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TO OLS FOR ARCHIT ECTURE VISCERAL INTERFACES AA INTERMEDIATE ONE LARA LESMES + FREDRIK HELLBERG


TOOLS FOR ARCHITECTURE

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Visceral Interfaces

these building systems - as opposed

Intermediate 1 – Tools

to the buildings themselves - we will

for Architecture – will

question current conventions such as

explore design methods in which

drywalls, false ceilings, raised floors or

the psychology of spatial perception

curtain walls and propose new practices

generates architecture. Currently, our

that whilst being able to adapt to serve

unwillingness to objectively describe

different functions, deliver specific

spatial qualities has made us spatially

human experiences. Using immersive digital simulations,

aesthetics, atmosphere and experience

we will describe the unique atmospheric

of our buildings leave us mystified. Yet

conditions and psychological effects

these seemingly intangible qualities

that our systems will produce. These

have a place as legitimate functions of

will serve as blueprints for a project

architecture. The unit’s aim is to work

that develops from the inside out; our

towards a new vocabulary of spatial

narratives for emotion and perception

perception that is applicable to both

through space will translate into

physical and virtual inhabitation.

geometry and architectural elements.

What lies within the thickening

Large-scale prototypes will bring

section of contemporary buildings is not

focus to the projects’ architectural

a meaningless void but a fascinating

resolution while digital tools will frame

world of increasing complexity that is

the geometric and scale limits of the

ultimately responsible for the qualities

building system. Ultimately, virtual

of space. While the resolution of a

reproductions of a number of scenarios

building’s air conditioning system,

will allow us to speculate on the

insulation or digital infrastructure

possible applications and consequences

is usually left to consultants, not

of our projects. With an open agenda

architects, Intermediate 1 looks into

towards type, site and programme, we

these lesser- known realms to see

move from designing singular products

how the content of the walls impacts

to planning for versatile systems: Tools

our reaction to a building. Focusing on

for Architecture.

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illiterate, and the discussion around

INTERMEDIATE

F

or its inaugural year,

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Figure 001

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Visceral Interfaces

TFA

believes

that

TFA understands that

in

the most fundamental

the

will

work

purpose of architecture

architecture will always

new

and

is to protect and comfort

be

more accurate linguistic

the

but

reality and will explore

system to describe and

believes that its driving

the power of ideology in

create space

force is to serve the

architecture

ideas

are

words

and

towards

a

formed

human

body

TFA

believes

that

perception

of

stronger

than

its

considers

TFA embraces and

to

virtual inhabitation as

celebrates the potential

exist in their own right

relevant as its physical

in the new nearly urban-

and without restriction

counterpart,

sized

by focussing on tools

psychology

of

(building systems) rather

perception

our

than ends (buildings)

frontier as architects

architectural

TFA

supports ideas

TFA

recognizes

TFA

and

the

spatial final

as

megastructures

the

contemporary

pioneers of immersive experiences

believes

that

mastering

of

TFA

the

discipline is a collective

geometry is imperative

thickening

continuum and believes

for

modern

that our visions of the

meaningful and efficient

a fascinating world of

future are deeply rooted

architecture

increasing

complexity

in our knowledge from

ultimately

responsible

the past

for the qualities of space

making

of

lies

that

that architecture as a

the

what

believes

INTERMEDIATE

TFA

ONE

human mind

within

the

section

of

buildings

is

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“The ceiling used to be decorative,

public is perfectly happy strolling

a symbolic plane, a place invested

around malls built with standard

with intense iconography, now, it has

dry-walls and standard false ceilings

become an entire factory of equipment

that are perfectly efficient and

that enables us to exist, a space so

comfortable whilst good architects

deep that it begins to compete with the

are busy designing non-standard

architecture. It is a domain over which

leaking details that aim to suit the

architects have lost all control, a zone

same purpose but offer aesthetic

surrendered to other professions.

