
4 GOMBRICH, E.H. 1984. The Sense of Order 4 JONES, Owen. 1856. The Grammar of Ornament
4 HOGARTH, William. 1753. The Analysis of Beauty
3. Virtual Phantom Hardware:
4
Tablet or Smartphone
Software:
4 4
Rhinoceros 3D Autodesk 3D Studio Max
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Adobe After Effects CS6
4 AR Media Application Readings:
Ayutthaya - explorations in virtual reality and multi media
4 TANTATSANAWONG, Dr. Panjai. 2001. Recreating the past using object oriented virtual reality for Ayutthaya world heritage historical park: A case study of Wat Ratchaburana
4 MATSUDA, Keiichi. 2010. Domesti/City. The Dislocated Home In Augmented Space
4 PEARCE, Celia. 2007. Narrative Enviroments. From the book Space Time Play: Computer Games, Architecture and Urbanism : the Next Level
4. Ayutthaya INDA year 4 studio | 2013-2014
Hardware:
4 4
3D Scanner from TBC DSLR or other digital camera with HD video capacity
Software:
4 Rhinoceros 3D 4 Aodbe Illustrator CS6 4 Autodesk 3D Studio Max 4 Adobe After Effects CS6 4 AR Media Application Readings:
4 OGLEBY, Cliff. 2001. The ancient city of Ayutthaya - explorations in virtual reality and multi media
4 TANTATSANAWONG, Dr. Panjai. 2001. Recreating the past using object oriented virtual reality for Ayutthaya world heritage historical park: A case study of Wat Ratchaburana
4 OGLEBY, Cliff. 2001. Virtual World Heritage: More Than Three Dimensional Models
Visits:
4
Ayutthaya
5. Architectural Interface Hardware:
4 4
Tablets or Smart phones VR Goggles. TBC
Software:
4 Rhinoceros 3D 4 Aodbe Illustrator CS6 4 Autodesk 3D Studio Max 4 Adobe After Effects CS6 4 AR Media Application Readings:
4 OGLEBY, Cliff. 2001. The ancient city of
4 OGLEBY, Cliff. 2001. Virtual World Heritage: More Than Three Dimensional Models
Blog
The students will be required to upload work process on the Monday of every week by 18:00 or more regularly. The blog will be used as a platform for sharing ideas within the studio and for the work to reach a global audience. The blog will remain online and serve as a digital archive accessible by anyone.
Grading
Participation ----- 1. Things ----- 2. Reading Complexity ----- 3. Virtual Prosthetics ----- 4. Ayutthaya ----- 5. Architectural Interface ----- Blog
Trip
Location: Duration: Proposed time: Cost:
5% 15% 10% 20% 15%. 30% 5%
Ayutthaya Thailand 3 trips. Total 7 days/3 nights Dates TBC TBC. THB
Dictionary
VISCERAL 1. (Anatomy) Of or relating to the viscera—internal organs of the body; splanchnic. 2. Having to do with the response of the body as opposed to the intellect, as in the distinction between feeling and thinking. INTRICACIES 1. The state or quality of being intricate or entangled; 2. From William Hogarth’s Six Principles, 1753 Intricacy satisfies man’s innate “love of pursuit”.
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Digital Prosthetics
Y4 - ARCH DSGN IV 2541412
Submission Requirements 1.
2.
3.
4.
5.
Things 1.1. Isometric drawing of artefacts place in the museum together with access to information regarding the artefact. 1.2. Isometric diagram illustrating all the collected information concerning the artefact. Reading Complexity 2.1. Isometric Drawing of the entire route including the subjects movement as well as all the recorded information 2.2. Video of the visual and sonically experience of the route as seen by the subject with information layered over the video Virtual Phantoms 3.1. Isometric drawing of the Virtual Architectural Grammar of the virtual space 3.2. Video of the virtual space from the inside 3.3. Simulation of the virtual space Ayutthaya 4.1. Isometric drawing of chosen structure containing: 4.1.1. Physical properties 4.1.2. Chosen non physical or virtual properties of the site. Architectural Interface 5.1. Isometric drawing of the Virtual Architectural Grammar 5.2. Video of the virtual space 5.3. Simulation of the virtual space at site in Ayutthaya 5.4. Simulation of the virtual space in Bangkok 5.5. Written report describing the project.
Books 4 BAUDRILLARD, Jean. 1981. Simulacra and Simulation
4 EHRSSON, Henrik. 2011. The Concept of Body Ownership and Its Relation to Multisensory Integration
4 GOMBRICH, E.H. 1984. The Sense of Order 4 GROSZ, Elizabeth. (2001) Architecture from the Outside, Essays on Virtual and Real Space.
4 HANEKAMP, Henk. (2005) Oase 66 Virtually Here, Space in Science Fiction.
4 HOGARTH, William. 1753. The Analysis of Beauty
4 JONES, Owen. 1856. The Grammar of Ornament
4 MCGREGOR, William B. 1997. Semiotic Grammar
4 VALE, Lawrence J. (1959. Architecture, Power and National Identity
4 YATES, Frances A. 1966. The Art of Memory Articles/Essay’s 4 HEDMAN, Anders (year unknown) Rediscovering the Art of Memory in Computer Based Learning—An Example Application
Teaching Archive | 2011 - 2016
Intricacy is to an extent a new aesthetic criterion, and it relates to the engagement of the viewer by the object or work (“leads the eye [on] a wanton kind of chase”), affording pleasure to the mind.
Aug 2013
4 HELLBERG, Fredrik. 2011. Thoughts on MetaVirtual Solipsism by Fredrik Hellberg. http:// thefunambulist.net/
4 LATOUR, Bruno. 2008. A Cautious Prometheus? A Few Steps Toward a Philosophy of Design (with Special Attention to Peter Sloterdijk) Keynote lecture for the Networks of Design* meeting of the Design History Society Falmouth, Cornwall,
4 MATSUDA, Keiichi. 2010. Domesti/City. The Dislocated Home In Augmented Space
4 OGLEBY, Cliff. 2001. The ancient city of Ayutthaya - explorations in virtual reality and multi media
4 OGLEBY, Cliff. 2001. Virtual World Heritage: More Than Three Dimensional Models
4 PEARCE, Celia. 2007. Narrative Enviroments. From the book Space Time Play: Computer Games, Architecture and Urbanism : the Next Level
4 TANTATSANAWONG, Dr. Panjai. 2001. Recreating the past using object oriented virtual reality for Ayutthaya world heritage historical park: A case study of Wat Ratchaburana
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THE POLITICS OF AGORAPHILIA
The Politics of Agoraphilia
ARCH DSGN IV
Aug 2013
4Syllabus 4Architectural Design IV 2541411 4Fall 2013 4Lara Lesmes Active Fields: The Politics of Agoraphilia
AGORA - (in ancient Greece) A public open space used for assemblies and markets. PHILIA - Suffixes with the common part -phil(-phile, -philia, -philic) are used to specify some kind of attraction or affinity to something, in particular the love or obsession with something. Source: Dictionary.Cambridge.org
Introduction The studio will develop research and speculation in spaces for society influencing and/or influenced by a political system, understanding politics from a superficial perspective concerning only civic rules, enough to inform the design of spaces. The studio is not about political science but about political space and, in particular, spaces of or for democracy. Every society has developed some form of politics and, with it, different kinds of media to enforce it, one of them being architecture. All those mediums have different ways of signifying, some of them are more direct than others, which are based on more subtle or even subliminal techniques. Political systems develop places for its society with different purposes and methods depending on the message to be portrayed. When society want to communicate with the political system, it has to choose a way to do so - a language and a medium where to do it - a place. Both choices have to be of extreme significance for the message to be delivered and is often found that such places and languages are not coinciding with those provided by the system. The studio will look into the complex and dynamic form that public space is taking in our days, how society is taking command of it, reshaping it and bringing it to a place amid physical and virtual where the magnitude of its social relevance and
political influence is rising to unimaginable levels, and imagine the new forms that public space could take within the complex urban network considering the new types of interaction, sharing and influencing each other as members of a civil society. Shifting Focus: the new public domain Cities are often considered the epicentres of democracy as they are the arenas for most people’s everyday experiences, and, due to the density of contact, the perfect setting for exercising a good level of political engagement and participation. Idealistically, the urban society would meet in public spaces for any activities involving collective action around shared interests, purposes and values. Public space has been defined as ‘a place within which a political movement can stake out the space that allows it to be seen. In public space, political organisations can represent themselves to a larger population’.1 What would be considered, according to this theory, an appropriate use of public space relies greatly on the state’s freedom of speech, surveillance policies and vehicles for the exercise of democracy. As of today, public space its falling into a position of questioned relevance and misuse as the governing forces are losing focus on its priorities and perhaps society is not so clear on its demands for the contemporary meeting place.
Teaching Archive | 2011 - 2016
POLITICS - (from Greek politikos “of, for, or relating to citizens”) is the art or science of influencing people on a civic, or individual level, when there are more than 2 people involved
‘Previously, the government and local councils owned the city on behalf of us, the people. Now, more and more of the city is owned by investors, and its central purpose is profit’.2 1 Mitchell, Don (1995). “There’s No Such Thing as Culture: Towards a Reconceptualization of the Idea of Culture in Geography”. Transactions of the Institute of British Geographers (Transactions of the Institute of British Geographers, Vol. 20, No. 1) 20 (1): 102–116. doi:10.2307/622727. JSTOR 622727. 2 Minton, Anna (2009), Ground Control: Fear and Happiness in the Twenty-First Century City. London: Penguin. doi:10.1017/ Soo47279411000110
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Society reinterprets the meaning of places and meaning evolves in ways that differ from what has been planned because polity, as society, is dynamic. In the past few years we have seen public squares being Occupied. In all cases this had to do with some level of political discontent that was germinated in virtual social networks and manifested in public spaces. Some of the locations chosen were the so-called POPS (Privately Owned Public Spaces), which presented a perfect scenario where not only verbally the arguments were communicated, but also symbolically through occupying a space whose condition of publicness is relative and even paradoxical. Occupy Wall Street was allowed to settle on Zuccotti Park (formerly Liberty Plaza Park), owned by Brookfield Properties and named after his owner John Zuccotti, after the forces of order blocked access to the two other locations they had planned for (One Chase Manhattan Plaza and Bowling Green Park), and they chose to shift their focus to ‘occupying banks, corporate headquarters, board meetings, college and university campuses.’3 In London, the Occupy movement had to move location from the planned spot at Paternoster Square (London Stock Exchange), also privately owned, and set up camp in front of St Paul’s Cathedral. Such spatial choices were symbolic to the movement’s message but in both cases the city had to improvise which spaces to allow that would still be in accordance to the movements’ choice but without hindering everyday’s activity at the financial districts. Wether if there are issues to criticise regarding Capitalism or if the movements had a clear purpose will not be issues of our concern, ideologies aside, the studio will research on the dynamism and negotiation of this seemingly public places and the transformations they overcome to perform as Political Spaces, defining them as those triggered and re-purposed by civil society’s organised actions. We will compare the Political Spaces to public places that have been design with a political agenda in mind and play symbolic and semiotic roles in the urban scenario, defining them as Political Places – those envisioned, created and purposed by the political system. We will look into their historical formation ruled by the shifting ideologies of governance overlying public arena. This ever-changing civics have historically led to changes in urban scenarios which meant not only constructing but very often 3
http://en.wikipedia.org/wiki/Occupy_Wall_Street
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The Politics of Agoraphilia
Year Code - Course Code (i.e. Y1 - DTS01)
‘On August 11, 2004, the South Korean Prime Minister Lee Hae-chan announced that the country’s capital will be moved from Seoul to Gongju (approximately 120 km south of Seoul) and Yeongi commencing in 2007. A 72.91 square kilometres (18,020 acres) site was chosen for the project, which was scheduled to be completed by 2030. It was envisaged that government and administrative functions will move to the new capital, along with (possibly) the National Assembly and supreme court, although no sizable relocation was expected until the first phase of the project has been completed by 2012. The move was intended to reduce Seoul’s overcrowding and economic dominance over the rest of South Korea; perhaps not coincidentally, it would have also moved the government and administration out of range of North Korean artillery fire. The projected cost of the project ranged from $45bn to as much as $94bn. The plan has aroused controversy, with opposition parties calling for a referendum to see whether it is endorsed by the population. Some civic groups have also launched a constitutional appeal, and on October 21, 2004, the Constitutional Court ruled that the special law for the relocation of the capital is unconstitutional since the relocation is a serious national matter requiring national referendum or revision of the constitution, thus effectively ending the dispute. Opinion polls showed that a slight majority of South Koreans are opposed to the move, both before and after the ruling. However, late in 2004, the government announced yet another plan that will allow Seoul to be a capital in name only by retaining the Executive Branch, all Legislature Branch, and Judiciary Branch in Seoul, while moving all other branches of government to Gongju. The question remains unresolved to date.’4
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destructing or, softly said, rectifying the urban network. Streets have been thickened for creating majestic views, squares have been reshaped for the sake of symmetry, neighbourhoods have been “cleaned up” for the purpose of regularity, etc. This develops a form of urbanism that has to deal with existent matter through urban boolean operations. Historically, large scale urban interventions followed top down totalitarian schemes, following decissions from the figure of authority; therefore, that existent matter was taken rather lightly (whole neighbourhoods were demolished). In our days, that is fortunately not accepted anymore, posing the problem of how a urban setting can respond dynamically to new ideals in a democratic way. We will propose models that respond to this dynamic urban setting through Archtivism, architectural activism. In order to be practitioners of archtivism, the structures (The Archtivists) will be the facilitators of public platforms that ensure participation and the democratic resolution of urban interventions. They should have dynamic forms and philosophies, be capable of shifting sides, negotiating and representing at a time, ideologically driven interest mediators, not traitors but occasionally regarded as turncoats that are inherently agitators trained to arbitrate and ensure a dynamic, participative, engaging and productive urban sociopolitical life. From this relatively small scale portable pieces going viral and the consequential public dynamics that will derive from them, we will speculate on the possible and plausible spaces that our achtivists might whittle down from the existing urban mass, resulting on the first ever envisioned NeoAgoras: contemporary public domains for democracy. As an example of an emergent democracy and because of it’s complex neighbouring conditions and therefore international relevance, The 6th Republic of South Korea will be the scenario in which our ferocious archtivists will execute their tasks. Established as a result of the June Uprising in 1987, Korea’s democracy has seen many coups and assassinations as the means to change governments. The Sixth Republic has represented a break from previous South Korean politics and has presided over South Korea’s most successful period of economic development, but in present days it’s being challenged by corruption and scandals surrounding its 11th and first female President, Park Geun-hye. With regards to its physical political presence, the korean government is undergoing major changes:
Aug 2013
http://en.wikipedia.org/wiki/Gongju
This captivating mitosis that the representative body of the country’s democracy is undergoing provides a very suitable and rich scenario in which to deploy our agents and witness their creations. In the meantime:
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The Politics of Agoraphilia
Year Code - Course Code (i.e. Y1 - DTS01)
The Political Place The Political Space
This first part of the project will consist on research to help define and understand what is the difference between what we will define as Political Place and Political Space. This will require a series of discuaaions around selected texts (see ‘Readigs’), and gainnig understanding and knowledge on the state of public space in our days through analysis. 1.1. Each student will choose a Space from a given list and study it in all its complexity, following these main points: 1.1.1. space dynamics: choice of place in relation to its history and symbology, use of the space, aftermath 1.1.2. communication: social media, documentation modes, surveillance modes, broadcasting, propaganda, semiotics) 1.1.3. effect: physical and political consequences
physical: boundary, elements, architectural surroundings, historical formation 1.2.2. imagery: portrayal, scenery, surveillance 1.2.3. program: generic use, surrounding uses, historical use, occasional events 1.2.1.
List of Political Spaces
6Fall of the Berlin Wall (1989). Alexanderplatz, Berlin, Germany. 6Iranian Green Movement (2009). Azadi Square, Tehran, Iran. 6Red Shirts Protest (2010). Ratchaprasong, Bangkok, Thailand. 6Tunisian Revolution (2010). Bardo Square, Tnis, Tunisia. 6Egyptian Revolution (2011). Tahrir Square, Cairo, Egypt. 6Movement 15M (2011). Puerta del Sol, Madrid, Spain.
List of Political Places
6Occupy Wall Street (2011). Zuccotti Park, Manhattan NY, USA.
