TO OLS FOR ARCHIT ECTURE H U M A N B E H A V I O UR A A I N T E R M E D I AT E O N E LARA LESMES + FREDRIK HELLBERG
TOOLS FOR ARCHITECTURE
A A
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T O O L S
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Cover Image: The Invisible City of Overlapping Realities. Max Celar.
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O N E
Human Behaviour
for humans we must understand
up designing us back.
ourselves – our investigations will
Intermediate 1 –
emphasise how humans inhabit
Tools for Architecture – designs
space and speculate on its many
from the inside–out, beginning
possible alterations. Simulating the spatial
architecture, working our way
experience in real-time using
towards the immediate space
virtual digital models will give us
around the body, then towards
insight into our mental and bodily
elements of a building system
understanding of architecture.
that can generate experience
Building a vocabulary that
across multiple places and for
can objectively describe
different purposes.
architectural experiences
This year we will look at the
will enable us to accurately
relationship between space and
design them. Designing and
behaviour, focusing in ontological
resolving building systems to
terms on the feedback loop that
deliver such experiences will
exists between us and what we
give us the chance to learn
design. From the first primitive
from the past and imagine the
hut to the ISS, it is increasingly
future of construction. And our
difficult to draw the line between
collaborations with professionals
us and architecture. The
in the fields of psychology,
boundaries get blurred. Maybe
neurology, VR and sense-analysis
we are the architecture we
technologies will give us insight
design. With this in mind – and
into the worlds to come.
ONE
with the psychological effects of
INTERMEDIATE
W
hat we design ends
with a firm belief that to design / 05
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Isotropic Space of Freedom. Yana Kushpitovska.
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Human Behaviour
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
architectural
supports
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
TFA
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
within
that
that architecture as a
the
what
believes
INTERMEDIATE
TFA
ONE
human mind
the
section
of
buildings
is
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// HUMAN BEHAVIOUR //
evolve.
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Behaviour is a part of architecture, just as much as
// MIND AS SITE //
architecture plays a role in how we
As perceived through the
behave. Often architecture finds its
senses, architecture is ultimately
limit to evolve where the limit of
an experience. Beyond plans and
acceptable behaviour is.
sections, narratives, construction
The way we live and the way we build are both in constant parallel change. In renaissance Italy, homes with numerous connections between rooms were the ideal; with bedrooms having as many as four doors connecting to other parts of the house1. Until the early middle ages in northern Europe entire tribes slept in the same room with a tall pitched roof above to collect the smoke from the fire. The way we live and the way we build are both in constant parallel change. In order for architecture to evolve, human behaviour has to
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details and beyond materials;
Human Behaviour
If we focus on designing the experience of architecture, the human mind is the site.
architecture is an accumulation of perceived sensations brought together in each of our minds. Thus, if we focus on designing the experience of architecture, the human mind is the site, and designing for human experience means designing architecture according to cognitive principles. // ONTOLOGY // Furthermore, the built environment is central to the formation of our identities2. Our
and respond to the places we occupy. This creates a loop, particularly interesting in those who both design
INTERMEDIATE
and our minds change as we learn
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memories are attached to spaces
and inhabit spaces, that is referred to as ontological design. What ontological design defines is the idea that what we create has an effect on us and on what we would consequently create, how we would behave or how we feel and develop. Blur. Taek Gyun Won
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// INSIDE OUT //
of who we are and who we were but
Such claims have been
seldom who we could be.
considered too subjective, oversimplifications and overgeneralisations of the complex individuals we are. This often leaves the issue of how architecture is experienced out of the discussion and prioritises arguments for how
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architecture is designed following other narratives. Yet, advances in environmental neuroscience and
3
psychology are proving that at a basic level as humans we share
We will study existing and past
our cognitive capacities. Therefore
architectural styles and typologies
a design criteria for experience-
to understand its implications on
based design can be developed,
the present and the future. An
leading to the inside out approach:
architectural proposition always has
designing an experience first and
ancestors, the more we know about
then constructing architecture to
them the better we will understand
deliver it.
our visions.