novelty -as opposed to what their

Architecture today is little more than

bastard colleagues do: design fancy

cardboard. Our influence has been

shapes and let others resolve it with

reduced to a territory that is just 2cm

standard systems. As a result, good

thick.” 01

architecture gets complicated and expensive

Koolhaas writings on “junkspace” and “bigness” are a challenge, a call to action misinterpreted as observational journalism. Architects read and agree, yet nothing happens and it even gets worse as far as Junkspace is concerned. This could partly be blamed on Koolhaas’ lack of propositions regarding a possible action plan and what this might entail. What is not Junkspace? ”precious space”? and what would that then

and

be? Such direct analogies might

we find

not lead far, but neither does the

ourselves in

opposite as Koolhaas himself writes:

endless trouble trying

“Architects could never explain space;

to explain to a client why

Junkspace is our punishment for their

they should have expensive

mystifications.” 02

custom made window frames instead

The problem is not just that

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of the cheap aluminium ones that

architects cannot explain space,

everybody has. This is neither a call

is that they are the only ones who

for embracing standard systems or

can see Junkspace. The general

the opposite, but a question on why


Visceral Interfaces

are we unable to explain the value of

allurement hoping that our audience

what we think is non-junk.

will be hypnotized into believing that

Either due to commercial pressure or

we are indispensable. We might also

simple lack of effort, architects often

believe that the spaces we create

stumble over words when it comes to

should speak by themselves, but

describe what we really mean. Often

the language of space is misty and

we do not know what we mean and we

ephemeral, and relies on subjective

don’t speak at all leaving the playing

individual perception and culturally

field wide open to those perhaps

constructed ideology.

less cerebral and more visceral to

Since the discussion around

command and conquer. And when

atmosphere and easthetics in

we speak about our own work we often drape our words in heavy velvet fabrics of mystification and

architecture was closed in the early 20th century, we have been left with a discussion on purpose that is only concerned with program and context. We wonder what could be other building contributes to the feeling of ecstasy, and does so extremely

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valid purposes for architecture. If a

functional? Can pleasure be a purpose for architecture? Or these be labelled as capricious or extravagant approaches? We think architecture can be concerned with a wide range of

INTERMEDIATE

efficiently, can it then be considered

purposes and shall not only be judged by its efficiency in terms of program and context. We also think that we need to find vehicles to discuss experiential, atmospheric and aesthetic qualities without shame in order to argue for the particularity of architectural details, in order to invent new details. Figure 002

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Koolhaas’ agenda was unclear until the launch of “fundamentals”. The message behind the exhibition and book cannot be understood as anything else than a call for attention

“All architects may unwittingly be working on the same building, so far separate, but with hidden receptors that will eventually make it cohere” 04

towards the parts that constitute the whole and the role and history of those parts.

If the making of buildings is more and more becoming like the creation

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of individual episodes in an endless

“Architecture is a strange mixture of obstinate persistence and constant flux. Just as science has recently shown that all of us carry “inner” Neanderthal genes, each element, too carries long strands of junk DNA that dates from time immemorial…” 03

steer our involvement? The current response is generally to take the top position as mastermind of buildings which inevitably leads to losing control of most of the parts that will conform the space. Others propose that the architect should be more of

The exhibition was a reminder

a strategist, focussing on program

of what architecture is: windows,

and engaging with communities. We

facades, balconies, corridors,

think that a deep engagement with the

fireplaces, toilets, stairs, escalators,

parts or elements that architecture is

elevators, ramps… And what the

made of would give opportunity for a

history and current status of them is.

rational discussion on experience and

What it revealed was partly the lack

atmosphere and allow us to see these

of attention to these elements in a

as valid purposes for architecture.

large chunk of the built environment

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architectural saga, where do we then

We propose to develop building

today. Architecture has gotten too

systems rather than particular

complex for architects to handle on

instances (buildings). In doing so, the

their own and the gradual loss of

usual factors that drive architectural

the architectural object has been

discourse such as program or

traumatic for architects as large

context become less relevant and we

buildings no longer have a single

can refocus attention towards the

architect in control but rather behave

architectural experience achieved

like a Disney franchise where different

through tectonic means as the

directors make their marks here and

main purpose of architecture. If the

there.

architect was responsible for bringing


Visceral Interfaces

in content not in the form of programs

Seems we can only deal with one

but as experiential intent, spaces

thing at a time, but if we develop a

would then be filled with architecture

general understanding and find room

first, to then accommodate programs,

to give attention to the physiological

respond to context and so on, on a

deep ends of our buildings, not only

case by case scenario.