6Washington National Mall, Washington, DC, United States of America
6Protests against SOPA and PIPA (2012). WorldWideWeb.
6Platz der Republik, Berlin, Germany 6Ancient Agora of Athens, Athens, Greece 6Forum Magnum, Rome, Italy 6Rajpath, New Dehli, India 6Place de la Concorde. Paris, France 6Red Square, Moscow, Russia 6Saint Peter’s Square, Vatican City 6Plaza de Mayo, Buenos Aires, Argentina 6Trafalgar Square, London, United Kingdom 6Tiananmen Square, Beijing, China 6Zocalo, Mexico DF, Mexico Each student will choose a Place from a given list and study it from the following points of view: 1.2.
Teaching Archive | 2011 - 2016
1
Aug 2013
6Gezi Park Protests (2013). Gezi Park, Istanbul, Turkey. The documentation will be presented only as an infographic video. All footage should be authored by the students, therefore it is not likely that site recordings will be used. Students should also submit the following graphic documents that will be necessary in order to produce the video: ¤ 1 Master axonometric drawing of the Political Place in which all the previously pointed characteristics are clearly represented and readable. ¤ 1 Master axonometric drawing of the Political Space in which all the previously pointed characteristics are clearly represented and readable.
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Archtivism NOW!
INDA year 4 studio | 2013-2014
In response to the research phase students will develop and exercise on archtivism (architectural activism). This will consist on the design of architectural gadgets that, when deployed in a space, provide a physical and virtual platform with sociopolitical implications or connotations. The gadgets should be functional, performative and symbolic and must have a physical and/or philosophical presence in the NeoAgoras, where they will act as catalysts for making Political Places into Political Spaces. Archtivists should fulfil the following requirements:
6They should have semiotic capabilities 6They should have a symbolic value for a prescribed ideology
6They should be capable of shifting ideologies amongst at least 2 different ones (and therefore shifting their symbolic elements) 6They should be portable 6They should have the ability to go viral (as a research team, we will define what going archtivistically viral means)
6They should provide interrelated and symbiotic virtual and physical platforms The documentation will be submitted in the form of political propaganda (whichever media this would imply) derived from studies done in the previous phase.
3
South Korea
Phase 3 of the project will consist on the understanding through field, library and online research of the 6th Republic of South Korea. Students will choose two main sites will, one in Seoul and another one in Gongju. The project might only manifest physically in one of the sites but both cities should be addressed, either physically or virtually, if not both.
Aug 2013
Most site research and material will be developed during the field trip although basic knowledge should be acquired before and post-processing of documents might take place after. Sites should be chosen based on a minimum criteria, as follows:
6Contemporary sociopolitical relevance of the place that makes it be considered a Political Place 6Historical importance in relation to the topics being tackled during the previous phases 6Significant public flow, or lack of it, depending on the argument being formed 6Minimum surface area that would facilitate mass gatherings for a minimum of 500 people with the possibility of eliminating a maximum of 10.000 cubic meters The site documentation to be submitted is: 41 Master axonometric drawing in which all issues concerning the site and informing the choice are represented.
4
NeoAgora
Students will design a place where the people can communicate with the system. The aim of the projects is to design the transformation of a political place (designed in accordance to the system’s rules and ambitions) into a political space (designed in accordance to or even by the people’s wish to express themselves politically and, possibly, have an impact) that can transform and perform successfully and contemporarily as such. ‘the exercise of democracy depends upon having a literal commons where people can gather as citizens—a square, Main Street, park, or other public space that is open to all. An alarming trend in American life is the privatization of our public realm. As corporate-run shopping malls replaced downtowns and main streets as the center of action, we lost some of our public voice. You can’t organize a rally, hand out flyers, or circulate a petition in a shopping mall without the permission of the management, which will almost certainly say no because they don’t want to distract shoppers’
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The Politics of Agoraphilia
ARCH DSGN IV
Projects should respond to the following minimum criteria:
6Projects will ultimate define the contemporary space for public assemblies or what we will call the NeoAgora. 6Projects should consider the environmental expectations of our times and cultures.
6Projects should address all programs existing on site and argue for any design elements that could hinder the current realisation of these. 6Projects should not involve the design of an area with a footprint larger than 1 ha, even though events triggered in that space might spread over different parts of the city. The documentation submitted will consist on:
41 infographic video of a duration shorter than 3 minutes overlaid onto footage from the chosen sites 4Enough mock-ups of the possible influence and presence on virtual media of the project to describe and give a sense of its potential reach. 4Any propagandistic material that helps situate the audience on at least 3 possible scenarios of mass gathering within the NeoAgora 4An implemented version of the site master axonometric drawing in which the physical and virtual sociopolitical impact of the project is visualised. Note Given the possibility within the chosen topic to be blindly critical and not propositional, and to ensure students’ involvement and design responsibility, satirical projects will not be encouraged, although satire could take part in the creative process.
Readings The following readings will be discussed in class sessions during phase 1 of the project:
6Lefebvre, Henri. The Production of Space. Excerpts from chapter “Social Space”. 6Carter, Paul. Repressed Spaces: The poetics of Agoraphobia. Excerpts from chapter “Meeting”. 6Minton, Anna. Ground Control: fear and happiness in the twenti-first century city. Excerpts from chapter “Moving Forwards”. Find more rocommended texts in our blog: http://activefields1.blogspot.com/search/label/ Article Grading Criteria
6 6 6 6
Phase 1 Phase 2 Phase 3 Phase 4
20% 25% 15% 40%
Teaching Archive | 2011 - 2016
attention from the merchandise. That’s why you see few benches or other gathering spots inside malls. The result is that our ability to even discuss the issues of the day (or any other subject) with our fellow citizens is limited.’1
Aug 2013
It is important to note that all parts of the project are intrinsically related and that it is a requirement that an argument is built considering every phase. Field trip to South Korea
6Location: Seoul and Gongju 6Dates: 02/10/13 to 07/10/13 6Duration: 5 days, 4 nights 6Visa: Not required for Thai nationals 6Cost estimation as of 01/08/13: THB 52500 Cost breakdown: THAI AIRWAYS RETURN FLIGHT BKK-SEOUL THB 22,500.00 ACCOM. PLAZA HOTEL SEOUL FOR 5 DAYS THB 25,000.00
1 Jay Walljasper (2011). People, Power, and Public Spaces: What the privatization of public spaces has to do with our likelihood of taking to the streets. http://www.yesmagazine.org/people-power/people-power-andpublic-spaces
DOMESTIC TRAVELLING TRAIN SEOUL GONGJU THB 5,000.00
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Year Code - Course Code (i.e. Y1 - DTS01)
1
TUE 13/08 FRI 16/08
Y4 presentations PlvsSp - Intro
2
TUE 20/08 FRI 23/08
PlvsSp - Tutorials PlvsSp - Tutorials
3
TUE 27/08 FRI 30/08
PlvsSp - Tutorials PlvsSp - Preview
4
TUE 03/09 PlvsSp - Tutorials FRI 06/09 Paired Review
5
TUE 10/09 FRI 13/09
Archtivism NOW! Archtivism NOW!
6
TUE 17/09 FRI 20/09
Archtivism NOW! Archtivism NOW!
7
TUE 24/09 FRI 27/09
Archtivism NOW! Archtivism NOW!
8
TUE 01/10 MIDTERM REVIEW FRI 04/10 KOREA TRIP 02/10 - 07/10
9
TUE 08/10
Archtivists Tunning - PK evening
Aug 2013
FRI 11/10
Archtivists’ Tunning - Tutorials
10 TUE 15/10 FRI 18/10
Archtivists’ Tunning - Tutorials Archtivists’ Tunning - Tutorials
11 TUE 22/10 FRI 25/10
NeoAgora - Intro NeoAgora - Tutorials
12 TUE 29/10 NeoAgora enunciated - PinUp FRI 01/11 NeoAgora - Tutorials 13 TUE 04/11 FRI 08/11
NeoAgora - Tutorials NeoAgora - Tutorials
14 TUE 11/11 FRI 15/11
NeoAgora - Tutorials NeoAgora - Tutorials
15 TUE 18/11 NeoAgora visualised - Preview FRI 22/11 NeoAgora - Wrap up 16 TUE 26/11 FRI 29/11
NeoAgora - Wrap up NeoAgora - Wrap up
17 TUE 03/11 NeoAgora - Tutorials FRI 06/11 FINAL REIVEW
J. Buhlmann’s ‘ideal restoration’ of the Athenian agora (marketplace), reproduced in Camillo Sitte’s Der Stade-Bau (city Building, 1889).
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The Politics of Agoraphilia
ARCH DSGN IV
Sep 2013
4Phase 2 4Architectural Design IV 2541411 4Fall 2013 4Lara Lesmes Active Fields: The Politics of Agoraphilia
2
Archtivism NOW!
Archtivists should fulfil the following requirements:
Authoritarian
Inclusive
Anticipatory
Industrial
Consensus Delegative Deliberative Demarchy Economic Electronic
Liberal Non-partisan Ochlocracy Participatory Radical
6They should have semiotic capabilities 6They should have a symbolic value for a prescribed ideology
6They should be capable of shifting ideologies amongst at least 2 different ones (and therefore shifting their symbolic elements) 6They should be portable 6They should have the ability to go viral (as a research team, we will define what going archtivistically viral means)
6They should provide interrelated and symbiotic virtual and physical platforms In order to better organise the modes of participation enforced by the archtivists, the studio will develop a general understanding of network logic. At least one of the following Network Theories will be analysed and adopted as the form in which the archtivist process social networking and produces forecast data in accordance to: Complex network
Optimization
Contagion
Reciprocity
Grassroots
Representative-Direct
Small-world
Illiberal
Sociocracy
Scale-free
This participatory models will be the brief for developping forms of archtivism (architectural activism). This will consist on the design of architectural gadgets that, when deployed in a space, provide a physical and virtual platform with sociopolitical implications or connotations. The gadgets should be functional, performative and symbolic, capable of transforming Political Places into Political Spaces.
Teaching Archive | 2011 - 2016
Behavioural and strategic Spatial Logics were extracted from the analysis of Political Places and Political Spaces. Those should be responded to with designed devices that facilitate a form of democracy by triggering and maintaining the necessary participation from some or all parts. Democratic forms of participation are often practised within the constitutional framework of a Republic. The studio will first work together to analyse and visualise the different forms of democracy that we will consider Forms of Participation;
Community structure Percolation Evolution Controllability
Closure Homophily Transitivity Preferential attachment
Social capital
Balance
Link analysis
Influence
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The archtivists must consist on more than one physical or virtual interconnected pieces, therefore at least one Network Topology pattern must be adopted and, perhaps, interpreted, distorted or redefined. Existent topologies are:
participatory models that the archtivist could possibly follow, facilitate, or aim for. Specific technologies should be considered in order to provide this forms of participation. 3.
Network Theories - will define the aspects that
are taken into consideration when designing the Linear
Ring
different platforms for social networking 4.
Topologies - will inform the ways in which
INDA year 4 studio | 2013-2014
crowds operate. Specific gadgets, physical or virtual, Bus
Dual Ring
should be provided to ensure that the desired form of networking is exercised. Deliverables
Star
Tree
Mesh
Full
All these elements should play a role in the functioning logic of the archtivist:
1.
Spatial Logics - extracted from the Political
Places and Political Spaces, should be taken into
MON 09/09 09:00 am 1. Spatial Logics extracted into 1 diagram that shows its application to the design and performance of the Archtivists. 2. Forms of Participation and Network Theories diagram drafts.
TUE 10/09 08:45 am 1. Final video files from Phase 1 submitted 2. Diagram explaining in depth the operative logic of the Forms of Participation chosen. PRINTED A1 3. Diagram visualising the Network Theories chosen. PRINTED A1
consideration as the patterns to generate public space. 1.1. The Political Places taught us what parameters are involved in the creation of public space: elements, symbols, forms, history, etc. 1.2. The Political Spaces showed us what people is asking from spaces when they transform them, so by looking into the spontaneous modifications we could figure out what needs should be covered. 2.
Forms of Participation - will inform the
FRI 13/09 09:00 am 1. Animated logic diagram 2. Key/Legend explaining all elements (Nodes, Links, Boundaries and Gates) 3. Draft of elements translation
MON 16/09 09:00 am 1. Animated logic diagram updated 2. Translation of elements. PRINTED A1
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| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
The Politics of Agoraphilia
ARCH DSGN IV
Oct 2013
4Phase 3 - Part 1 4Architectural Design IV 2541411 4Fall 2013 4Lara Lesmes Active Fields: The Politics of Agoraphilia
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South Korea
‘On August 11, 2004, the South Korean Prime Minister Lee Hae-chan announced that the country’s capital will be moved from Seoul to Gongju (approximately 120 km south of Seoul) and Yeongi commencing in 2007. A 72.91 square kilometres (18,020 acres) site was chosen for the project, which was scheduled to be completed by 2030. It was envisaged that government and administrative functions will move to the new capital, along with (possibly) the National Assembly and supreme court, although no sizable relocation was expected until the first phase of the project has been completed by 2012. The move was intended to reduce Seoul’s overcrowding and economic dominance over the rest of South Korea; perhaps not coincidentally, it would have also moved the government and administration out of range of North Korean artillery fire. The projected cost of the project ranged from $45bn to as much as $94bn.
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Teaching Archive | 2011 - 2016
As an example of an emergent democracy and because of it’s complex neighbouring conditions and therefore international relevance, The 6th Republic of South Korea will be the scenario in which our ferocious archtivists will execute their tasks. Established as a result of the June Uprising in 1987, Korea’s democracy has seen many coups and assassinations as the means to change governments. The Sixth Republic has represented a break from previous South Korean politics and has presided over South Korea’s most successful period of economic development, but in present days it’s being challenged by corruption and scandals surrounding its 11th and first female President, Park Geun-hye. With regards to its physical political presence, the Korean government is undergoing major changes:
The plan has aroused controversy, with opposition parties calling for a referendum to see whether it is endorsed by the population. Some civic groups have also launched a constitutional appeal, and on October 21, 2004, the Constitutional Court ruled that the special law for the relocation of the capital is unconstitutional since the relocation is a serious national matter requiring national referendum or revision of the constitution, thus effectively ending the dispute. Opinion polls showed that a slight majority of South Koreans are opposed to the move, both before and after the ruling. However, late in 2004, the government announced yet another plan that will allow Seoul to be a capital in name only by retaining the Executive Branch, all Legislature Branch, and Judiciary Branch in Seoul, while moving all other branches of government to Gongju. The question remains unresolved to date.’1 http://en.wikipedia.org/wiki/Gongju
Phase 3 of the project will consist on the understanding through field, library and online research of the 6th Republic of South Korea. Students will choose two main sites will, one in Seoul and another one in Gongju. The project might only manifest physically in one of the sites but both cities should be addressed, either physically, virtually or both. Sites should be chosen based on a minimum criteria, as follows:
6Contemporary sociopolitical relevance 6Historical importance in relation to the topics being tackled during the previous phases
6Significant public flow, or lack of it, depending on the argument being formed 6Minimum sqm that would facilitate mass gatherings for a minimum of 500 people with the possibility of altering max. 10.000 cubic meters of the existing urban mass.
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Site related work will be developed in 4 parts: 1.
Site Logic
2.
Field Research + Documentation 02/10 to 07/10
3.
Integration + Feedback
08/10 to 22/10
4.
Forecasting
22/10 onwards
20/09 to 29/09
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INDA year 4 studio | 2013-2014
.1 Site Logic
After a short period of developing general insight into South Korea as a country and Seoul + Gongju specifically as cities, an area of interest will be defined as site. In order to develop a general understanding of this site, 2 logic-diagrams will be developed:
6Physical: Overall understanding of the area(s)
values in society. The logic must considerate the following aspects (as a minimum):
› which sectors of society develop that cultural current/style/movement/agenda (who creates it, who supports it, who practices it, who wears it, etc.) › where does the logic come from (influences)
› through which media does it spread (how does people hear about it, talk about it, etc.) › in which ways is it expressed (clothes, beliefs, values, choice of neighbourhood, lifestyle, etc.) Schedule
›› FRI 20/09 09:00 am › Submissions regarding Phase 2:
of interest and how they are distributed in relation to the urban/social/cultural situation. The site might consist of a single node in the city or a series of interconnected nodes.
