TO OLS FOR ARCHIT ECTURE VISCERAL INTERFACES AA INTERMEDIATE ONE LARA LESMES + FREDRIK HELLBERG
TOOLS FOR ARCHITECTURE
A A
I N T E R M E D I A T E
T O O L S
F O R
2 0 1 6
|
2 0 1 7
A R C H I T E C T U R E
04 \
V
I
S
C
E
R
A
L
I N T E R F A C E S
O N E
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.
ONE
illiterate, and the discussion around
INTERMEDIATE
F
or its inaugural year,
/ 05
2 0 1 6
|
2 0 1 7
TOOLS FOR ARCHITECTURE
Figure 001
06 \
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
/ 07
TOOLS FOR ARCHITECTURE
2 0 1 6
|
2 0 1 7
“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
08 \
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
ONE
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
/ 09
TOOLS FOR ARCHITECTURE
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
2 0 1 6
|
2 0 1 7
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
10 \
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
/ 11
TOOLS FOR ARCHITECTURE
T
E
R
M
1
2 0 1 6
|
2 0 1 7
VISCERAL SCENES
12 \
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.
ONE
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.
2 0 1 6
|
2 0 1 7
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
14 \
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
/ 15
TOOLS FOR ARCHITECTURE
T
E
R
M
2 0 1 7
PROTOTYPING
2 0 1 6
TRIP
|
ELEMENTS, TOOLS & SYSTEM
16 \
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
/ 17
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
2 0 1 6
|
2 0 1 7
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
18 \
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
/ 19
TOOLS FOR ARCHITECTURE
T
E
R
M
2 0 1 6
|
2 0 1 7
MANUAL
20 \
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.
ONE
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
TOOLS FOR ARCHITECTURE
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.
2 0 1 6
|
2 0 1 7
Developing ways to forecast and
Figure 011
22 \
INTERMEDIATE
ONE
Visceral Interfaces
/ 23
TOOLS FOR ARCHITECTURE
2 0 1 6
|
2 0 1 7
U N I T
24 \
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
ONE
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
/ 25
2 0 1 6
|
2 0 1 7
TOOLS FOR ARCHITECTURE
Figure 014
26 \
INTERMEDIATE
ONE
Visceral Interfaces
Figure 015
/ 27
TOOLS FOR ARCHITECTURE
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
2 0 1 7
- Constructing images: Rhinoceros + Maxwell Render + Adobe Photoshop
2 0 1 6
Term 1:
|
WORKSHOPS & COLLABORATIONS
- 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
TOOLS FOR ARCHITECTURE
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
2 0 1 6
|
2 0 1 7
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
30 \
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
/ 31
TOOLS FOR ARCHITECTURE
2 0 1 6
|
2 0 1 7
U N I T
32 \
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
/ 33
TOOLS FOR ARCHITECTURE
2 0 1 6
|
2 0 1 7
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
/ 35
TOOLS FOR ARCHITECTURE
2 0 1 6
|
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
/ 37
2 0 1 6
|
2 0 1 7
TOOLS FOR ARCHITECTURE
38 \
INTERMEDIATE
ONE
Visceral Interfaces
Figure 017
/ 39
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
|
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
/ 41
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