a new architecture but a new way of

Architects have in modernity

thinking about space might emerge:

gradually been pushed out of the

one that prioritises the broad notion

depths of architecture, literally to the

of architectural experience and

skin of buildings as the real building

tackles it from the large vision to the

hides under aluminium panels or

last nail. We will do this through the

fake brick walls. If we would invite

development of a new vocabulary and

ourselves back into the world within

linguistic system leading to rational

the thickening fat of modern buildings

and accurate ways to describe the

we would not find a meaningless void

spaces we design.

but a world of increasing complexity much more like a living organism: ONE

pipes pulsating with hot liquids and cold air, thin wires carrying our or the actual structure of the building

The aim of the studio is to

itself. This is the domain of the often

design building systems where all

looked-down-on consultants (in the

structural and infrastructural details

eyes of architects).

are purpose-designed to deliver

In order to regain the fat of

particular experiences. The result is

architecture we have to challenge

an architectural interface between

the us and them divide between

two (or more) spaces that has certain

architects and building consultants.

fixed and variable parameters and that

This cannot mean absorbing

controls a series of spatial effects.

knowledge that consultants now

There will be absolute freedom with

possess as it would be impossible

regards to the type of architecture

-perhaps as difficult as regaining

that the system creates and there is

our skill and sensibility in the

no site or program restrictions since

handling of semiotic devices such

the aim is not to design a singular

as ornamentation, a skill which

product but a versatile system: a Tool

architects once possessed but lost.

for Architecture.

INTERMEDIATE

streaming services, cloud services

Figure 003

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VISCERAL SCENES

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VISCERAL VOCABULARY PARAMETERS, GEOMETRY & PRECEDENTS


Visceral Interfaces

T

he first term will be

VISCERAL VOCABULARY

dedicated to constructing

Weeks 5 to 7

architectural agendas and

taking the first steps towards the design of a building system.

The perception of space is an infinitely complex sensorial, neurological and psychological process which cannot be recreated with absolute

VISCERAL SCENES

accuracy, but if we are to envision

Weeks 2 to 4

spatial experiences, we must use all tools available to design and represent

the inside, designing the experiential

techniques such as drawings and

qualities of the spaces that the building

models can objectively describe the

system will generate. This will be

physical attributes of architecture.

done through a series of scenes that

Simulations involving moving image or

communicate the atmosphere that the

real time virtual reality allow the user

space will evoke. The scenes will serve

to dynamically explore spaces. But in

as models for a project to take shape

order to communicate atmospheres they

as we work our way from viscera to

all rely on triggering memories from

skin, and be the means for analysing

the observer’s library of experiences,

the psychological response in the user.

which is a subjective and unpredictable

Alongside the creation of the scenes you

source.

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them. Conventional representation

INTERMEDIATE

We will begin the project from

will present the analysis of a series of images that, in one way or another, have informed the technical or atmospheric decisions behind the Visceral Scenes.

“The limits of my language are the limits of my world. All I know is what I have words for” 05

Through a series of lectures and workshops you will gain new skills for

Ideas are formed in words whose

creating images of spaces that can

meaning, even if fluctuating, is

communicate your spatial intent.

universal. Words can define both / 13


TOOLS FOR ARCHITECTURE

material and sensorial attributes through accurate descriptions. They

architecture is usually concerned with

can take us through time and space

are program, climate and context. The

triggering images in our minds that,

later, context, can be approached from

even if they might differ from one

different perspectives: geographic,

person to another, don’t change the

socio-political, economic, technological,

meaning of the words that describe

tectonic, stylistic or semiotic -to name

them.

a few.

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We will dedicate some time to

Depending on each personal

elaborate a vocabulary that by allowing

approach, some of these items will be

us to describe spaces also empowers us

fixed, others will be flexible and give

to envision new ones.

versatility to the system and some might be undefined or irrelevant to the project.