1. Final Translation drawing (from LogicKey to Specific Generic Typology)
›› Single Node: if the site consists of a single node (for example: an existing and identifiable open area such as a square or a park), the logic diagram should take into consideration: › what affects that node › what is that node affecting › could that node proliferate as a typology › what defines that node as singular
› Submissions regarding Phase 3:
›› Interconnected Nodes: if the site consists of several interconnected nodes (for example: a network of street intersections, bus stops, parks, churches, etc.), the logic diagram should take into consideration: › what affects all those nodes in the same way (what affects the typology) › what do those nodes affect as a typology › how do those nodes proliferate › what identifies those nodes as a group (what they have in common) 6Cultural: Understanding of chosen cultural currents of today and how they affect choice and
2. Pre-final Animation for Archtivist Logic submitted 1. Raw information from the site regarding Physical and Cultural values 2. Draft Diagrams for Site Logic: Physical and Cultural.
›› TUE 24/09 09:00 am › Submissions regarding Phase 2: 1. Final Animation for Archtivist Logic submitted.
› Submissions regarding Phase 3:
2. Draft Animation for Site Logic: Physical and Cultural merged
›› FRI 27/09 09:00 am › Submissions regarding Phase 3: 1. Animation for site Logic 2. Presentation Scheme
›› SUN 29/09
18:00 pm
All material for Midterm Presentation submitted via wetransfer (ALL PHASES of the project will be presented)
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| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
The Politics of Agoraphilia
ARCH DSGN IV
Oct 2013
3
3
Schedule
Having all site material ready, we will proceed to understand the intersections between the site and the Archtivists, how they are integrated and how they feed from the site. Two documents are to be produced: 6On-site Archtivism Logic: Video showing data/ action sources on site and how the Archtivists connect to them. The video should define: › each element (source of action and /or data) physically and behaviourally › how each source is situated in the site › how each source originated 6Archtivists Parts & Behaviour: Video explaining the different physical and virtual parts that compose the Archtivists and how each of the parts behave. The video should explain: › each part of the Archtivists physically and behaviourally › how each part relates to the whole and to the site
›› TUE 01/10 › 21:00 pm - meeting an Subarnabhumi airport › 23:35 pm - flight to Seoul ›› WED 02/10 › 08:00 am - arrival to Seoul. City tour › 14:00 pm - check in at hotel › 17:00 pm - meeting at hotel with Ji In Kim tour through Hongdae and dinner.
›› THU 03/10 › 08:00 am - meeting at hotel lobby › 09:00 am - meeting at Gacheon University with
Seung Joon Oh, Ji In Kim and Ja Kim › 17:00 pm - tour through Olympic park and dinner
›› FRI 04/10 › 08:00 am - meeting at hotel lobby › 09:00 am - students independent research › 17:00 pm - meeting at hotel ›› SAT 05/10 › 08:00 am - meeting at hotel lobby › 09:00 am - students independent documentation,
quadcopter captures day › 14:00 pm - updates › 21:00 pm - meeting at hotel
›› SUN 06/10 › 08:00 am - meeting at hotel lobby › 09:00 am - trip to Sejong/Gonju with Seung Joon Oh, Ji In Kim, Ja Kim and Eun Ju Park
›› MON 07/10 › 08:30 am - meeting at hotel lobby › 09:00 am - optional visit to the Jongmyo shrine
and Insadong area › 12:00 pm - meeting at Seoul University with Ja Kim and Ji In Kim for last tutorial updates › 16:00 pm - departure from hotel to airport › 19:55 pm - flight to Bangkok
.3 Integration + Feedback
Teaching Archive | 2011 - 2016
.2 Field Research + Document.
Schedule
›› FRI 11/10 09:00 am › Presentation of all site data collected. ›› TUE 15/10 09:00 am › After Effects Motion Tracking tutorial › Archtivists exploded axonometric drawing draft ›› FRI 18/10 09:00 am › Cinema 4D tutorial › On-Site Archtivism Logic Animation preview › Archtivists exploded axonometric drawing printed ›› TUE 22/10 09:00 am › On-Site Archtivism Logic Animation submission › Archtivists Parts and Behaviour video preview ›› THU 24/10 18:00 pm › Early Submission in room 408. All Presentation
materials ready.
›› THU 25/10 › Pin-Up
09:00 pm
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4Phase 3 - Part 1 4Architectural Design IV 2541411 4Fall 2013 4Lara Lesmes Active Fields: The Politics of Agoraphilia
4 INDA year 4 studio | 2013-2014
NeoAgora
Students will design a place where the people can communicate with the system. The aim of the projects is to design the transformation of a political place (designed in accordance to the systemâ&#x20AC;&#x2122;s rules and ambitions) into a political space (designed in accordance to or even by the peopleâ&#x20AC;&#x2122;s wish to express themselves politically and, possibly, have an impact) that can transform and perform successfully and contemporarily as such. It is very important to understand the difference and relation in between NeoAgoras and Archtivists, in order to describe not only the physical attributes of the project, but also its range of impact. The Archtivists are the devices used to generate the space. They are both physical and virtual and are activated by inputs coming from its immediate physical or virtual environment (for example, they can be activated by water, by a feed of photographs, by the movement of people, by public opinions, by the sunlight, by performances, etc.)
The NeoAgora is the field that is under the influence and impact of the Archtivists. The NeoAgora is an atmosphere built of physical or virtual interaction. It is not a space per-se, it is a specific state of a space, the state of being publicly active and generating civic engagement. The NeoAgora is the ultimate Political Space. Projects should respond to the following minimum criteria:
6Projects will ultimate define the contemporary space for public assemblies or what we will call the NeoAgora. 6Projects should consider the environmental expectations of our times and cultures. 6Projects should address all programs existing on site and argue for any design elements that could hinder the current realisation of these. 6Projects should not involve the design of an area with a footprint larger than 1 ha, even though events triggered in that space might spread over different parts of the city. Projects will be presented according to 3 blocks:
1. Research & Observations
2. Abstract Network Logics
3. Translations & Visualizations
All project materials regarding research on existing spaces. It should be clearly explained how it influenced the projects, conceptually or practically.
All project materials that explain network logics. It is very important to show the network behaviour in relation to time and clearly explain the diagram keys.
All project materials that visualise the materialisation of the project (physical and virtual) into definable parts, its design, fabrication and performance.
1.
Political Place & Political Space
1.
PP & PS logics (if any)
1.
Archtivists parts & behaviour
2.
Site observations
2.
Archtivists logic
2.
Neo Agora Timelapse
3.
Site logic
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| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
The Politics of Agoraphilia
ARCH DSGN IV
Nov 2013
Schedule WEEK 12
›› TUE 29/10 09:00 am › Updates from Previous Pin-Up › Intro to Research Book ›› FRI 01/11 09:00 am › Research Book Revision › Debate Session
›› THU 19/11 16:00 pm › All project materials submitted ›› FRI 22/11 09:00 pm › Final Pin-Up // Debate Against Guest Critics › Full Project Presented ›› SAT 23/11 09:00 pm › Final Pin-Up // Debate Against Guest Critics › Full Project Presented (continuation)
WEEK 13
›› TUE 26/11 09:00 am › Narrative Modifications & re-Rendering
›› FRI 08/11 › Tutorials
›› FRI 29/11 09:00 pm › Narrative Modifications & re-Rendering
09:00 pm
WEEK 14
›› TUE 12/11 09:00 am › All design decisions settled › Debate Session ›› FRI 15/11 › Tutorials
09:00 pm
WEEK 15
Teaching Archive | 2011 - 2016
WEEK 16
›› TUE 05/11 09:00 am › Project Final Argumentation (Script) › Final To-Do list
WEEK 17
›› TUE 03/12 09:00 am › All project materials submitted for revision ›› FRI 06/12 09:00 pm › Installation of Final Review Triple Screening ›› SAT 07/12 TIME TBD › Active Fields Triple Screening Event
›› TUE 19/11 09:00 am › All project material drafts reviewed
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Objectives 4 This semester students will be introduced to the notion of program as a design response instead of a given (or briefed) design agenda, with the aim of developing context-driven designs that consider both the immediate and future environment of a place as well as the local and global consequences
Railway Stations 4 History and the importance of Railway Stations 4 Development of the Royal State Railway of Thailand Transportation Hubs 4 Examples of notable transportation hubs globally. Civic Buildings 4 Introduction into the history of civic buildings 4 Canonical examples of civic buildings 4 Civic Buildings in Bangkok
Project Scope The following points will be covered in shorter class lectures in the period before the midterm review:
of the proposals.
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Site Hua Lamphong, is located on a large high-potential development area belonging to the State Railway of Thailand(SRT). The area is in the center of business district which consists of traditional business area, i.e. Yaowaraj road, Charoenkung road and China Town, and
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at different scales and from different perspectives in order to argue for an adequate program agenda that responds to the sociopolitical conditions of the place. Students must be able to provide enough evidence of their choice of program being suitable and beneficial to the physical and temporal site. Students will be responsible for providing coherent arguments, considering the comments and suggestions from instructors (advisors) but not conforming to them as facts. Students must have full ownership and understanding of their arguments and produce enough materials to clearly expose their ideas and their thinking processes.
4 Throughout the term, students will study context
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
4 Hua Lamphongâ&#x20AC;&#x2122;s platforms 5 - 11 at dawn
This term students will work with one of the most dynamic and complex areas of Bangkok, the iconic Hua lamphon Railway station. The station is scheduled to close after nearly a hundred years of loyal service. The future of this listed structure is uncertain. This unprecedented window of opportunity is where the third year studio will focus this term. Students will propose a redevelopment for the old station and design a civic building for the north area of the station currently occupied by railway tracks and platforms. Students are free to choice which type of civic program is appropriate for the site and develop a unique design proposal.
New Civic Building for Hua Lamphong Railway Station
Civic Tracks
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Jumsai, Sombuntham, Suksudpaisarn, Uyeda Course Coordinator: Fredrik Hellberg
4 Future Tracks 4 Architectural Design III - 2541312 4 January 27th - May 7th 2014 4 Studio Faculty: Drake, Duriyaprapan, Ewers, Hellberg,
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In 2016 (subject to delays) Hua Lamphong is scheduled to close as the new Bang Sue Grand Central Station will open and accommodate all trains running through Bangkok including the new High Speed Train (currently on hold) All tracks and the station itself at Hua Lamphong will close for service and await further instructions. The turn of the century station building is listed, and so is the State Railway of Thailand office further north, they will both be a part of any future plans of the area and will also be an important part of this terms project. The tracks directly behind the station running north will be removed and make way for a new development.
There are 14 platforms, 26 ticket booths and two electric display boards. Hua Lamphong serves over 130 trains and approximately 60,000 passengers each day. Since 2004 the station has been connected by an underground passage to the MRT subway system, which has a nearby station of the same name.
The station was built in an Italian Neo-Renaissance style, with decorated wooden roofs and stained glass windows. The architecture is attributed to Turin-born Mario Tamagno, who with countryman Annibale Rigotti (1870–1968) was also responsible for the design of several other early 20th century public buildings in Bangkok. The pair designed Bang Khun Prom Palace (1906), Ananta Samakhom Throne Hall in the Royal Plaza (1907–15) and Suan Kularb Residential Hall and Throne Hall in Dusit Garden, among other buildings.
station a pillar commemorates the inauguration of the Thai railway network in 1897.
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Library Museum Performace/music/teather/concert/opera Market Hall Institution
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It must also be considered that public buildings can be a form of propaganda, a way for political systems to state principles, and that’s why some countries are building public libraries while others are more concerned with mausoleums. Civic buildings are the manifestation of the civic principles of the time.
Listed below are some of the most common programs for public buildings that have been the brief for civic architecture during the past decades but considering the great amount of empty congress facilities, failed community centers, libraries waiting to be filled, museums in lack of art enthusiasts and opera houses begging for virtuous -to name a few- one should perhaps reflect for a while on the question of what is public life in need of, today.
Civic Buildings It is important to note that the programs of public buildings are defined by the civic life at the time. Public programs that today are so common to us such as libraries or museums have only recently become part of the public domain, being previously restricted to a certain class or circle; and other programs that used to be a basic public service such as bathhouses (in cold countries) are now becoming private ventures.
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
The station was opened on June 25, 1916 after six years’ construction. The site of the railway station was previously occupied by the national railway’s maintenance centre, which moved to Makkasan in June 1910. At the nearby location of the previous railway
station in Bangkok, Thailand. It is located in the center of the city in the Pathum Wan District, and is operated by the State Railway of Thailand.
4 Hua Lamphong Railway Station 1920
In the future, most of train services would be allocated to Bang Sue Station. Consequently, Hua Lamphong would be a high-potential vacant area. Moreover, the completion of MRT Red Line(Bangsue-PayathaiMakkasan) would stimulate the area to become a major transit hub making it the ideal place for a new brave civic project offering the public a dynamic place to meet. Hua Lamphong Railway Station, officially known as Bangkok Railway Station in English, is the main railway
modern business areas.
Y3 - 2541312 - ARCH DSGN III
INDA year 3 studio | 2013-2014
CIVIC TRACKS
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Student are encuraged to learn from case studies in such a way that it drectly informes later design decisions regarding:
4 Library 4 Museum 4 Performace/music/teather/concert/opera 4 Market Hall 4 Institution
The case study should be a built civic building between 5000 and 30000 sqm from any era and could be anywhere on the planet. Examples of civic building types:
Civic Projects. Case Study When beginning phase two, each student will already have choosen program for their design project and the specific case study essential for the project. The aim with the case study is to gain substaintial understanding into the particular type of program chosen for the design project.
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Directed Analysis For the site analysis pin up on Monday the 10th of February students will also be asked to present thier choice for the type of civic building to develop for the design project and which building will be subject for the case study in the coming phase starting directly after the pin up of phase 1.
site. Basic 2D CAD drawings of the area of the are will be supplied before the first site visit.
Teaching Archive | 2011 - 2016
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projects urban context and connection to surounding negbourhood 4 The projects link and integration with the planned and existing infrastructure. (does not have to
4 The
Guidelines The final design project should directly address the following points which should also be described in the final deliverables.
The specific type of civic building studied in the previous phase will inform the design but students are encuraged to create a new and unique place specific to the site and most of all, to the individuals personal interests and own judgment on what is most suitable and interesting for the area of Hua Lamphong and Bangkok at large.
Design The final design will be a significant civic building that in a responsible and realistic way offers public space and public activity for the people of Bangkok, residents and visitors a like.
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4 Functionality 4 Space distribution 4 Access 4 Circulation, flow and capacity 4 Logistics 4 Mechanical systems and services 4 Structure 4 Materials 4 Environmental control 4 Connections to public transportation 4 Urban Context
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Students are encuraged to collaborate on the production of surveys resulting on drawings and 3D models of the
It is important to get a good understanding of the areas physical properties and what types of structures excists on the site but the study will be focused on individual and sharply directed analysis of the socio-political and cultural conditions of the site. Behaviour and activity of social groups living and using the site is always more revealing and enlightening when trying to undertsnd a place.
4 Barbican Center London. Cross Section
Site Analysis The first two weeks will be spent on learning as much as possible about the Hua Lamphong station, and surrounding. On the second class session we will visit the site and begin the study. The study will be focusing on the sites current role as a public space and the sociocultural activities that take place there.
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Red MRT Line (planned) Blue MRT Line (exisiting) Phadung Krung Kasem Canal Entrance/Exit to Sirat Expressway Rama IV Road Other 9 main roads connecting to the site Bus Routes Taxi, Tuktuk and Motorcycle stations Bicycle lanes Pedestrian paths
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Enviromental Technology The later stages of the design process will be liked to the Enviromental Technology class (2541332) coordinated by Scott Drake
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building should be between 10,000 and 20,000 sqm Exisiting structures should be considered and listed buildings should be kept. The final project should present a realistic structural sollution. Innovation is strongly encurouged but requires research and convincing documentation.
4 The
4 4 4 4 4 4 4 4 4 4
JAN 2014
connect to all of them but they should all be addressed.)
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
4 OMA Seattle Library. Plan Drawing
Y3 - 2541312 - ARCH DSGN III
INDA year 3 studio | 2013-2014
CIVIC TRACKS
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30% 30% 25% 5%
Design 4 Argument 4 Feasibility 4 Craft 4 Pinterest
55%
25%
20%
Submission Requirements Site Analysis + Program Development 4 Definition of local issues (Urban scope) - scale 1:1000/1:2000 4 Definition of global issues (Cultural/Social/ Political scope) - scale N/A 4 Definition of specific concerns (Proposal Context) - scale 1:100/1:500 4 Definition of civic response (Proposal Program) scale 1:500 4 Choice of case study connected to program proposal.