// ARCHITECTURAL CONTEXT // We are inhabiting and creating architecture simultaneously, this
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“I thought we were actually misplaced to deal with the present, but what we offer the present is memory.�
// UNKNOWN MIND UNKNOWN HUMAN // In order to design for humans
is an unbroken process several
we need to understand humans.
thousand years old. Every new
This means not only learning from
building is a child of its elders no
existing studies but also developing
matter how radical. Our past is
our own. As humans ourselves
constantly present in the buildings
there is a great deal to be learnt
and cities we live in, reminding us
just from reflecting upon our own
Human Behaviour
experience of spaces and from
at all. In the same way, having a
observing others. Most of our
vocabulary for spatial experience
experience of the built environment
would enhance our awareness and
is nonconscious. Nonconscious
allow us to develop criteria for
refers to cognitions that we could
designing them.
access consciously, but mostly don’t. Stopping to observe spaces
// BUILDING SYSTEMS //
and how they affect how we feel and
We propose to develop building
behave means developing enhanced
systems rather than particular
spatial awareness applicable to later
instances (buildings). In doing
designs.
so, the usual factors that drive architectural discourse such as program or context become less relevant and we can refocus experience achieved through tectonic means as the main purpose of architecture. If the architect was responsible for bringing in content not in the form of programs but as
// LINGUISTIC RELATIVITY //
experiential intent, spaces would
Such observations can be
then be filled with architecture first,
enhanced further by being
to then accommodate programs,
articulated. Our world of cognition
respond to context and so on.
ONE
attention towards the architectural
INTERMEDIATE
In order to design for humans we need to understand humans.
is affected by language, therefore if we can name it we can better
// SIMULATION //
perceive it. A good example of this is
Architects do not build, they
the experience of colour. Numerous
communicate. Drawings, models
studies show that lacking the words
and views are our main tools when
for describing shades would prevent
transmitting designs from our
us from being able to perceive them
minds to the physical world -where / 11
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it manifests in structures by the hand of humans and machines. Over centuries, strong conventions have been established as the introduction of orthographic projections (plans, sections, elevations) and the development of perspective projection (rendering) during the renaissance gave architects
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powerful tools to communicate across the canyon between virtual and physical. Today we are on the verge of a new technological revolution in the representation of architecture as digital real-time rendering and immersive VR devices are improving. We can now inhabit a virtual simulation of a space before it is constructed, we can be inside the space as we are designing it. We propose a new creative process where the design of space and its experience are not separated by mystical alchemical techniques with unpredictable outcomes, but inseparably and simultaneously one and the same. 12 \
“There’s no such thing as a neutral environment: your built environment is either helping you, or it’s hurting you.” 4
Human Behaviour
// CONCLUSION //
human mind as site are tailored
The aim of the studio is to design
to and trigger specific human
experiences delivered through
behaviour. There will be absolute
adaptive building systems, in which
freedom with regards to the type
all structural and infrastructural
of architecture that the system
details are purpose-designed to
creates and there is no site or
trigger the human mind; and to
program restrictions since the aim
develop design criteria and methods
is not to design a singular product
that taking
Architecture.
INTERMEDIATE
ONE
the
but a versatile system: a Tool for
FOOTNOTES 1. Robin Evans. Translation from Drawing to Building. 1997. Architectural Association 2. Sarah Williams Goldhagen. Welcome to Your World: How the Built Environment Shapes Our Lives. 2017. Harper Collins. 3. Rem Koolhaas interviewed by Dianna Budds
Architecture has a serious problem today. 2016. FastCoDesign 4. Sarah Williams Goldhagen interviewed by Martin Pedersen How Architecture Affects Your Brain: the Link
Between Neuriscience and the Built Environment. 2017. Yewen Jin.
ArchDaily
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SCENES
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SPACES TRIP CASE STUDIES SIMULATION
M
1
Human Behaviour
During term one we will also journey
dedicated to constructing
to Bavaria were we will see a wide range
architectural agendas
of canonical buildings from present and
visualization of spaces. We will begin the project from
past. Establishing a research framework is key for the project to develop.
the inside, designing the experiential
Possible categories to indicate what
qualities of the spaces that the building
defines your research field are:
system will generate. This will be
Architectural Style, Spatial Typology,
done through a series of scenes that
Architectural Element. The spaces
communicate the atmosphere that the
researched will serve as reference for
space will evoke. Such experiences will
spatial composition, surface treatment,
also be described in words, developing a
material strategy, structural type,
vocabulary specific to each project.
behavioural precedent and other
The scenes will serve as models for
qualities of each project, as well as
a project to take shape as we work our
place it within the larger architectural
way from viscera to skin, and be the
context. The final weeks of term 1
means for analysing the psychological
will be dedicated to constructing
response in the user and speculate on
an experiential simulation. The
their behaviour. From the scenes we will
atmospheric qualities of architecture
develop behavioural patterns in space,
are commonly represented in frozen
defined first through plans, indicating
frames representing a moment in time.
circulation and movement, use,
We use fully immersive design and
arrangements, densities, subdivision
representation techniques were both
and interconnectedness.
time and space are present throughout.