PARAMETERS, GEOMETRY AND PRECEDENTS

Weeks 8 to 11

These will become the fixed and variable parameters that the building system must respond to. Understanding these variables

Since the aim is to deliver a system

together with the previously stated

to construct spaces with -rather than

spatial and habitational intent equates

one particular space-, versatility will

to a project brief.

be one of our main concerns and,

Building systems are usually formed

therefore, students will start by defining

of parts that can be used in different

the constraints and variables of their

configurations, sizes, proportions or

building system.

forms. Based on the fixed and variable

Figure 004

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The different categories that


Visceral Interfaces

parameters, a geometric system can be established and mastered in order to determine the different types of spatial modules and to ensure the fitting and connection between all parts. As important as it is to question and reinvent the standards is to know and understand them. Research on building systems will be developed and used as a vehicle to explore forms of representation that communicate

Figure 005

architectural statements through detailing. Building systems can be found as such, presented as products; or can be identified through the study of cases. ONE

For example: an architect might develop a series of systems that are applied

INTERMEDIATE

to several buildings and refined over the years. It might even become a signature characteristic. Systems can also be collectively created by a series of contemporaries in an unconscious way, just by the natural influence on each other when experiencing or seeing others’ work. These considerations widen the scope of study and understanding of what a building system can be. Besides systems, specialization on certain material and structural technologies or existing methods of construction will be another source of knowledge and inspiration. Figure 006

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PROTOTYPING

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ELEMENTS, TOOLS & SYSTEM

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2


Visceral Interfaces

D

uring the second term

ones. Understanding architecture as

we will work on the

parts that perform together towards a

materialisation of the

whole -rather than a whole that needs

building system, from detail design

to be resolved in parts- will bring

of a series of elements to large scale

issues pertaining to fabrication and

prototyping.

assembly into the core design process, thus loading

them with

ELEMENTS, TOOLS & SYSTEM

Weeks 1 to 3 The next step will be to identify the space. From columns and arches to escalators and AC compressors,

architectural

components

and experiential

are

value. Detailed design of the parts and elements of the building system

INTERMEDIATE

ONE

and design the defining elements of

will include structural, constantly

material, tectonic or

added and discarded from

electronic research and

the table of contents of

design, compiled into a

architecture. Elements might be structural, spatial or infrastructural. Each project might

comprehensive package that can be presented as a product. By focussing on the fragment,

transform, evolve or hybridize

the larger spatial goal can be

existing elements, rescue obsolete

subdivided into smaller pieces each

ones or invent completely new

Figure 007

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TOOLS FOR ARCHITECTURE

of them taking care of different effects

been the epicenter of social, political

or contributing to a collective end. The

and technological innovation from the

fragment approach also offers a wider

explosive days of Tussman Experimental

scope of references since each element

College at Berkeley and the psychedelic

or part can be informed by completely

revolution to the invention of the

different sets of precedents.

personal computer and the birthplace

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A variety of users must be able to

of the internet. These fertile grounds

benefit from the building system. This

of experimental madness and brutal

implies that the user group is defined

American capitalism has led to a new

not only as those who will experience

digital revolution, perhaps even more

the architecture but also those who

significant than the industrial revolution.

will design it or build it. Defining the

In California, academic and commercial

user groups and providing adequate

interests merges in guilt-free

tools for them will be a very important

collaborations which has resulted in the

part of the project. Tools can be

development of software and hardware

relevant at different stages of design

that drives the digital revolution forward

or construction; for example some

in ways that cannot be found anywhere

building systems might require specific

else.

digital tools that evaluate and constrain forms based on material or structural

For decades our interface to these

requirements, others might instead

digital products and services has been

require the programming of fabrication

two dimensional as we stare at flat

tools or particular equipment at the

screens representing environments

construction site.

of increasing dimensions but this is now slowly changing. As virtual and

TRIP

augmented reality has arrived, a whole

Weeks 4 to 5

universe of challenges and possibilities have emerged concerning spatial and

Our quest to find new and more

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social interaction in a new hybrid reality

accurate ways to understand and

possible largely thanks to companies

describe space and perception will

and universities based in California.

in the second semester take us to

We will visit some of these companies

California where the most advanced

and research laboratories where

research facilities for spatial interaction

engineers, designers and psychologists

and perception are located. The North

are working together to explore the

American west coast has for decades

unknown world of these new realities.


Visceral Interfaces

Their research and ideas will help us reflect upon our own, giving us new perspectives on how to think about and design spatial experiences both conceptually and technically. PROTOTYPING

Weeks 6 to 11 Once we get back from the trip, we will dive into large scale prototyping to further explore, understand and prove

Figure 008

the reality of the proposed system. The coherence between the designed parts and elements and the spatial qualities stated Visceral Scenes and Vocabulary will be as or more important than the ONE

feasibility of the system. Visionary proposals that attempt resolution making innovative use of common methods appear more resolved. The aim to achieve a high level of technical definition should not come at the cost of

Figure 009

creativity.