30% 30% 25% 5%
Case Study 4 Definition 4 Argument 4 Graphics 4 Pinterest
Grade Distribution Site Analysis + Program Development 4 Content 30% 4 Argument 30% 4 Craft 25% 4 Pinterest 5%
loads, according to the guidelines
4 Pinterest - correctly labelled and complete up-
Teaching Archive | 2011 - 2016
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NOTE: the student must hold authorship of all photographs and illustrations, found images used for the study should be properly labelled and used only as reference material.
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documents derived from the study. This package should contain at least the following documents: Diagrams describing the Cultural/ Social/Political consequences of the project Diagrams describing the Urban consequences of the project as studied by the student
4 Case Study: free format bound book containing
Case Study 4 Case Definition: a set of black and white line drawings and reference texts of the case study formatted on A2. This package should contain at least the following drawings: 4 Plans of every floor. Scale range: 1:200/1:500 4 A minimum of 3 sections defining spatial and technical aspects. Scale range: 1:100/1:200 4 One three-dimensional drawing of all spaces. Scale: 1:200 4 Details of main technical solutions. Scale range 1:10/1:50
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Design 4 Argument - clear argumentation for all design decisions 4 Feasibility - level of resolution of the proposal demonstrating the techniques and solutions designed and an understanding of how these could be executed 4 Craft - consistent graphic system that succeeds in communicating all aspects of the project
Case Study 4 Definition - accurate description of the chosen case through architectural drawings 4 Argument - clear definition of the analysis and the conclusions drawn from it 4 Graphics - consistent graphic system that succeeds in defining the case and communicating the study. 4 Pinterest - correctly labelled and complete uploads, according to the guidelines
Site Analysis + Program Development 4 Content – overall and specific analysis of the site. 4 Argument – specific framing of the areas of in terest within the given context and clear argumentation for the defined program proposal. 4 Craft – consistent graphic system that succeeds in communicating context and program and the relation amongst these. 4 Pinterest – correctly labelled and complete uploads, according to the guidelines
Evaluation Criteria
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| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Digital Submission As a part of the requirements this term all students will be asked to submit their work digitally onto Pinterest. com from where the work can reach both instructors , other students and beyond. The digital submissions will be graded and required by these times across the term: 4 11. February Tuesday. 8pm. Containing All work from Phase1 4 28. February. Friday. 8pm Containing all work from Phase2 4 16. March. Sunday. 8pm. Containing process from Phase2 4 1. April. Tuesday. 8pm. Containing process from Phase2 4 12. May. Monday. 8pm. Containing process from Phase3 All images digitally submitted must have the following anotations in the following order: 4 Nickname, Name, Surname 4 Title of image/drawing/diagram 4 Description of minimum 20 words.
NOTE: the above-listed documents constitute the bare minimum deliverables, from which students should expand according to the needs of each specific proposal.
Design 4 Plan 1:100 4 Elevation 1:100 4 Section 1:100 4 Detail 1:20 4 External Perspective 4 Internal Perspective 4 Model 1:200
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INDA year 3 studio | 2013-2014
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FLAGSHIP
INDA year 2 studio | 2013-2014
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ARCHITECTURAL SIGNIFIERS FOR CONTEMPORARY MARKETS
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From: http://en.wikipedia.org/wiki/Flagship
Over the years, the term “flagship” has been borrowed in metaphoric form by industries such as broadcasting, automobiles, cell phones, education, and retailing to refer to their highest profile or most expensive products and outlets.”
“A Flagship is the lead ship in a fleet of vessels, used by the commanding officer of a group of naval ships, reflecting the custom of its commander, characteristically a flag officer, flying a distinguishing flag.
This semester will address the topic of identity in architecture through the design of a Flagship Space: the environment for display, sell and/or exchange of goods that serves as reference for a larger network of commerce and carries the identity of a brand through spatial, stylistic and programmatic means.
Introduction
An architectural venture into image and identity.
FLAGSHIP
Teaching Archive | 2011 - 2016
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The Taking of the English Flagship. Willem van de Velde. 1666
| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Prada Flagship Store. Herzog and de Meuron. Omotesando, Tokio. 2003
>> Syllabus >> Architectural Design 1 >> Semester 2 >> Saul Appelbaum, Sebastian Ballauf, Sebastian Ewers, Lara Lesmes, Taylor Lowe, Hans-Henrik Rasmussen, Ben Uyeda & Tijn van de Wijdeven.
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0. Vertical Competition 1. Exchange Scene 2. Image and Identity 3. Flagship Space
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EXAM WEEK
03-07
Fri
05-13
FINAL EXAMS
WEEK 05-09 Fri Tue
FINAL REVIEW 05-06
Tue
05-02
Fri
Last Class FINAL REVIEW
Y2 Final Review will be on Wednesday May 7th.
Tutorials
Tutorials
Tutorials
04-29
04-25
Fri Tue
All presentation materials discussed
04-22
Tutorials
No class
Tue
04-18
Fri
2 of 7
Double session paired PINUP
04-15
Tue
Early Submission on Monday April 7th. Double session paired PINUP PROGRESS PINUP
04-11
Fri
Tutorials PROGRESS PINUP
04-08
23 Jan 2014
Tue
Tutorials. Cutaway model submitted for Cons Tech
04-04
Fri
Tutorials
04-01
Tue
Tutorials
03-28
Fri
Tutorials. Master axon preview
03-25
Tue
Tutorials
03-21
Fri
Tutorials. Overall design proposal discussed
03-18
03-14
Fri Tue
Tutorials
03-11
Tutorials. 1 session instructors shift
Tutorials
Intro to PHASE 3
Tue
HOLIDAY
MIDTERM
REVIEW WEEK
03-04
02-28
Fri Tue
PHASES 1&2 REVIEW Early Submission on Monday 02-24.
Tutorials MIDTERM
02-25
Tue
Tutorials
02-21
Fri
No class
Tutorials
02-18
02-14
Fri
Tutorials
Paired pinup. Intro to PHASE 2
Tue
02-11
Tue
02-07
Fri
Tutorials
02-04
Tue
Tutorials
01-31
Intro to Course Brief - PHASE 1
Intro to Competition
Fri
HOLIDAY
COMPETITION
HOLIDAY
PHASE 1 REVIEW
COMPETITION
HOLIDAY
NOTES
01-28
01-24
ARCH DSGN I START OF COURSE
Tue
01-21
Fri
01-17
Fri Tue
01-14
Tue
WEEK DAY DATE INDA SCHEDULE
| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Schedule Classes are on Tuesdays and Fridays from 13:00 pm to 16:30 pm
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Semester Grade Distribution The project will be divided in 4 phases with the following grade distribution:
Objectives Continuing with the objectives stated last semester, new observation, research and argumentation methods will be explored as tools for triggering and generating design proposals that respond to a given sociocultural context, dealing with issues of identity and identification. Throughout the semester, students will gradually construct and refine an argument through methods of analysis and self-criticism that will be introduced to them in the studio, and arrive at creative responses to the studied conditions that will eventually be manifested as an architectural design. Students will be responsible for providing coherent arguments, considering the comments and suggestions from instructors (advisors) but not conforming to them as facts. Students must have full ownership and understanding of their arguments and produce enough materials to clearly expose their ideas and their thinking processes.
Y2 - ARCH DSGN I
INDA year 2 studio | 2013-2014
FLAGSHIP
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â&#x20AC;&#x153;The Big Storeâ&#x20AC;? Kaufmannâ&#x20AC;&#x2122;s Flagship Store. Pittsburgh, 1887
The aim of this first exercise is to portray a marketplace. A portrait is a representation that communicates qualities that go beyond visual characteristics; it catches moods, likeness, etc. and it evokes feelings and emotions differently to each
Teaching Archive | 2011 - 2016
23 Jan 2014
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To portray an exchange scene, one must define the period of time in which the exchange takes place. We will introduce here the notion of a still versus a motion picture. Historically, the motion picture is derived from the still, as it is a series of still images that create the illusion of movement. But the still picture is a depiction of a single instant, a single moment in time, and therefore derived from motion. We will make use of these concepts to portray the Market Scene, either generating first a motion representation and extracting a still from it, or vice versa -generating a series of stills that derive into motion.
viewer. Historical paintings of the marketplace represent it through everyday life scenes, realistic or often romanticised or imagined by the author. Nowadays we are very familiar with photographs of the marketplace but our most accurate representation is the market graph. If paintings and photographs are pictorial representations, the graph is an analytical representation. One could draw the difference between the two considering the former subjective and the latter objective, but the exercise aims to bring them together into a graphic piece that encompasses data, analysis, observations and atmospheres of the marketplace, not necessarily realistic, natural or objective, but as seen, imagined or even romanticised by the authors.
| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
We will begin by looking at environments for commerce. The origins of Commerce date from the very start of human communication as the exchange of items of equivalent value. Since then it has derived into a wide range of systems of transaction. In a transaction we exchange assets -goods, services, information or money- of equivalent value, which requires an agreement prior to carry on the exchange. Thus, the marketplace was formed as a platform for such transactions or negotiations, becoming and remaining as the core of public life. Most public spaces generate from commerce, which means that most public spaces are or were at some point a marketplace. The marketplace is the space -actual, virtual or metaphoric- in which market operates. Voluntarily or not, we find ourselves in actual marketplaces very often, either because we happen to pass by, because we need to get stuff, sell it, or driven by the sheer pleasure of sensing the marketplace. Marketplaces are found in many different forms: street markets, shopping malls, stores, kiosks, web-stores, stock markets, pirate markets, etc. and their boundaries are usually quite blurred. Defining the size of a market implies defining what makes it, and that can range from gestures of exchange to global economic implications but we could agree that markets generate, spontaneously or deliberately, from one primary substance: human interaction in any of its forms.
EXCHANGE SCENE
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define/set-up the scene to portray define/set-up the data to portray
07. 08.
1920x1080px
digital: ¤
NOTE: the student must hold authorship of all photographs and illustrations
A1
physical:
¤
Format: for both the still and motion representations, students can choose between physical or digital submissions:
Deliverables: . 1 x still portrayal of the Market Scene . 1 x motion portrayal of the Market Scene
09.
- Craft - Blog
25% 5%
Deadline:
¤ Labels: “Instructor’s Surname”, “Student’s nickname”, Marketplaces.
Title: A portrait of “name of the marketplace”, by “Student’s Name Surname” ¤
¤
ENTRY 1 date
- Argument
40%
Blogging Format:
- Content
30%
Grade Distribution
¤ Blog well narrated and complete entry, correctly formatted according to the guidelines.
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¤ Craft consistent graphic system that succeeds in communicating all aspects of the place.
| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Kuwait Stock Exchange. Andreas Gursky.
choose a point of view
06.
generate the motion and still portrayals of the Market Scene
analyse each of those aspects in detail
05.
04.
decide which are the defining aspects of the marketplace
03.
define its size
spend time in it and gather data and observations
02.
¤ Argument relevant observations and analysis of the place and clear argument for its portrayal
¤ Content overall and specific research of the elements and networks that compose the marketplace.
choose a marketplace to which you have access
01.
Evaluation Criteria:
23 Jan 2014
Here are some steps you may follow:
INDA year 2 studio | 2013-2014
FLAGSHIP
|
Brands have specific target markets. These are groups of customers that the brand considers might be interested in their products based on their lifestyle, occupation, education, household size, values, climate, culture, etc. We might call these social groups, urban tribes, subcultures, etc. Often brands go through sort of existential crisis periods as their target market shifts unexpectedly and the brand is embraced by a new social group, having to redefine its identity scheme. In this case, the brand is being defined by its public.
A brand, originally, is a symbol burnt into an animal’s skin to identify a person’s cattle from another’s. Today, it is an image burnt into our retina that, according to numerous studies, makes us want expensive bags. Branding has derived into a sophisticated strategy that links together elements such as name, logo, tagline, graphics, colour, geometry, sound, scent, taste, movement and even manners, to name a few; in the pursuit of a simple goal: to sell much. Some of these features help create a mental picture of the brand, which is the Brand Image. The Brand Image can be different from the Brand Identity, which is the outward expression of a brand as envisioned by the owner, it is how the owner wants the brand to be perceived, whereas the Image is defined by the public. A successful brand would have no gap between its image and identity, but precisely the negotiation between these two is what will concern us in this exercise.
others, not only based on price and quality, but by trusting or wanting to support that specific seller. This leads us into the technology of branding.
Teaching Archive | 2011 - 2016
23 Jan 2014
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The analyses will result in a highly specific and detailed brief for the brand’s flagship space in Bangkok. The brief must cover at least the following points – amongst others: . description and purpose . project area . site requirements . design objectives . program requirements . functional distribution
The social groups will be analysed from their cultural perspective such as: . what they do . what they look like . what they believe . where and when they meet
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from the creators’ point of view (Brand Identity) . and from the public’s (Brand Image); as well as over time: how an original identity was envisioned and later adapted to new groups.
The brand will be analysed from both ends:
We will look at emerging brands -founded sometime after the year 2000- that sell goods or services which can be displayed, tested and sold at a physical venue; and also at the social groups associated to that brand, both originally as defined target market and the ones that later embraced and redefined the brand.
| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
As soon as we introduce the variable of choice into commerce, the act of exchange turns into a complex network of interests that brings up the issue of identity. In most urban areas there is a wide range of products and services available, as well as large groups of sellers that offer the same kind of product. Being able to identify one seller’s product distinct from those of other sellers could lead to the public choosing that product amongst the
Learning from Las Vegas. Robert Venturi & Denise Scott Brown
IMAGE AND IDENTITY
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45% 25% 25% 5%
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- Content - Brief - Craft - Blog
Grade Distribution
Deadline:
date TBD
date TBD
Deadline:
Prada Marfa. Elmgreen and Dragset. Valentine, Texas 2005
¤
Title: An analysis of “name of the brand”, by “Student’s Name Surname”
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¤ Labels: “Instructor’s Surname”, “Student’s nickname”, Briefs.
Deadline:
ENTRY 1
¤
Title: A brief for “brand’s” flagship space, by “Student’s Name Surname”
¤
ENTRY 3
¤ Labels: “Instructor’s Surname”, “Student’s nickname”, Tribes.
¤
Title: An analysis of “name of the social group”, by “Student’s Name Surname”
¤
ENTRY 2
¤ Labels: “Instructor’s Surname”, “Student’s nickname”, Brands.
23 Jan 2014
Blogging Format:
date TBD
¤ Blog well narrated and complete entry, correctly formatted according to the guidelines.
¤ Craft consistent graphic system that succeeds in communicating both research and conclusions.
¤ Brief consistent set of constraints and specifications for the design proposal based on the research.
¤ Content overall and specific research of the brand and the social groups associated to it.
Evaluation Criteria:
| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Deliverables: . 1 x A5 dossier, printed and bound, containing all information regarding the chosen brand . 1 x A5 dossier, printed and bound, containing all information regarding the social groups associated to the brand . 1 x A4 brief, printed in black and white, double-sided, plain paper. Number of pages unlimited. . NOTE: the student must hold authorship of all photographs and illustrations, found images used for the study should be properly labelled and used only as reference material.
Y2 - ARCH DSGN I
INDA year 2 studio | 2013-2014
FLAGSHIP
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Grade Distribution 60% - Argument 35% - Craft 5% - Blog
¤ Blog well narrated and complete entry, correctly formatted.
¤ Craft consistent representation system that succeeds in communicating all aspects of the project.
¤ Argument clarity in addressing the issues previously defined in the brief through design solutions.
Evaluation Criteria:
Deliverables: . 1xMaster Axonometric Drawing printed in A0 size – portrait, scale 1:25 . 1xIllustration of the proposal printed in A0 size – portrait . 1xCutaway model demonstrating the structural principle and the facade system of the proposal, scale TBD (this is the same model you will submit for the Construction Technology class) . 4 x Detailed Representations of at least 4 interior systems in A2 size – portrait, scale 1:10
Interior The interior system must serve as triggers for programs, facilitating different uses and providing an interior spatial organisation that weaves programs together. Deadline:
date
Teaching Archive | 2011 - 2016
23 Jan 2014
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Prada Transformer. Rem Koolhaas. 2009
¤ Labels: “Instructor’s Surname”, “Student’s nickname”, Fleet.