INTERMEDIATE

will be valued as highly as those that

Figure 010

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MANUAL

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SPECULATION & FORECASTING

3


Visceral Interfaces

SPECULATION & FORECASTING

package the Building System

Weeks 3 to 8

by: In order to demonstrate versatility, a

consequences of designing and

series of speculative scenarios will be

constructing with such system;

presented as examples peculiar enough

creating a user manual that will

to portray the maximum potential of

present the system as an architectural

the system in how it can be used and

product;

assembled in a confined variety of ways.

and processing all work and

Considering not only the end product

information into formats suitable for

that can be achieved but also the means

reaching the public through different

to construct it will serve as vehicle for

channels.

reflection upon what the system is good for, where it belongs, how can it make a

MANUAL Weeks 1 to 2

difference or better fit in, etc. Different situations will lead to different results yet the core spatial

In order to present the Building

values determined in the Visceral

System to the public, a best practice

Scenes and Vocabulary must prevail,

manual should be compiled. Depending

thus retaining the intended experiential

on each project, the manual might

properties even when implemented for

be in the form of a booklet, video

different uses or sites.

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reflecting upon the use and

INTERMEDIATE

I

n the third term we will

demonstration or tutorial, informative slides, interactive website, etc. The manual will serve as conclusion

Every invention has the potential to evolve in unforeseeable ways. In parallel

of the project, both clarifying the

to developing examples of the system’s

possibilities of the building system

possible applications, its consequences

but also informing of the effects that

-good and bad- should be considered.

different options would have on the spatial experience and atmosphere.

Forecasting the possible use, overuse or misuse of the building / 21


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system will be carried out as an exercise on self criticism and architectural awareness. Beyond the usual -and importantenvironmental issues that design is by law concerned with, there is often little consideration of other factors -such as social, economic, psychological or ideological ones- that certain spaces and architectural experiences might have as outcome. reflect upon these effects will help address the project critically from a future perspective.

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Developing ways to forecast and

Figure 011

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INTERMEDIATE

ONE

Visceral Interfaces

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U N I T

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P R O G R A M M E

TECHINICAL STUDIES LECTURES WORKSHOPS & COLLABS. TOOLS PORTFOLIO BLOG & WEBSITE SUBMISSIONS BIBLIOGRAPHY


Visceral Interfaces

TECHNICAL STUDIES

In the final term a manual will also be created which will illustrate

The technical studies will be an

the building systems fabrication and

inherent part of the project from the

assembly procedures through drawings,

very early stages of design. Already in

diagrams and animations.

term 1 the projects will benefit from the advice of technical studies tutors and consultants to find relevant precedents to study and inquire into material and structural principles. During the second term we will work together to architectural solutions coherent with the Visceral Scenes and Vocabulary. Through physical prototypes and virtual simulations we will test the atmospheric capacity of each project and refine them until they align with the intended spatial

Figure 012

qualities, and perhaps implement them

INTERMEDIATE

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design Building Systems that provide

in unanticipated ways. The technical studies submission will consist of: large scale prototypes and drawings of different elements of the building system; documentation of the testing that led to their design; parameter charts that define the versatility of the system; and images and diagrams linking the technical resolution of the elements to the psychological effects they generate.

Figure 013

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Figure 014

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INTERMEDIATE

ONE

Visceral Interfaces

Figure 015

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LECTURES Term 1: - The Capriccio and the Veduta: visionary wizards and their creations - Constructing Experiences - Theories of Perception - Simulation and Representation Term 2: - A brief history of Building Systems - Dictionaries of Architecture

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- Constructing images: Rhinoceros + Maxwell Render + Adobe Photoshop

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- Writing and Narrative: Readings and seminar on spatial vocabulary - Digital Geometry: Rhinoceros + Grasshopper Term 2: - Digital Simulation: Cinema4D + Unreal Engine + Unity - Virtual Reality: Unreal Engine + Unity. - Dynamic Diagrams: Cinema4D Term 3: - Hybrid Animation: Cinema4D + After Effects via Cineware.