Title: A Flagship Space for “name of the brand”, by “Student’s Name Surname” ¤
¤
Blogging Format: ENTRY 1
| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Facade The facade system must perform as the main communicator towards the exterior, either masking or revealing, it shall serve as environmental and cultural filter.
Structure The structural system must define the overall form, organisation and circulation network of the building. A clear structural principle must be defined, as well as a form-defining geometric system.
If the brief for a brand’s flagship space came from both the brand itself and the social groups associated to it, then the design of its architecture must be suited to and capable of communicating both of them from all perspectives: formal, material, programmatic and even structural. The flagship space is more than just another form of advertisement, it should be a place for direct experimentation with the local context, where providers and consumers co-create the brand’s essence, a platform for continuous innovation and evaluation where new content is created. We will divide this exercise in three main blocks: structure, facade and interior; all three coexisting to provide an infrastructure for display, exchange and testing of goods.
FLAGSHIP SPACE
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DOMESTIC CURRENT
300 \
02.
ask yourself: what is domestic?
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Domesti/City. Keiichi Matsuda
locate the sources of domesticity -objects, behaviours, gestures, etc.- and analyse their domestic properties
07.
Teaching Archive | 2011 - 2016
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6 A series of large scale drawings defining the sources of domesticity isolated and in detail. This drawing should depict the ways in which each of the sources
6 Three medium scale drawings of the 3 1000 cubic meters volume where some of the sources have been located. This drawing should describe the physical environment as well as communicate the ways in which the sources of domesticity perform the transformation of the space. Scale 1:100
choose a section of 1000 cubic meters (for each of the 3 instances you have already studied) that concentrates some or all of the sources of domesticity and document it in detail. This might require documenting them in different stages if they are time sensitive
06.
05.
document the 3 instances of exported domesticity; be certain to gather enough material to later represent all the qualities -physical and nonphysical- that portray domesticity
One single diagram composed of 16 A4 cards that can be read as a multilinear narrative (a panel) when pinned up in a specific arrangement or as a linear narrative (a book) when stacked in a specific order. The diagram should contain the following interrelated drawings:
Deliverables
Aug 2012
6 One small scale drawing of the thoroughfare in which the domestic situations are located. This drawing should represent all--and nothing but--the physical and nonphysical relations between the elements that are taking part in generating the domestic situation or being affected by it. Scale 1:500
04.
choose an area of Bangkok: a thoroughfare -street, corridor, passage, intersection, etc- with a stretch no longer than 300 meters, in which you can identify 3 instances of exported domesticity
03.
analyse the forms in which different kinds of media (examples cited above) portray the domestic realms.
domestic realm? Or would any of these be classified as domestic according to sociocultural conventions?
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
observe analytically the different ongoing activities in the urban setting. Did any of them ever belong to the
01.
Students may follow these steps:
Students will identify a minimum of 3 urban situations exported from the domestic realm to public scenarios. Such choices, which might initially be intuitive, should be questioned, informed and supported by the analysis of ways in which domesticity is and/or has been determined (household manuals, courtesy books, standards catalogues, etc.) and ways in which it is and/or has been portrayed (media advertising, films, lifestyle magazines, serials, etc.).
The first reflection on the topic of domesticity will consist of identifying activities pertaining to the domestic realm (to some degree) and having been exported to more public urban environments. This exercise will involve not only the observation and analysis of chosen urban situations, but also an initial individual definition of what domesticity comprises.
Exported Domesticity
1
Rasmussen, Uyeda, Wong
4Syllabus 4Design III 4FALL 2013 4Room 405 . Tue/Fri 13:00 to 16:00. 4Appelbaum, Ballauf, Ewers, Lesmes Lowe, Onishi,
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intro
6 23/08 6 27/08 6 30/09
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TBD
Blog Entry Settings
Students will be asked to take notes and participate in the discussion when they are not presenting.
Approximately 40 minutes will be dedicated to each topic (no more than 5 topics per group).
Students will present in groups, depending on their topics (5 to 7 students per topic).
6 Sebastian Ewers, Lara Lesmes, Cheryl Wong 6 Taylor Lowe, Takuya Onishi, Ben Uyeda
Aug 2012
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IKEA Disobedients. Andres Jaque
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Pin Up session
tutorials (final submission check)
tutorials (drawing draft discussed)
6 20/08 tutorials (site and 3 instances concluded, ongoing research and representation methods discussed)
tutorials (research presented and possibilities of sites discussed)
6 13/08 6 16/08
Schedule
Blog Entry:
Artefact: Ability to perform as a linear narrative device and a multidirectional narrative panel
Graphics: Clarity, craft
Argument: Clear definition of domesticity reflected on the analysis of the chosen instances
Research: Relevance of the media analysed to inform, question and support the argument
5% Blog Entry
15% Artefact
25% Graphics
35% Argument
6 Saul Appelbaum, Sebastian Ballauf, Hans-Henrik Rasmussen
The studio will be split in 3 review groups (3 instructors per group) as follows:
20% Research
Grading Criteria
6 6 6 6 6
Pin Up session format
communicate a form of domesticity. Scale: TBD
Year Code - Course Code (i.e. Y1 - DTS01)
INDA year 2 studio | 2013-2014
DOMESTIC CURRENT
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Research Representation: Find appropriate ways to communicate your discoveries, not only the content is important, an appropriate format (media, graphics, etc.) will ensure a good and compelling reading of the information.
Research Development: Develop methods of analysis that can reveal new aspects of the case study, qualities you could not see before. You might design new physical or virtual tools to conduct your research objectively. Your research should not aim to prove a pre established point but to reach informed and sincere conclusions.
Consider the parameters of your analysis of the case study: which qualities should be explored?
Data Compilation: a set of architectural line drawings
Research Piece: a free format composition that
2.2.
Process documentation
research. 2.1. Final Piece
communicates the objective conclusions of your
2.
Teaching Archive | 2011 - 2016
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least the following drawings: 1.1. Plans of every floor. Scale TBD 1.2. A minimum of 3 sections. Scale TBD 1.3. One three-dimensional drawing of all spaces. TBD
bound in vertical A3. This package should contain at
and reference texts of the case study formatted and
1.
Two separate but interdependent packages will be delivered: a fixed format Data Compilation and a free format Research Piece.
Data Collection: Gather and process as much information (such as photographs, texts, drawings, etc.) as you can find to provide yourself with a wide research base. Data Processing: Process all the materials gathered in the format specified below (deliverables).
Deliverables
The Nautilus - Case Study. Thanaphon Morakotwichitkarn
Aug 2012
contradicting) to your -so far- definition of domesticity?
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Consider your choice of case study: what aspects interest you and why? how does it relate (supporting or
Steps:
This study will result in a significant addition to and revision of the argumentative thread of the project and, therefore, the way in which it is studied should be intentionally directed to specific interests. Some of the aspects studied might be: dimensions, distribution, circulation, colours, construction, decay, maintenance, thresholds, environment, sound, visibility, layering, intersections, communication, etc.
In connection to the assertions derived from the first exercise, a case study will be chosen on an individual basis. The choice must be an example of domestic architecture in which the aspects studied in the previous phase can be further explored. Built or unbuilt (provided that there is enough material to conduct objective research) the chosen instance must pertain to the realm of housing.
For Instance: A House
2
Rasmussen, Uyeda, Wong
4Project Phase 2 4Design III 4FALL 2013 4Room 405 . Tue/Fri 13:00 to 16:00. 4Appelbaum, Ballauf, Ewers, Lesmes Lowe, Onishi,
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5% Blog Entry
15% Argument Clarity
35% Research Piece
35% Data Processing
10% Data Compilation
tutorials (Data Processing)
intro (Case Studies suggested)
6 13/09
|
The instructors will switch groups and conduct a 1 guest review of the student work. A maximum of 20 min will be dedicated to each student. Students will be asked to take notes and participate in the discussion when they are not presenting.
Pin Up session format
The Secrets of the Batcave. Von Issara Urairat
Aug 2012
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Blog posting specifics will be emailed to the studentsâ&#x20AC;&#x2122; @cuinda email accounts.
Blog Entry Settings
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Pin Up session
6 10/09 tutorials (Research Development and Representation checked)
tutorials (Data Compilation submitted. Research Development method discussed)
6 30/08 6 03/09 6 06/09
Schedule
Blog Entry: text clarity and content
Argument Clarity: connections to previous statements, overall understanding of the case study and clear definition of domesticity.
Research Piece: relevance of the method chosen, accuracy on the execution of the study and objectiveness on the conclusions withdrawn.
Data Processing: clarity, quality and accuracy of the drawings
Data Compilation: relevance and depth of the information gathered
6 6 6 6 6
Grading Criteria
Year Code - Course Code (i.e. Y1 - DTS01)
INDA year 2 studio | 2013-2014
DOMESTIC CURRENT
|
DON’T STOP NOW!
But before I get in too much detail, we are going to make some forms, some shapes, some things, some stuff.
Teaching Archive | 2011 - 2016
Aug 2012
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4. Form Recipes: extract you conclusions into Form Recipes or How-To’s, tell us graphically: which are the best combinations to feast on and upon?
3. Repeat steps 1 and 2 to until you have at least 24 models. When repeating these operations, you might want to consider the conclusions from the previous batch of models and have an aim or goal towards which your new creations are directed.
2. Form Taxonomy Chart: choose a series of parameters through which you can evaluate your pieces- which one has the best light? Which one is the safest? Most intimate? Most photogenic? This parameters should derive from qualities of space studied previously. When evaluating your Forms remember that a Form can be considered from the outside (as an object that creates a space around itself) of from the inside (as a shell that contains a space inside) Then evaluate, rank and arrange your models gradually according to those parameters and create a taxonomy chart. For this you need to create a photography stage that enhances the qualities you are evaluating and where you can systematically photograph your models.
1. Baking Forms: choose a set of materials, ideally some you never imagined you could work with in an architectural context, and develop a series of small Forms with them (minimum 8 models, no larger than 10x10x10cm and as small as the naked eye can see). Treat this as an experiment, the testing of a material you are interested in, a technique you are curious about or a series of variations you want to explore.
Steps:
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
This first part of the exercise will ask you to, for a moment, forget everything and be intuitive, fast, irrational, experimental - shoot from the hip! We will mold, shape, knead, crash, smash, warp, rub, ply, twist and shout to exhaustion. We will be loud, fast and out of control., only to later have the opportunity to evaluate and catalogue the production in a critical way, according to the principles established in previous studies.
12 Reasons to Get Back Into Shape. R. E. Somol
‘Shape is illicit. Since architects today only like to do things the hard way, or at least talk about doing things the hard way, shape has become a great taboo. It is the last thing one can be caught doing in public, a five-letter expletive of professional denigration. But it doesn’t have to be that way. Architecture doesn’t have to hurt.’
During the coming week we are going to take a break and get back into shape.
STOP!
A Living Space - Part 1
3
Rasmussen, Uyeda, Wong
4Project Phase 3.1 4Design III 4FALL 2013 4Room 405 . Tue/Fri 13:00 to 16:00. 4Appelbaum, Ballauf, Ewers, Lesmes Lowe, Onishi,
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A minimum of 2 Form Taxonomy Charts formatted
2.
A minimum of 2 Illustrated Form Recipes formatted
10% 15% 10% 60% 5%
Form Taxonomy Chart - parameters Form Taxonomy Chart - graphics Form Recipes - clarity Phase 3 - Part 2 Blog Entry
13/09
|
20/09
17/09
tutorials (Form Taxonomy Charts and Form Recipes discussed) Instant Show (Form Demonstrations) Intro to Phase 3 - Part 2
Aug 2012
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Salvador Dalí
‘Architecture, in the future, will be fat... And hairy.’
Structural/Formal Studies for “The Golden Dome”. Amid Cero9 .
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
intro (Baking Forms)
Schedule
Form Taxonomy Chart - parameters: reasoning behind the evaluation criteria of the Forms according to established parameters. Form Taxonomy Chart - graphics: ability to generate a readable graph that communicates the hierarchies generated by the evaluation process. Form Recipes - clarity: ability to communicate and instruct the procedure for creating your Forms.
6 6 6 6 6
Grading Criteria
and printed in A5 (one, or more than one A5 per recipe)
3.
and printed in A2 (only 1 A2 per chart)
A minimum of 24 Forms in good condition
1.
Deliverables
Year Code - Course Code (i.e. Y1 - DTS01)
INDA year 2 studio | 2013-2014
DOMESTIC CURRENT
|
You will have to transport your DEEP 2D drawing. It is your responsibility to ensure the good condition of your drawing after being transported. You can divide your drawing into parts that are mounted together.
Your DEEP 2D drawing should be suitable for being displayed in a vertical surface and you are responsible for making it stand up during your presentation.
Your DEEP 2D drawing should cover the whole area of the A0.
Your DEEP 2D drawing is a perspective drawing of A0 size (portrait or landscape).
You can create a DEEP 2D drawing by having actual parts of the drawing that are three-dimensional, but you could also create illusions by having high contrast amongst parts, introducing different textures in your drawing, physically layering your drawing, having a specific illumination or any other technique you might discover/ invent during the next week.
DEEP 2D DRAWING - Technique
Teaching Archive | 2011 - 2016
Aug 2012
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Your DEEP 2D drawing should contain all necessary information in order to speak by itself. Your DEEP 2D drawing should not contain any information that is not part of your discourse (i.e. if there is no thought behind the textures of the surfaces then you should not add textures to the surfaces). Your DEEP 2D drawing might contain informative graphics that are not part of the space but descriptions or augmentations of the reality you are describing with your drawing. This means that you might have diagrams overlaid onto your perspective, but those diagrams have to be composed within the 3D space, since your perspective will occupy the whole surface of the A0 (see point 2).
DEEP 2D DRAWING - Content
The Resor House. Mies Van Der Rohe.
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
This Perspective will be your manifesto on the topic of Domesticity and you will keep producing versions of it throughout the semester, adding information and details to gradually construct the space and argument that you are developing. This image should be an iconic visualization of your you ideas and, therefore, it should have many dimensions, not only physical but metaphysical as well, which is another reading of the DEEP 2D.
You will envision this space in one single perspective drawing. This drawing should have an immersing quality, it should bring us into the space. Thus, we will consider it as something between 2D and 3D: DEEP 2D.
Envision a space that is created following your Form Recipes (Phase3.1) and embodies the Principles of Domesticity discovered in Phase1 and Phase2 -it should be a space for domestic activities, it should define the domestic realm of today.
The Immersive Drawing
A Living Space - Part 2
3
Rasmussen, Uyeda, Wong
4Project Phase 3.2 4Design III 4FALL 2013 4Room 405 . Tue/Fri 13:00 to 16:00. 4Appelbaum, Ballauf, Ewers, Lesmes Lowe, Onishi,
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intro to Phase 3.2 tutorials (technique and content discussed) tutorials (THICK 2D drawing reviewed) MIDTERM REVIEW
Schedule
Aug 2012
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DEEP 2D Technique: craft and quality of the graphics and other methods utilised. DEEP 2D Content: relevance of the languages used, as well as clarity in the ideas being explored and communicated.
Grading Criteria 6 30% DEEP 2D Technique 6 30% DEEP 2D Content 6 30% Phase 3 - Part 1 6 5% Blog Entry
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
One DEEP 2D Drawing in A0 (portrait or landscape)
Deliverables
Anamorphic Tectonics - Theatre for Magicians. Sara Shafiei
Year Code - Course Code (i.e. Y1 - DTS01)
INDA year 2 studio | 2013-2014
DOMESTIC CURRENT
settled or willing to settle in Bangkok.
the client(s) can be (a) specific individual(s) or a
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the client(s) can be fictional as long as they partly be-
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PARAMETERS
Aside from these conditions, you are free to define your clients as you think it better suits your discourse.
The specific qualities and needs must be defined and represented in high detail and no alterations to these conditions will be allowed once this phase is closed.
enough information available to learn about him/ her/them. 4.3. your client(s) might be (a) character(s) from a fictional story or world but, in this case, you need to argue for the clear links to physical reality that you will have to establish as he/she/they will reside somewhere in Bangkok.
An 18th century Dutch engraving of the peoples of the world, depicting the inhabitants of Asia, the Americas and Africa as savages. Shown below are an Englishman, a Dutchman, a German and a Frenchman.
Teaching Archive | 2011 - 2016
Oct 2013
Cultural/Social group
Nationality
Preferences
Routines
Belongings
Income
Occupation
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In order to create your client, you need to first look into existing conditions of contemporary individuals or groups of people. To do this you need to conduct some basic research, for example, with regards to nationality or cultural group, general library and online research on the domestic customs of the country of
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Social Domestic Structure (family, single, couple, etc.)
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Customs (of the client(s) in particular and of the cultural group they are part of in general)
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There are many parameters you will have to establish in order to have a good base for your project. These parameters will be the pre-established Stuff of your project, both physical and ideological, for example: the belongings of your client(s) might define some of the physical configurations of your project but their social status will define a lifestyle and therefore inform or emphasise your overall conceptual framework. Think of this as an opportunity to further support your ideas about what the domestic space should be today. Some of the parameters to define could be:
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
your client(s) could be (a) fictional person/people that you invented but belong(s) to an existing foreign social or cultural group in Bangkok that you can do actual research on. 4.2. your client(s) might be (a) deceased person/ people that you bring â&#x20AC;&#x153;back to lifeâ&#x20AC;? and make he/she/them travel in time, but there should be
long to a specific reality. This means that, for example:
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stereotypical individual or group.
it must be a foreigner (an individual or a family)
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Only a few conditions are pre-established:
CONDITIONS
The next assignment will be to define your client(s).
4. The Local Foreigner(s)
4Project no.? (i.e. Project 5.1) 4Course Name (i.e. Design Tools and Skills 1) 4Semester (i.e. Fall 2012) 4Faculty
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Bound A5 dossier with research evidence (interviews,
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Free format Phenotypic Portrait
photographs, mindmaps, emails, etc.)
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Deliverables
http://en.wikipedia.org/wiki/Phenotype
- Phenotype: A phenotype (from Greek phainein, ‘to show’ + typos, ‘type’) is the composite of an organism’s observable characteristics or traits, such as its morphology, development, biochemical or physiological properties, phenology, behavior, and products of behavior (such as a bird’s nest). Phenotypes result from the expression of an organism’s genes as well as the influence of environmental factors and the interactions between the two.
http://en.wikipedia.org/wiki/Stereotype
- Stereotype: A stereotype is a thought that may be adopted about specific types of individuals or certain ways of doing things, but that belief may or may not accurately reflect reality.
VOCABULARY
It will be a great advantage to have these representations of your client(s) and their stuff for your project, not only to understand and construct your ideas, but also to use them in your future documents and to avoid populating your drawings with borrowed generic silhouettes.
Oct 2013
Phenotypic Portrait Content Phenotypic Portrait Graphics/Format Blog Entry
30% 30% 5%
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Phenotypic Portrait Graphics/Format: craft and quality of the graphics, formatting and bounding of the Portrait. Relevance of the graphic language utilised as well as the format readability.
Phenotypic Portrait Content: clarity and relevance of the ideas being communicated. Understanding of how chosen client conditions will establish the best situation in relation to the arguments in previous phases of the project.
Research Depth: accuracy of the research, level of development and depth to prove that there is no generalisations or preconceived ideas of the cultural groups being taken into consideration.
Research depth
35%
Grading Criteria
Schedule 04/10 intro to Phase 4 08/10 research presented and discussed 11/10 research phase finished. A5 dossier formatted. Phenotypic portrait draft discussed. 15/10 Phenotypic Portrait updates 18/10 Pin Up
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
One single diagram representing all the parameters and the relations amongst them will be the only representation document produced. We will call this the Phenotypic Portrait of your client(s). As a representation method we will take Character Customisation Screens in video-games as an example, as, in these, not only the qualities of the character are represented, but also the qualities that the character could have had and does not have are shown. We will also look at historical representations of people such as paintings, and the way in which they were represented or chose to represent themselves (with certain clothes, objects, in certain spaces, posing in certain positions, etc.)
PHENOTYPIC PORTRAIT
provenance of the client(s) or the lifestyle they belong to must be conducted before jumping to the specifics of your character(s). It is recommended to conduct more immersive research; for example, get in contact with the foreign community of that nationality/cultural group -provided that they have a presence in Bangkokand conduct a series of interviews or refer to specific studies of that community and contact the authors. Official presentation letters can be issued for contacting the embassies or other institutions. This will help you understand routines and customs of that group, that later you can respond to (perhaps your client does not follow any of those because he/she is rebelling against his/her own background. This will define your client’s preferences and perhaps also the possible implications fo the social domestic structure. You should also decide on a job or occupation (or disoccupation), which will also set an income. The income might also set an interesting condition for your later design as well as the collection of belongings that you sent for your client(s).
Year Code - Course Code (i.e. Y1 - DTS01)
INDA year 2 studio | 2013-2014
DOMESTIC CURRENT
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The tabula-rasa (an empty plot with no construction The sandwich (an vacant space with buildings on at The podium (a vacant rooftop on top of a mid-rise
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The design will be derived from the conclusions extracted from the most successful parts of the research, acting as the architectural manifestation of those ideas and principles, and students must be able to represent not only the spatial, functional and programmatic aspects of the project but also the decision-making process that was used in order to arrive at a conclusion. Students must also be able to communicate narratives that portray the domestic life resulting from their designs.
and atmospheric qualities are addressed.
Note: Students may or may not find a specific location in Bangkok for their projects, matching one of the four morphological options. It is possible to work on a fictional site as long as Bangkokâ&#x20AC;&#x2122;s environmental
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The grotto (an underground space with an already
existing access)
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building)
3.
least two of its sides)
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in physical contact with any sides of the plot)
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Students will choose sites from a series of morphological options below.
Teaching Archive | 2011 - 2016
Aug 2013
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Part3: students will develop a narrative through which they can present their projects in an immersive way.
Part2: students will follow their own design methodology and develop a proposal. Students should use the techniques learnt in other classes to produce architectural drawings that communicate the physical attributes of their designs.
Part1: students will establish the parameters for their design processes. This means that each student should find a set of rules or principles (domestic, contextual, idiosyncratic, formal, structural) and create a system to assimilate them. Students should also choose and clarify how the site will be addressed.
This Phase of the project will be divided in 3 parts, with pin-ups held for all 3:
6 Formal Language 6 Structural Principle 6 Program Distribution 6 Domestic Experience
Students should develop their project through design processes or working methods that tackle at least the following aspects:
6 there should be a minimum of 3 clearly differentiated spaces
6 the minimum surface area of the domestic space should be no less than 40sqm and no more than 400 sqm
Project Guidelines:
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
4What is considered domestic today? 4Which are our expectations for a domestic space? 4What delimits a domestic domain? 4What forms does domesticity take?
Ultimately, your design project will answer the initial questions posed in the beginning of the semester (see Syllabus):
of your Client(s) whilst addressing the concepts previously developed? 4How will you choose a Site that best accommodates for your project?
4Which are the qualities of a Domestic Space? 4How will your project address the needs and conditions
This phase will require the definition of a design problem:
This phase will consist on the design of a Domestic Space for the client defined in Phase 4 and the principles of domesticity enunciated through the previous research.
Domestic Space
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Rasmussen, Uyeda, Wong
4Project Phase 5 4Design III 4FALL 2013 4Room 405 . Tue/Fri 13:00 to 16:00. 4Appelbaum, Ballauf, Ewers, Lesmes Lowe, Onishi,
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Part3: 3.1. artifact that explains the experiential narrative of the project
Part2: 2.1. explanatory diagrams and study models 2.2. architectural drawings describing the project (plans, sections, elevations and axonometrics) 2.3. one physical or digital model that helps understand the project
Part1: 1.1. diagrams and/or models explaining the applicable rules and the system to follow on-site
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5% Blog Entry
15% Presentation
10% Graphics
30% Argument
25% Design
15% Methodology
Presentation: Clarity of the verbal presentation, arguments exposed, ability to engage in critical discussions and address feedback.
Graphics: Ability to represent all ideas through drawings. Development of a personal graphic language.
Argument: Definition of domesticity supported by all previous work and clearly manifested through the design proposal
Design: Understanding of basic architectural aspects of the project, taking formal, structural, programmatic and experiential aspects of the project to a basic level of resolution
Methodology: Clear systematic logic for developing the formal, structural, programmatic and experiential aspects of the project
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tutorials
tutorials
Part1 Pin-up
parameters and design methods
6 03/12
6 26/11 6 29/11
discussed
6 19/11 6 22/11
6 15/11
Final Review (Full Project)
all material previewed
tutorials
narrative representation method
Part 2 Pin-up
tutorials
2 of 2
6 12/11 tutorials (all architectural drawings and models previewed)
6 05/11 6 08/11
6 29/10 6 01/11
6 25/10 re-submission of Phase 4 -no changes allowed after this date
Grading Criteria
intro to Phase 5
6 22/10 morphological and physical (if any) site choice, parameters and methodology discussed
6 18/10
Schedule
Aug 2013
Details and location for the Final Review are TBD
Part3 Final Review:
This review is scheduled for one (1) studio session but it might extend to two (2), depending on the speed of different reviewing groups.
Students will be asked to take notes and participate in the discussion when they are not presenting.
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Students will present and receive feedback individually. 15 min will be dedicated to each student.
Studio groups will be distributed in pairs.
Part2 Pin-Up:
Students will be asked to take notes and participate in the discussion when they are not presenting.
It is to be determined by each instructor if the students will present and receive feedback individually or all together as a group. If presenting individually, a maximum of 15 min will be dedicated to each student.
Studio groups will be distributed in pairs.
Part1 Pin-Up:
Pin Up sessions format
Note: the full project will be presented at the Final Review, with more emphasis in the last phase.
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Deliverables
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DOMESTIC CURRENT
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ARCHITECTURE AS PERFORMANCE: EXPERIENCE-DRIVEN SACRED SPACES
Architecture as Performance
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Viceral Intricacy II. Architecture as Performance Architectural Design V Spring 2013
www.visceralintricacy.com
Visceral Intricacy II
Architecture as Performance Experience Driven Architecture of New Urban Sacred Places
boundaries for human - architecture interaction. The challenge for the members of the studio this term will be how to bring architecture to life to a level where it can expand communication and exchange between architecture and its inhabitants to unknown levels. We will create intelligent and active structures that perform and acts according to its own â&#x20AC;&#x153;experienceâ&#x20AC;? and responds to the human activity inside, a form of communication bond between the architecture and its occupants. We will explore the possibilities of a transformable architecture as the means for this strange communication and analyse existing examples of kinetic and movable structures.
Introduction After a successful studio exploring the potential and future of experiential mega malls in Dubai, Visceral Intricacy II continues the pursuit for new experientially driven design methods, now with new urban sacred spaces. The studio will explore the possibilities of architecture as performance (not architecture of performance) by pushing the
Teaching Archive | 2011 - 2016
Moving Architecture In the last half of the twentieth century architecture began to move, literally. The radical new invention, the automobile began mutating into industrial beasts like cranes and bulldozers that radically changed the way people thought about their abilities and built environment. The new transformable and practically performative industries, ports, construction sites, aviation, rail roads, shipping etc. propelled to unimaginable levels of speed and efficiency. The new power of steam, oil and electricity also had a dramatic effect in the construction of buildings and the built environment as new materials and material processes became available at the same time as mechanical power could replace manpower as one of the main construction forces. The change was seen most noticeably in how we connected buildings together. The automobile and the train became the new interface between buildings and made new urban and suburban models possible. Urban design became the trade of the time as things now could be connected over vast distances far exceeding the scale of buildings and cities. Despite these massive advances in technology and innovation concerning mobility and transformability in static buildings, the buildings themselves remained
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relatively unaffected. There are only really two major introductions into the transformability of buildings in modern times that had a real impact, Elisha Otis invented the modern elevator in 1854 and Nathan Ames patented the first escalator, the Revolving Stairs in 1859. Human mobility limits was defeated and buildings got taller and larger. Over 150 years later, and these are still the main players in modern architecture and buildings remain generally static.
INDA year 4 studio | 2012-2013
Static as the buildings were, in 1880 the first ever leisure caravan was built in England by the Bristol Carriage Company. Private Buildings on wheels! At this time train carriages were already fitted with luxury but the Wanderer as the caravan was called was something new. But although the horses of the Wanderer were replaced by the automobile the format never really changed as the size of the automobile and the lanes on the roads never did. The furthest weâ&#x20AC;&#x2122;ve come to is the Recreational Vehicle of the US, which is nothing more than an expensive bus... The new inventions of power and mobility stayed primarily as machines of industry and infrastructure.
Mechanical Louvers. Chrystal Palace. Joseph Paxton. 1851
Archigram. Free Time Node 1966
The Wanderer by the Bristol Carriage Company in 1880 for Dr. W. Gordon-Stables
But the innovations inspired visionaries of the 1960´s such as the English architecture group Archigram to imagine how the sophisticated performance of machines and infrastructure could influence culture when readapted to perform with enjoyment as its goal. The project Free Time Node (1966) was a speculative proposal for an expanding/ contracting structure servicing caravans, designed for a society with a 2-3 day working week.
Another project, Instant City adapted the airship of the early part of the century and was envisioned as a gift to people who live in the country side who might want some city pulse every now and then. The portable city would fly in at night and deploy over a village and stay for a day or two before it moves on to the next village.
Archigram. Instant City 1964
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| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
Architecture as Performance
Y4 - ARCH DSGN V 2541412
Architectural Performance as Communication The practice of speaking to architecture is an ancient one. The belief of spiritual embodiment by gods, spirits or ghosts in physical matter has both haunted and encouraged man for millenniaâ&#x20AC;&#x2122;s. This might be most radically illustrated in the great monuments of the world dedicated to gods of the world religions. Massive structures that in some cases are believed to be the body of God, or that God lives in the walls, or in other cases that the space is the mental vehicle to communicate with God. Sometimes these structures are very simple, then relying more on the imagination of the believer. In other cases the structure is so overwhelming in its massiveness, ingenuity, intricacy and uniqueness that the experience drop believers and non believers alike to their knees. The dynamics of communication between believer and architecture happens in a multitude of ways, mainly by the believer projecting his or hers inner space of desires, dreams, fears and guilt onto the architecture (indirectly) and its artefacts and ornaments. The architecture responds with static but rich narratives in ornaments and effects such as light and sound. The real dynamics of sacred spaces is the activation that occurs in collective ceremonies and rituals where different parts of the space and its artefacts are attended to such as altars, statues, openings, podiums etc. We will study these ceremonies and the delicate relationship between hand and matter, prayer and space, elements and song. We will search
for the fragile and vague links between the rich physical world of altars and ornaments and the deep meaning in spiritual practice. This link will be our platform and design area. We will learn from existing master pieces in religious architecture and sculpture and our research into industrial machinery and design a communication bridge between architecture and people. What will we do about it? We will begin the project by analysing manmade performative constructions like opera houses and industries in order to gain knowledge about how physical constructions at architectural scales can move and how many agents such as cranes and machines act in symbiosis in a precise choreography. The chosen performative construction, a container port for instance will be 3D modelled in order to be able to create an animation using Bongo Animation that shows the choreography in its entirety, the arrival of a ship, the moving gantry, the placing of a container on a truck and so on. This will be done both to understand the complex choreography but also to learn animation and modelling skills. After the performative construction has been animated to express the practical purpose another animation will be made in order to change the purpose from practical to performative. From which angles, and in which sequence will a container port look like a rock concert, or a dance? This final animation will be the start for the performative project. The members will then choose a world religion as its host and client and conduct a careful study into its history, people, calendar and architecture. A more detailed study will be made into a particular ceremony or ritual where the sequence and temporal aspects will be emphasised so that an understanding can be developed into the delicate intricacies of the event.
Teaching Archive | 2011 - 2016
Many have followed in Archigramâ&#x20AC;&#x2122;s footsteps and joined the collective dream of truly transient architecture that changes in every moment, like people! Architecture that comes alive, architecture that you can communicate with. The closest we are to this today is the opera stage, unbelievably sophisticated and dynamic, yet unbelievably static in its performance. The physical stage speaks to the audience through its moving parts, light and smoke and the actors. Yet the stage never receives a reply from the audience, more than applause. This is the challenge that the members of Visceral Intricacy will face this term, to discover possibilities with a two way communication system between architecture and its occupants.
Jan 2013
The context and site for the projects is the Special Administrative Region of Hong Kong where we will travel together to collect site data and summon with the clients and take part in their rituals. Hong Kongâ&#x20AC;&#x2122;s rich and diverse demographics with expectance and tolerance across borders of faith will be utilized to our advantage as the sites are to connect with urban infrastructure and highly congested pedestrian areas seeing people and cultures from all over the world rub against each other. The projects experiential and ephemeral qualities will be illustrated through digital animation and physical models which will
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serve as the final presentation piece. The projects temporal reality will be key as it responds not only to peopleâ&#x20AC;&#x2122;s direct interaction but to the participation over months and years, both following the calendar of the faith and the userâ&#x20AC;&#x2122;s involvement over generations.