TOOLS TFA embraces experimental tools to both represent and construct architecture. You will be encouraged to find your own tools that best fit the project but throughout the three terms you will be introduced to a wide range of digital tools, which you will be expected to use. No prior knowledge is required as unit-specific video tutorials will be available in parallel to each phase. 28 \

Figure 016


Visceral Interfaces

The unit will provide tutorials on the following software:

might apply in order to help you form a structured set of presentation material. These sub-briefs will be handed out at

Animations / Simulations

Unreal

C4D

Cineware

the start of each new phase. BLOG & WEBSITE TFA believes in sharing. Our site

Generative

www.toolsofarchitecture.org will

funtion both as a communication tool

Grasshopper

to the world outside as well as an Models

internal platform where everyone’s Rhinoceros 3D

work is regularily updated. You will all be uploading work in tandem with our

Adobe Illustrator

Adobe After Effects

The deadline for digital posting will be at 20:00 on the evening before each event. All material intended for the presentation must be uploaded before

PORTFOLIO TFA supports varied and innovative

the deadline. SUBMISSIONS

representation methods that express each project uniquely and does therefore not have any technical or stylistic restrictions. Your final project

TFA values punctuality and professionalism. You will be asked to submit both

will be represented with a wide range of

digital and physical presentation

media ranging from text to immersive

material on the day before pinups

digital simulations. You will therefore

and juries. This will encourage you to

be expected to consider your project

reflect upon your work and rest before

portfolio from the very beginning of the

important events where you are not only

year.

expected to present your arguments

Each phase of the project will be

ONE

pinups and juries.

INTERMEDIATE

Diagrams

with focus but also listen and participate

presented in sub-briefs outlining

in the presentations of your fellow unit

specific deliverables and in some cases

members.

limitations regarding format and size / 29


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BIBLIOGRAPHY Hogarth, William. The Analysis of Beauty. 1753 Wรถlfflin, Heinrich. Prolegomena to a Psychology of Architecture. 1886 Gombrich, Ernst. Art and Illusion. 1960 Merleau-Ponty, Maurice. Phenomenology of perception. 1962

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Vernon, Magdalen Dorothea. Psychology of perception. 1965 Gregory, Richard. Eye and the brain: the psychology of seeing. 1966 Gombrich, Ernst. The Sense of Order: A Study in the Psychology of Decorative Art. 1979 Baudrillard, Jean. Simulacra and Simulation. 1981 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. 1996 McGregor, William. Semiotic Grammar. 1997 Frank, Isabelle. The Theory of Decorative Art: An Anthology of European and

American Writings, 1750-1940. 2000 Grosz, Elizabeth. Architecture from the Outside, Essays on Virtual and Real

Space. 2001 Solso, Robert L.. Psychology of art and the evolution of the conscious brain. 2003 Deplazes, Andrea. Constructing Architecture. 2008 Latour, Bruno. A Cautious Prometheus? A Few Steps Toward a Philosophy of Design. 2008

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Visceral Interfaces

Sussman, Ann. Cognitive Architecture: Designing for How We Respond to the

Built Environment. 2014 Jones, Mark Wilson. Origins of Classical Architecture. 2014 Robinson, Sarah. Mind in Architecture: Neuroscience, Embodiment, and the

Future of Design. 2015 Ellard, Colin. Places of the Heart: The Psychogeography of Everyday Life. 2015 Urist, Jacoba. The Psychological Cost of Boring Buildings. 2016

DICTIONARIES OF ARCHITECTURE

Jones, Owen. The Grammar of Ornament. 1856

ONE

Alberti, Leon Battista. The Ten Books of Architecture. 1755

Koolhaas, Rem. The Harvard Design School Guide to Shopping. 2002 Le Duc, Viollet. Dictionnaire raisonné de l’architecture française du XIe au XVIe

siècle. 1868

INTERMEDIATE

Ruskin, John. Stones of Venice. 1851

Ruskin, John. The Seven Lamps of Architecture. 1849 Koolhaas, Rem. Elements. 2014