INDA year 4 studio | 2012-2013
To help us explore this complex and delicate topic of performative architecture we will be collaborating with experts in the field. Lara Lesmes will be a regular guest critic as well as animation instructor for the first phase.
Jan 2013
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Religious Institutions
4 Chose a world religion to base the project 4
4
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Architectural Choreography
The first part of the project includes both research and production. The members will learn advanced modelling skills and animation techniques.
4 Chose a construction that is
4 4 4
4
transformable, works as a choreographed and coordinated system and includes a sophisticated kinetic movement. Could be a construction in the entertainment business, in an industry, in infrastructure etc. Analyse the construction in its entirety and produce diagrams that explains the choreography. Produce a 3D model of the construction using Rhinoceros 3D Produce an animation using Bongo Animation that exhibits the full choreography and the purpose of the transformable system. Using the same 3D model and the same movements, but changing the sequence, duration, camera angles, light, colours etc produce a new animation that changes the purpose of the construction and ads new qualities that could be described as performative.
4
on and to be your client for your design project. Firstly a study on the chosen religion from a global perspective will be done in order to understand its history, people, calendar, rituals, ceremonies, hierarchies, architecture and artefacts. One specific ritual or ceremony will be chosen to conduct a more detailed study and exploring things like music, mantras or readings, artefacts, participation, decoration, sacrifice and the most importantly, the ceremonies relationship to its architecture or place. This has to be carefully diagrammed in such a way that the crucial temporal or ephemeral qualities of the event are clearly readable. The chosen ceremony has to involve a group and have significance in the religions calendar. Based on the specific ceremony chosen, do a study concerning the relationship between the inner space of prayer and external world of the prayer room or the holy place. How do they relate to each other? If at all?
2
Hong Kong
The Site for the projects will be in the Chinese Special Administrative Region of Hong Kong. There will be a selection of areas on Hong Kong island and Kowloon to choose from. The precise location will be determined by the conditions given by the chosen faith, interviews done i n Hong Kong and interests concerning the personal views and possibilities of performative architecture. The regions demographics offer a wide range of cultures, businesses and practised religions. As of 2010 the region is home to approximately 1.5 million Buddhists, 1 million Taoists, 480.000 Protestants, 353.000 Roman Catholics, 220.000 Muslims, 40.000 Hindus, 10.000 Sikhs, and other smaller communities such as Judaism and Jainism making the region one of the most diverse religious areas in the world, although the majority
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| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
Architecture as Performance
Y4 - ARCH DSGN V 2541412
A Taoist prayer for the dead after ferry accident 2012. Hong Kong
Hong Kong is a prosperous region for acceptance and tolerance, something that we will defend in the design project. Your choice of religion to design for has to be represented in Hong Kong and the religion has to be institutionalised. Buddhism and Taoism have a considerable number of adherents in Hong Kong (more than 1 million Buddhists and about 1 million Taoists). There are more than 600 temples in the HKSAR. Some of these temples can be traced back to more than 700 years ago, while some others have been built in recent years.
There are five major festivals in the Chinese lunar calendar that all the projects need to take into consideration, with the Lunar New Year being the most important. Gifts and visits are exchanged among friends and relatives and children receive lai see, or ‘lucky money’. During the Ching Ming Festival in spring, ancestral graves are visited. In early summer (fifth day of the fifth lunar month), the Tuen Ng Festival is celebrated with dragon boat races and by eating cooked glutinous rice wrapped in lotus leaves. The Mid-Autumn Festival falls on the 15th day of the eighth lunar month. Gifts of mooncakes, wine and fruit are exchanged and adults and children go into parks and the countryside at night with colourful lanterns. Chung Yeung is on the ninth day of the ninth lunar month, when many visit their ancestors’ graves or hike up mountains in remembrance of an ancient Chinese family’s escape from plague and death by fleeing to a mountain top. Apart from the above traditional festivals, quite a number of important religious festivals, including Good Friday, Easter, Buddha’s Birthday and Christmas, have been listed as public holidays. Adherents hold special celebration or memorial ceremonies on these occasions.
4 The exact location of the projects in
4 4 4 4 4
Roman Catholic congregation. Hong Kong
Teaching Archive | 2011 - 2016
of residents of Hong Kong would claim no religious affiliation, professing a form of agnosticism, atheism, or indifference towards religion. According to the U.S Department of State, only 43 percent of the population practices some form of religion. According to a Gallup poll, Hong Kong is the seventh least country which considers religion as an important part of their daily lives.
Jan 2013
Hong Kong within the given areas is to be determined by the student in conversation with the instructor but must follow these points The site must attach to an existing form of infrastructure. The site must combine minimum two existing flows of traffic, by any mode of transport. There must be an exciting pedestrian flow through the site. The site must include a minimum of 50% public outdoor area, a street, a corner, a square The size of the site and project is to be determined individually.
We will travel together to Hong Kong where we will meet representatives of the religions in question and visit there congregation spaces and if possible take part in a ceremony.
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Information regarding the religion will be gathered concerning:
4 Existing architectural presence in the city 4 Exclusion or inclusion with other communities
4 Its visibility in the city
INDA year 4 studio | 2012-2013
Before we go together to Hong Kong we will conduct collective research regarding the urban hills of the city and its streetscape. Preliminary choices of exact sites within the given areas will be made before our trip that will be visited when there. The choice might change after meeting the representatives of the religion or after experiencing new previously unknown aspects of the site.
Jan 2013
directly on the site and to be able to perceive the intricate network of people, flow, infrastructure, rituals and other elements from the site such as climate and seasonal changes. The most fundamental aspect in this drawing is time as the projects clients and content operates in complex sequences possibly over generations. In order to explore the temporal aspect the drawing will both be animated and printed sequentially. This drawing will lead directly into the final design phase of the project.
Information regarding the site will be gathered concerning:
4 4 4 4
Flow of people during a full day Existing social groups at the site Business operations at the site Existing buildings at the site
The collected data will result in a multitude of diagrams as well as digital 3D models of the site.
4
Actor Taxonomy
Using the 3D model of the site and the collected data you will now produce and isometric drawing of the site that will be used as an interactive mind map. The ceremonial and practical elements of the chosen religious institution will be abstracted and translated into isometric and diagrammatic actors to be used on the isometric drawing of the site. Elements from the site will also be diagrammed such as the existing transportation network, social groups and businesses in the neighbouring areas of the site. The aim for this phase of the project is to rationally and systematically gain control over the complex project by â&#x20AC;&#x153;sketchingâ&#x20AC;? different possible projects
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Architectures-in-Retreat. AA Spring Semester Programme London. Tim-Simonds
Design
After the research part of the project the following skills and understandings have been acquired: 4 Knowledge regarding complex and coordinated systems of kinetic and transformable architecture. 4 Advanced skills in 3D modelling 4 Animation skills 4 Knowledge regarding one world religion and its rituals, ceremonies, followers, hierarchies, artefacts and architecture 4 A deep understanding concerning one specific ceremony of one religion. 4 Data collected from meetings with the client on site.
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Architecture as Performance
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4 A detailed site study and a detailed 3D 4
model of the site. An interactive and temporal drawing of the site consisting of all the previously considered aspects from the research and the experimentation.
With these elements the project will take shape, but the project could take go may ways and employ many different methods, techniques and qualities. Learning from the research, a project could use basic elements like water or fire, or complex digital integration, or kinetic mechanics. It could change with every visitor and increase in complexity over time, or change over generations and decrease in complexity. It could be dark and invisible, or brighter than the brightest billboard, it could be silent like a forest or louder than the most bustling market. It could be timeless like a temple, or hip like a night club. It could be still like lake, or raving like a waterfall.
Jan 2013
4 The project must address the link between
4
the inner and the other aspects of prayer and rituals concerning the chosen religion. The projects exact size will be determined case by case but must react to the given sites and it must be manageable within the given time span and answer to the submission requirements.
5
The Holy Script, Performance
The final stage of the project is the moment when everything comes together. Your research and production will be printed in a book, the Holy Script of (name of project). The finished design will be represented in a final performance that will consist of a combination of a physical model and digital enhancement by means of projections, sounds, kinetic mechanics or other physical and dynamic effects such as smoke, water, fire, light etc, depending on the project. This performance will take place at the final review.
Teaching Archive | 2011 - 2016
The project is open for individual interpretation and demands active conceptual thinking. A fourth year thesis project must be consistent and have a clear agenda and a rational representation. A detailed brief regarding the design phase will be released at the midterm review but the following aspect must be followed:
4 The studio is concerned with the
4
4 4
4
communicative possibilities between architecture and people and the finished project must answer that challenge in a unique way. The project must be technically and structurally realistic using either existing construction techniques or within know reach. The project must address the client and their ceremonies in readable links. The project must be usable by believers and non believers a like and should not obstruct daily like of potential neighbours and the community at the site. The project must be represent and explain its speculative lifespan over minimum 20 years in a way that it is clear how it would change over time.
Bauhaus Diagram of the gesture dance
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INDA year 4 studio | 2012-2013
Tools Tutoring assistance in the following softwareâ&#x20AC;&#x2122;s will be provided. 4 Bongo Animation 4 Maxwell Render. Next Limit Technologies 4 Adobe After Effects 4 Adobe Photoshop 4 Adobe Indesign 4 Rhino 3D. McNeel 4 UDK Unreal Game Engine. Epic Games Dictionary The students are required to during the entire project contribute with content and reflection to our online dictionary. Blog The students will be required to upload work process on the Monday of every week by 18:00 or more regularly. The blog will be used as a platform for sharing ideas within the studio and for the work to reach a global audience. The blog will remain online and serve as a digital archive accessible by anyone. Grading 1. Participation 2. 1. Architectural Choreography 3. 2. Religious Institutions 4. 3. Hong Kong 5. 4. Actor Taxonomy 6. 5. Design 7. 6. Holy Script and Performance 8. Trip Trip Location: Duration: Proposed time: Visa: Cost:
5% 10% 20% 10% 10%. 30% 10% 5%
Hong Kong. China 4 days (3nights) 28th February - 3nd March Not required for Thai Nationals 20,000 THB
Submission Requirements 1.
Architectural Choreography 1.1. Research document concerning the case study 1.2. Drawings of the case study 1.3. One Diagram that explains the case study in its entirety 1.4. One 3D model of the case study 1.5. One animation that describes the choreography of the case study in its entirety. 1.6. One animation that describes an alternative choreography of the case study
2.
Religious Institutions 2.1. Research document concerning the chosen religion from a global perspective 2.2. Drawings and diagrams that describes the chosen ritual or ceremony in its entirety.
3.
Hong Kong (site) 3.1. Research of the clients presence and use of the site and its neighbouring area. 3.2. Site drawing 1:1000 3.3. Detailed plan drawing 1:500 3.4. Two sections through the site 3.5. Circulation diagrams of the site 3.6. 3D model of the site 3.7. Detailed isometric drawing of the site
4.
Actor Taxonomy 4.1.
4.2.
4.3.
Elements from previous research that will be a part of the project drawn in isometric view One interactive or animated drawing in isometric view of the site that illustrates the temporal aspect of the project A series of printed drawings that illustrates a sequence of the project.
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| International Program in Design + Architecture | Room 409, Architecture Buillding. Faculty of Architecture, Chulalongkorn University. Phyathai Rd., Bangkok 10330 TH |
Architecture as Performance
Y4 - ARCH DSGN V 2541412
5.
Jan 2013
Design 5.1. Minimum two plan drawings 5.2. Minimum two section drawings 5.3. Minimum of three highly detailed perspectives from inside the project 5.4. Diagrams describing circulation and access 5.5. Minimum of five detailed drawings describing details that change over time 5.6. One model at 1:200 of the entire project 5.7. One model at 1:50 of a detail of the project 5.8. The Holy Script and Performance 5.9. On bound book with your research and production 5.10. On choreographed performance utilising your 1:50 model and one other digital media.
The Earth Dubai. Viruth Shane Purichanont
Previous Work by Visceral Intricacy
Teaching Archive | 2011 - 2016
The New Deira Mall - Deira - Ton Pasit Rojradtanasiri
The Dubai Hub. Belle Nutthapat Thanapoonyanan
The Dubai Linear Mall. Arnut Areechitsakul
The Dubai Hub. Belle Nutthapat Thanapoonyanan
The Mall. Nott Varis Niwatsakul
The Dunes. Al Aweer Desert. Wachira Leangtanom
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Date M 7 Tu 8 W 9 Th 10 F 11 Sa 12 M 14 2 Tu 15 W 16 Th 17 F 18 Sa 19 M 21 3 Tu 22 W 23 Th 24 F 25 Sa 26 M 28 4 Tu 29 W 30 Th 31 F 1 Sa 2 4 Feb 2013 M 5 Tu 5 W 6 Th 7 F 8 Sa 9 M 11 6 Tu 12 W 13 Th 14 F 15 Sa 16 M 18 7 Tu 19 W 20 Th 21 F 22 Sa 23 M 25 8 Tu 26 W 27 Th 28 1 Mar F 2013 Sa 2 M 4 9 Tu 5 W 6 Th 7 F 8 Sa 9 M 11 10 Tu 12 W 13 Th 14 F 15 Sa 16
INDA year 4 studio | 2012-2013
Week Jan 2013 1
Studio Presentaions
First Studio Meeting. 1. Architectural Choreography University Sport Game 2013 (No Class) 1. Architectural Choreography 1. Architectural Choreography 1. Architectural Choreography 1. Architectural Choreography 1. Architectural Choreography 1. Architectural Choreography. PIN UP 09:00 - 12:00 2. Reluigous Institutions 2. Reluigous Institutions 2. Reluigous Institutions. PIN UP. 09:00 - 12:00 3. Hong Kong 3. Hong Kong Makha Bucha Day (Holiday/ No Class) Midterm Review 09:00 - 17:00 Hong Kong. 28th February - 3nd March 4. Actor Taxonomy 4. Actor Taxonomy
Jan 2013
Week Date 11 M 18 Tu 19 W 20 Th 21 F 22 Sa 23 12 M 25 Tu 26 W 27 Th 28 F 29 Sa Apr M 2013 Tu W 13 Th F Sa 14 M Tu W Th F Sa 15 M Tu W Th F Sa 16 M Tu W Th F Sa 17 M Tu May W 2013 Th F Sa 18 M Tu W Th F Sa M Tu W Th F Sa
30 1 2 3 4 5 6 8 9 10 11 12 13 15 16 17 18 19 20 22 23 24 25 26 27 29 30 1 2 3 4 6 7 8 9 10 11 13 14 15 16 17 18
5. Design 5. Design 5. Design 5. Design 5. Design 5. Design Chakri Memorial Day Substitution Chakri Memorial Day (Holiday/ No Class) 5. Design 5. Design. PIN UP Songkran Festival (Holiday/ No Class) Substitution Songkran Festival (Holiday/ No Class)
6. Holy Script and Performance 6. Holy Script and Performance 6. Holy Script and Performance
FINAL REVIEW. 09:00 - 15:00 Substitution Coronation Day (Holiday/ No Class) Final Exam / Review 29 April 2013 - 10 May 2013
Close of Second Semester Royal Ploughing Ceremony Day (Holiday/ No Class) Last day for Faculties to submit CR58 (Grade Report)
4. Actor Taxonomy. PIN UP 5. Design
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THE UNDERGROUND CAPRICCIO
The Underground Capriccio
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S H O P H O U S E
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EROTICS OF ARCHITECTURE: REPURPOSING THE SOUTHEAST ASIAN ARCHETYPE
R E M A S T E R E D
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The erotic is commonly understood to have a sexual tinge and be associated with acts of intimacy motivated
Teaching Archive | 2011 - 2016
Jan 2013
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The first exercise asked you to probe your familiar city to discover existing instances of architecture that embody, for you, an erotic space. This is effectively your first act of translation. At your age you should be
Erotic Architecture Competition
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What qualities of architecture excite us? How can gestures of intimacy that we share as humans be translated into architectural behaviors? How does architecture kiss? Embrace? Make love? Delight? Seduce? Bond? Touch? An erotic reaction, precipitated by acts of intimacy and stimulation, is customarily fleeting. How can architecture—which traditionally desires permanence—excite tension and eroticism through more ephemeral acts?
by love and/or passion. As you can imagine, it would be both difficult and painful to engage in this form of attraction with a building. More nuanced understandings of eroticism consider sensuality and affect of any nature, so long as it is pronounced, as erotic responses. Indeed, when Susan Sontag called for not a hermeneutics but an erotics of art,” she was advocating that artists and intellectuals focus less on content and cerebral interpretation, than on our emotional and visceral impulses. The intention behind each project this semester and, more generally, for investigating the principles of the erotics of architecture, is to explore at the most intimate and phenomenological level the following questions:
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Sylvia Lavin, Kissing Architecture (2011)
“The kiss offers to architecture, a field that in its traditional forms has been committed to permanence and mastery, not merely the obvious allure of sensuality but also a set of qualities that architecture has long resisted: ephemerality and consilience. However long or short, however socially constrained or erotically desiring, a kiss is the coming together of two similar but not identical surfaces, surfaces that soften, flex, and deform when in contact, a performance of temporary singularities, a union o bedazzling convergence and identification during which separation is inconceivable yet inevitable.”
from Architecture and Disjunction, Bernard Tschumi
This semester we will continue the theme of Familiarity and push it to its extreme: intimacy. Tis’ the season of arrow-shooting-cherubs, saccharine sonnets, valentine’s sweethearts, blossoming, budding, birds, bees and frustrated March-hares. Ripe as the time is with affection, attraction, intimacy and sensuality, seldom does our architecture elicit in us any sensorial seductive response. The first project, the Erotic Architecture Photo competition, yielded an impressive and enlightening bevy of architectural moments that prick our senses, entice our perception and possibly trigger some ineffable attraction within us towards inanimate surfaces and spaces. Whether the architects of these spaces intended to create erotic atmospheres is both unlikely and moot. We, on the other hand, will spend the semester exploring how to proactively design architecture—even in the most mundane and unappealing circumstances—that performs erotically.