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U N I T

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S C H E D U L E

TERM ONE


Visceral Interfaces

VISCERAL SCENES TUE

OCT

4

INTRODUCTIO N TO TH E UN IT. WO R K SH O P & C O L L EC TIVE DISCUSSION

WEEK 2

WEEK 3

WEEK 4

F RI

OCT

7

L ECTURE. CO L L EC TIVE R EVIEW O F WO R K

TUE

OCT

11

INDIVIDUAL TUTO R IA L S

F RI

OCT

14

COL L ECTIVE DISC USSIO N

TUE

OCT

18

INDIVIDUAL TUTO R IA L S

F RI

OCT

21

REVIEW OF W O R K + G UEST WO R K SH O P

WEEK 6

WEEK 7

OCT

25

READINGS + SEMIN A R

F RI

OCT

28

GUES T WORKSH O P + C O L L EC TIVE DISC USSIO N

TUE

NOV

1

-

F RI

NOV

4

UNDERGRADUA TE O P EN J UR Y

TUE

NOV

8

INDIVIDUAL TUTO R IA L S

F RI

NOV 11

REVIEW OF W O R K + G UEST WO R K SH O P

PARAMETERS, GEOMETRY & PRECEDENTS WEEK 8

WEEK 9

W E E K 10

W E E K 11

W E E K 12

TUE

NOV 15

WORKSH OP + C O L L EC TIVE DISC USSIO N

F RI

NOV 18

GUES T WORKSH O P

TUE

NOV 22

INDIVIDUAL TUTO R IA L S

F RI

NOV 25

GUES T WORKSH O P

TUE

NOV 29

INDIVIDUAL TUTO R IA L S

F RI

DEC

2

REVIEW OF W O R K WITH TS G UESTS

TUE

DEC

6

OPTIONAL TU TO R IA L S. C O MP L EMEN TA R Y STUDIES SUB MISSIO N S

F RI

DEC

9

OPTIONAL TU TO R IA L S. C O MP L EMEN TA R Y STUDIES SUB MISSIO N S

TUE

DEC 13

END OF TERM J UR Y

F RI

DEC 16

PRE-BREAK B R IEFIN G SESSIO N

INTERMEDIATE

WEEK 5

TUE

ONE

VISCERAL VOCABULARY

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2 0 1 6

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U N I T

34 \

S C H E D U L E

TERM TWO


Visceral Interfaces

ELEMENTS, TOOLS & SYSTEM

WEEK 1

WEEK 2

WEEK 3

TUE

JAN

10

REVIEW OF W O R K

WED

JAN

11

UNDERGRADUA TE P R O G R ESS R EVIEW

F RI

JAN

13

WORKSH OP + C O L L EC TIVE DISC USSIO N

TUE

JAN

17

INDIVIDUAL TUTO R IA L S

F RI

JAN

20

WORKSH OP + C O L L EC TIVE DISC USSIO N (O P EN DA Y )