“Eroticism is not the excess of pleasure but the pleasure of excess”
E.V. Day “Bride Fight” 2006
Objectives
Introduction
Erotics of Architecture
Taylor Lowe, Hans-Henrik Rasmussen, Sylvia Soh, Pannasan Somboontham, Supaporn (Bea) Vithayathawornwong, Cheryl Wing-Zi Wong
4Project 1.1 - 1.5 4Design 1 4Spring 2013 4Faculty: Kamonsin Chathurattaphol, Lara Lesmes,
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You may love the department, but how do you feel about its architecture? Does it affect you? Does it stimulate your sensory consciousness? Does the architecture of the faculty afford you particularly sensual experiences? If the answers are ‘no,’ which they likely are, the next 3 weeks will be your opportunity to change matters. Naturally, you cannot change much matter, or material, i.e. you cannot permanently modify the architecture of the faculty. But, that’s what is lovely about investigating erotics: you don’t need to permanently alter the architecture to render even the most insipid buildings erotically evocative with an ephemeral gesture. Kiss it, embrace it, adorn it, engage it, but do so momentarily. The fleetingness of the enhancement itself adds tension in the very consciousness that the brief excitement you introduce is immanent and, very shortly after, gone. The briefness of our engagement heightens our anticipation and stimulates our phenomenological awareness of the surroundings we are momentarily modifying. Short, sweet and unforgettable—like a kiss. You have all read the opening chapter of Sylvia Lavin’s
Sylvia Lavin, Kissing Architecture (2011)
“Through such a dense and haptic focus on the architectural surface and the ways in which it accumulates sensations, we can begin to understand the erotics of this particular kiss between Rist and Taniguchi as a technique for producing new affects. Kissing in the sense is expansive and can involve not only one material against another but on medium against another mediums. color against brilliance, and other combinations of things that produce perceptually momentary singularities on the verge of dissolution.”
. I ♥ Chula
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Doug Aitken, “Migration” (2009)
Kissing Architecture and should have a better sense of what it means to ‘kiss architecture’ and how, by doing so, even the most banal building is enriched by its intercourse with other media. For the next 3 weeks you will experiment with the ways in which we can intimately engage existing architecture (kissing, embracing, coupling, etc) by devising your own installation/performance piece with the Architecture Faculty building(s). On the evening of February 15th, one day after valentine’s day (which you will likely spend wooing your faculty building), you will perform your erotic treatment of the faculty building. The performances will take place in the evening to afford students the opportunity to experiment with lighting (one of the more common variables we detected in the Erotic Architecture Photo contest) and projection. Students who wish to explore other media aside from projection and lighting are strongly encouraged to do so provided their performance meets the criteria of 1) it must be ephemeral and 2) your brief installation/ gesture must transform an otherwise mundane space in the architecture faculty into something erotic—i.e. affective, stimulating, possibly shocking.
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Your collection of impressive photos to yielded some revelatory patterns about what architectural characteristics excite the erotic. We mentioned materiality, proximity of opposites, rich tonality, tension, voyeurism, illicitness, violence, weathering, curvaciousness and innuendo as qualities of the images that were most popularly considered erotic.
Bruder Klaus Chapel, Peter Zumthor
acutely aware of the most customary connotations of eroticism as it pertains to human interaction. But now, as with most studio projects ahead of you, you will need to gradually translate and, in the process, develop your understanding of those human qualities with which you are most familiar into built form. Any act of translation introduces change, difference and transformation. We welcome this uncertainty as a creative act that always already escapes reproduction and inevitably yields novelty and discovery.
Year Code - Course Code (i.e. Y1 - DTS01)
INDA year 2 studio | 2012-2013
SHOPHOUSE REMASTERED
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By this point in the semester, you have developed a sensibility of how to generate erotic effects in even the
A Site for Sore Eyes
4
intimate of architectural typologies in the city: the shop house. Shop houses embody the ideas of compactness, tightness, interconnectivity and, at the same time, they are utterly generic. They follow a very consistent structural and volumetric formula, and their facades have a strong tendency to assimilate with those of their neighbors. Their generic-ness also indexes their utility: they are extremely adaptable and accommodating towards a broad spectrum of programs. They are the Magritte-like crowd of platonic associates awaiting your erotic application to propel them into more intimate and alluring relations. But, before making us fall in love with the shop house, you must get to know your typology a bit better. For the third project, you will construct precisely executed and beautifully (lovingly) crafted models of the generic Bangkok Shop house. This model will supplant the Faculty building and will enable you to experiment with the design modifications you will introduce to enhance the shop house’s erotic effects. This phase will last 2 weeks and culminate in a pin-up on February March 2nd. As a very evocative illustration of both the intimate conditions latent in a shop house’s compact parameters, and of how the erotics of such spaces can be amplified, we will arrange a screening of Wong Kar-wai’s In the Mood for Love (2000). Large portions of this extremely sensual movie were filmed in Bangkok shop houses.
Teaching Archive | 2011 - 2016
Jan 2013
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The next 6 weeks of the semester will be devoted to the comprehensive design of your Erotic Architecture. Given the relatively small scale of the physical parameters of your site, you will therefore need to spend this time developing the most precise details of your intervention. Do not forget: the majority of the Erotic Architecture Photos that we collectively endorsed specifically concentrated on architectural details. We were all moved by the proximity of disparate materials, the degradation or weathering of architectural features, the momentary quality of light that saturated a given space with poignancy and mood. With 8 weeks of design, foregrounded by 8 weeks of research and investigation into erotics, typology and site, you will have enough time
Erotic Architectural Design
5
most orthodox and unassuming architecture. You have also developed an intimate knowledge of perhaps the most familiar architectural typology in the city, the shop house. Now you will need to select a site and a program that best suit your modality for eroticizing architecture. What programs best support the sensuous effects you are pursuing? What neighborhoods suit your chosen program, or visa versa? How will your project engage its context? Typically shop houses have the built-in trait of adjustable hybridity: hence the name shop-house; two typologies conjoined into one, operable simultaneously during only finite segments of the day. How do you choreograph (map out in time) the engagements of your programs? The physical engagements with the neighboring buildings? The vicissitudes of diurnal and seasonal time in your chosen site, with your chosen programs?
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
Preserving the theme of transforming that which is most familiar in your built environment (and quite possibly, most forgettable as a result) into that which is most sensorially impactful—erotic—you will spend 2 weeks becoming intimately acquainted with that most
Louise Bourgeois
“Buildings express a fundamental human quality: they never touch”
An Intimate Typology
3
You will be evaluated for the 1) quality of your analysis of your chosen artists 2) the selection of your site within the faculty 3) the medium of your installation 4) the craft of your execution 5) the erotic impact of your installation.
Pipilotti Rist, Sophie Calle, Mathew Barney, Marina Abramovich, Rirkrit Tiravanija, Doug Aitken, Bill Viola, El Anatsui, Zhang Huan, Joan Jonas, Elmgreen & Dragset, Chris Burden, Vito Acconci, and Andy Warhol.
To aid you in your experimentation, each student will be responsible for carefully and critically investigating the work of 2 of the following performance artists:
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20% 35%
10%
25%
5%
5%
I ♥Chula desk crits I ♥Chula desk crits I ♥Chula Exhibition @ 7 pm Shop house research Shop house research Shop house Pin-up Site & Program development Site & Program development Site & Program development Site & Program Pin-up Erotic Arch. Development Erotic Arch. Development Erotic Arch. Development
2.05-2.08 2.12 2.15 2.19-2.22 2.26 3.01 3.05-3.08 3.12-3.15 3.19 3.22 3.26-3.29 4.02-4.05 4.09-4.12
Makeup sessions FINAL PIN-UP
5.07
Erotic Pin-up
Erotic Arch. Development
Erotic Arch. Development
4.30-5.03
4.26
4.23
4.19
NO CLASS—SONGKRAN
I ♥Chula desk crits
1.29-2.01
4.16
I ♥Chula desk crits
1.22-1.25
Wong Kar Wai In the Mood for Love 2046 Quentin Tarantino Kill Bill Pulp Fiction Inglorious Bastards Django Matthew Barney The Cremaster Cycle Wes Anderson Life Aquatic The Darjeeling Limited Wisit Sasanatieng Tears of the Black Tiger Apichatpong Weerasethakul
Films:
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Lavin, Sylvia. Kissing Architecture. Princeton Architectural Press. 2011 Sontag, Susan. Against Interpretation. Dell Publishing. 1969 Tschumi, Bernard. Architecture and Disjunction. MIT. 1996 Zumthor, Peter. Atmospheres. Birkhäuser Architecture. 2006
Schedule
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
References Literature:
Jan 2013
More than 3 unexcused absences will result in an automatic fail.
| International Program in Design + Architecture | Room 409, Architecture Building. Faculty of Architecture, Chulalongkorn University. Phyathai Road, Bangkok 10330 THAILAND |
6 Participation 6 Erotic Arch. Photography 6 I ♥ Chula Installation 6 Shop house Study 6 Site & Program Analysis 6__Erotic Architecture Design
Evaluation Criteria
With your ideas fully developed, you will have now the chance to respond to the precious feedback received. There is no better way to wrap up a project than presenting it to the public, analysing the reactions and comments, and respond accordingly. As you might have learnt already, the way we present and represent ideas is crucial: a bad presentation can ruin a great idea (but there is no presentation that can save a poor project). Representation is our language - our makeup - and therefore, it cannot be taken lightly. These last few sessions will be dedicated to critically discuss your choice of angles, graphics, paper, line-weight, materials, etc. which should be mindful and intentional, since it will perform as communicator of your precious ideas and of your care and dedication for your own work, because it’s worth it.
“A mask tells us more than a face.”
Because you’re worth it
6
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INDA year 2 studio | 2012-2013
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Figure 000:
Figure 025: Chatchai Chaipara
Figure 001: Panitnan Patanayindee
Figure 026: Chatchai Chaipara
Figure 002: Panitnan Patanayindee
Figure 027: Chatchai Chaipara
Figure 003: Jane Chongsuwat
Figure 028: Pongpol Punjawaytegul
Figure 004: Jane Chongsuwat
Figure 029: Ayaka Sato
Figure 005: Panitnan Patanayindee
Figure 030: Worawee Buasai
Figure 006: Nicha Kiatfuengfoo
Figure 031: Various INDA Y2 students
Figure 007: Phichayathida Rungruang
Figure 032: Pongpol Punjawaytegul
Figure 008: Nicha Kiatfuengfoo
Figure 033: Pitchayasukarn Prasertsri
Figure 009: Nicha Kiatfuengfoo
Figure 034: Anak Sangpradub
Figure 010: Panitnan Patanayindee
Figure 035: Pattapoom Tammasri-
Figure 011: Jetana Ruangjun
sawat
Figure 012: Jetana Ruangjun
Figure 036: Nattakarn Won-
Figure 013: Nicha Kiatfuengfoo
gratanakulthon
Figure 014: Nicha Kiatfuengfoo
Figure 037: Yoo Jin Cho
Figure 015: Nicha Kiatfuengfoo
Figure 038: Praj Kongthongluck
Figure 016: Jetana Ruangjun
Figure 039: Prapasri Khunakridatikarn
Figure 017: Ployratsamee Thamma-
Figure 040: Nurada Syncharoen
jindawong
Figure 041: Nurada Syncharoen
Figure 018: Napat Kanjanasaya
Figure 042: Research Book by Active
Figure 019: Napat Kanjanasaya
Fields studio
Figure 020: Phanthira Maneejak
Figure 043: Soraya Wongsatyanon
Figure 021: Kamolchanok Vanidpisit
Figure 044: Suphasek Ruangraweewat
Figure 022: Kamolchanok Vanidpisit
Figure 045: Nachapol Kasemsuwan
Figure 023: Chatchai Chaipara
Figure 046: Jane Chongsuwat
Figure 024: Kamolchanok Vanidpisit
Figure 047: Thanida Akkavutwanich
Figure 048: Vorapattr Phornprapha
Figure 072: Kannawat Limratepong
Figure 049: Vasawat Dulyavit
Figure 073: Jane Chongsuwat
Figure 050: Sansern Prapa-apirat
Figure 074: Jane Chongsuwat
Figure 051: Sarita Chaiwongkiat
Figure 075: Leampanarai Vatapukkana
Figure 052: Piyaporn Koopredechat
Figure 076: Phichayathida Rungruang
Figure 053: Pridi Hengsadeekul
Figure 077: Phichayathida Rungruang
Figure 054: Pridi Hengsadeekul
Figure 078: Jane Chongsuwat
Figure 055: Chanyarat Karoon-Ngam-
Figure 079: Praise Prapa-Apirat
pun
Figure 080: Nicha Kiatfuengfoo
Figure 056: Thanaporn Lam
Figure 081: Ployratsamee Thamma-
Figure 057: Thanaporn Lam
jindawong
Figure 058: Thanaporn Lam
Figure 082: Jetana Ruangjun
Figure 059: Thanaporn Lam
Figure 083: Jetana Ruangjun
Figure 060: Thanaporn Lam
Figure 084: Jetana Ruangjun
Figure 061: Jariyaporn Prachasartta
Figure 085: Varis Niwatsakul
Figure 062: Jariyaporn Prachasartta
Figure 086: Tachapol Tanaboonchai
Figure 063: Jariyaporn Prachasartta
Figure 087: Veerasu Saetae
Figure 064: Jariyaporn Prachasartta
Figure 088: Nutthapat Thanapoon-
Figure 065: Thanaphon,Morakotwich-
yanan
itkarn
Figure 089: Nutthapat Thanapoon-
Figure 066: Jariyaporn Prachasartta
yanan
Figure 067: Ashwati Joseph
Figure 090: Wachira Leangtanom
Figure 068: Nattaporn Bunyasirikul
Figure 091: Nutcha Somboonthana-
Figure 069: Kornkamon Kaewprasert
sarn
Figure 070: Kannawat Limratepong
Figure 092: Onchanok Nawapruek
Figure 071: Kannawat Limratepong
Figure 093: Khim Pisessith
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IMAGE CREDITS
Figure 094: Khim Pisessith Figure 095: Onchanok Nawapruek Figure 096: Onchanok Nawapruek Figure 097: Kornkamon Kaewprasert Figure 098: Kornkamon Kaewprasert Figure 099: Thawinee Wangmutitakul Figure 100: Kornkamon Kaewprasert Figure 101: Kornkamon Kaewprasert
IMAGE CREDITS
Figure 102: Chayothorn Songtirapunya
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