TUE

JAN

24

INDIVIDUAL TUTO R IA L S

F RI

JAN

27

INDIVIDUAL TUTO R IA L S

TUE

JAN

31

REVIEW OF W O R K

F RI

F EB

3

SUN

F EB

12

UNIT TRP RE TUR N

TRIP

PROTOTYPING WEEK 6

WEEK 7

WEEK 8

WEEK 9

W E E K 10

W E E K 11

TUE

F EB

14

INDIVIDUAL TUTO R IA L S

F RI

F EB

17

TS INTERIM J UR Y

TUE

F EB

21

INDIVIDUAL TUTO R IA L S

F RI

F EB

24

INDIVIDUAL TUTO R IA L S

TUE

F EB

28

REVIEW OF W O R K

F RI

M AR

3

INDIVIDUAL TUTO R IA L S

TUE

M AR

7

INDIVIDUAL TUTO R IA L S

F RI

M AR 10

TS SUBM IS SIO N

TUE

M AR 14

Y2 PREVIEWS

F RI

M AR 17

-

TUE

M AR 21

Y3 PREVIEWS

F RI

M AR 24

PRE-BREAK B R IEFIN G SESSIO N

ONE

WEEK 5

UNIT TRIP DE P A R TUR E

INTERMEDIATE

WEEK 4

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2 0 1 7

U N I T

36 \

S C H E D U L E

TERM THREE


Visceral Interfaces

MANUAL WEEK 1

WEEK 2

TUE

APR 25

REVIEW OF W O R K

F RI

APR 28

INDIVIDUAL TUTO R IA L S

TUE

M AY

2

INDIVIDUAL TUTO R IA L S

F RI

M AY

5

REVIEW OF W O R K

SPECULATION & FORECASTING

WEEK 4

WEEK 5

WEEK 6

9

F RI

M AY 12

INDIVIDUAL TUTO R IA L S

TUE

M AY 16

INDIVIDUAL TUTO R IA L S

F RI

M AY 19

INDIVIDUAL TUTO R IA L S

TUE

M AY 23

INDIVIDUAL TUTO R IA L S

F RI

M AY 26

F INAL JURY

TUE

M AY 30

INDIVIDUAL TUTO R IA L S

F RI

JUN

OPTIONAL TU TO R IA L S

2

WORKSH OP

ONE

M AY

INTERMEDIATE

WEEK 3

TUE

YEAR END EVENTS

WEEK 7

WEEK 8

WEEK 9

TUE

JUN 6

Y2 END OF YEA R R EVIEWS

F RI

JUN 9

OPTIONAL TU TO R IA L S

TUE

JUN 13

INTERM EDIA TE P A R T 1 FIN A L C H EC K

F RI

JUN 16

-

TUE

JUN 20

ARB RIBA PAR T 1

F RI

JUN 23

EXH IBITION OP EN IN G

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38 \


INTERMEDIATE

ONE

Visceral Interfaces

Figure 017

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TOOLS FOR ARCHITECTURE

FOOTNOTES 01. Koolhaas, Rem. 2014. Venice Biennale 02. Koolhaas, Rem. 2001. Junk Space 03. Koolhaas, Rem. 2014. Official Catalog of the 14th International Architecture Biennale Exhibition. 04. Koolhaas, Rem. 2001. Junk Space 05. Ludwig Wittgenstein. Proposition 5.6 Tractatus Logico-Philosophicus 1922 IMAGE CREDITS

2 0 1 6

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2 0 1 7

FIG 01 Patanayindee, Panitnan. Studies of Inmos Microprocessor Factory by

Richard Rogers FIG 02 Space Popular. Overview of the National Pantheon of Kazakhstan FIG 03 Patanayindee, Panitnan. Spatial modules module part of a dynamic shield

for acoustic and electromagnetic waves FIG 04 Patanayindee, Panitnan. Interior scene at “Shielding the Intangibles” FIG 05 Kiatfuengfoo, Nicha. Mid air scenario at Nikki & The Inflatables FIG 06 Kilian Eng FIG 07 Space Popular. Capital design for The House of Fairytales. Odense,

Denmark FIG 08 Patanayindee, Panitnan. Construction detail of dome module part of a

dynamic shield for acoustic and electromagnetic waves FIG 09 Sriwong, Phattaraphon. Neogothic concrete nave modules FIG 10 Thangseresuk, Sirapob. Japanese neovernacular rooftile system FIG 11 Ruangjun, Jetana. Proposal for column radiator, cooler and humidifyer set FIG 12 Chonsuwat, Jane. Studies of the Experience Music Project building by

Frank o. Gehry FIG 13 Chonsuwat, Jane. Studies of the Experience Music Project building by

Frank o. Gehry FIG 14 Punjawaytegul, Pongpol. Proposal for a Neo-Industrial Architecture Set FIG 15 Punjawaytegul, Pongpol. Structural Studies of the Crystal Palace by

Joseph Paxton FIG 16 Chaipara, Chatchai. Assembly diagram of a living pod FIG 17 Syncharoen, Nutrada. Structural Studies for a Wobbly Masonry Arch BACK COVER IMAGE Ruangjun, Jetana. Proposal for column radiator 40 \


INTERMEDIATE

ONE

Visceral Interfaces

Tools for Architecture investigates the psychological and environmental effects of architecture via large scale prototyping and advanced virtual simulations. With an agenda focussed on experience, atmosphere and aesthetics, our projects are as concerned with theory as they are with practice and we are as fascinated by the teachings from the past as by the visions of the future. www.TOOLS FOR ARCHITECTURE.org

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ARCHI TE CTUR A L A S S O C I A T I O N SCHOO L O F A R C H I T E C T U RE

P OW ERED B Y SP AC E P OP ULAR

Tools for Architecture - Visceral Interfaces  

Full brief for Intermediate unit One at the Architectural Association School of Architecture in London directed by Lara Lesmes and Fredrik H...

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