ONE
through the study, design and
INTERMEDIATE
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The first term will be
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PROTOTYPES
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BUILDING ELEMENTS FABRICATION & ASSEMBLY
2
Human Behaviour
in physical reality. Elements might be
building system proposal
structural, spatial or infrastructural.
will be fully resolved. By
Each project might transform, evolve
focussing on the fragment, the larger
or hybridize existing elements, rescue
spatial goal can be subdivided into
obsolete ones or invent completely new
smaller pieces each of them taking care
ones. Understanding architecture as
of different effects and contributing to a
parts that perform together towards a whole -rather than a whole
also opens to a wider scope of
that needs to be resolved in
references since each
parts- will bring issues
element or part can
pertaining to fabrication
be informed by
and assembly into the core design process, thus loading them with architectural
completely
and
different sets of precedents.
experiential
We will begin by developing
value. A
spatial and structural prototypes that
variety of
demonstrate volume, organisation,
users must be able to
structural principles and detailing, whilst retaining the experiential qualities of the project. This will be followed by the design of building elements, parts or details that are capable of delivering the experience
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collective end. The fragment approach
INTERMEDIATE
D
uring the second term the
benefit from the building system. This implies that the user group is defined not only as those who will experience the architecture but also those who will design it or build it. Hyunjun Kim.
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SCENARIOS
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REPRESENTATION
3
Human Behaviour
T
he third term will be
Finding the most suitable
occupied by concluding
representation formats for the project
speculation on the
will ensure better communication
applications of the building system and
and help others and yourself reflect
project-specific representations.
upon the proposal, its meaning and
In order to demonstrate versatility, a
consequences.
series of speculative scenarios will be presented as examples peculiar enough to portray the maximum potential of ONE
the system in how it can be used and assembled in a confined variety of ways.
INTERMEDIATE
Considering not only the end product that can be achieved but also the means to construct it will serve as vehicle for reflection upon what the system is good for, where it belongs, how can it make a difference or better fit in. Different situations will lead to different results yet the core spatial values must be constant, thus retaining the intended experiential properties even when implemented for different situations.
The Mechanisms of Spatial Awe
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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 WEBSITE SUBMISSIONS BIBLIOGRAPHY
Human Behaviour
TECHNICAL STUDIES
A summary document will be crucial for concluding your technical studies
The technical studies will be an
submission: a manual illustrating
inherent part of the project from the
the building system fabrication and
very early stages of design. Already in
assembly procedures through drawings,
term 1 the projects will benefit from the
diagrams and animations.
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
Isotropic Space of Freedom. Yana Kushpitovska.
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.
Isotropic Space of Freedom. Yana Kushpitovska.
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LECTURES Term 1: L.1 - The Capriccio and the Veduta: A brief history of Architectural Representation L.2 - Architecture from Above: Plans through the ages L.3- Humans in Architecture: Human Perception and Behaviour L.4 - Architectural Communication: Canonical Graphics in Books and Plates Term 2: L.5 - A brief history of Building Systems L.6 - Dictionaries of Architecture Term 3:
WORKSHOPS & COLLABORATIONS
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L.7 - Portfolio Structure
Term 1: W.1 - Order in the Drive: File structure and file security using Google Drive W.2 - Digital Real-Time: Unreal Engine 4 introductions W.3 - Designing in Plan: Constructing space in 2D digitally and by hand. W.4 - Digital Real-Time: Unreal Engine 4 with Sergio Irigoyen W.5 - Digital Humans: Animating human figures in Adobe Fuse with Mixamo W.6 - Scanning the World: Photogrammetric Scanning with AutoDesk Remake W.7 - Virtual Reality: HTC Vive and Unreal Engine 4 W.8 - Constructing a Book: Layout in Adobe Indesign
TOOLS TFA embraces experimental tools to both represent and construct architecture. You will be encouraged to find the tools to best fit the project and 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 unitspecific tutorials will be available. 22 \
Xuecheng Wang
Human Behaviour
PORTFOLIO The unit will provide tutorials on the following software:
TFA supports varied and innovative representation methods that express each project uniquely and does
Animations / Simulations
therefore not have any technical or
Unreal Engine 4
stylistic restrictions. Your final project
Adobe Fuse / Mixamo
will be represented with a wide range of
C4D / Cineware
media ranging from text to immersive digital simulations. You will therefore
Generative
be expected to consider your project
Grasshopper
portfolio from the very beginning of
Autodesk Remake
the year. Each phase of the project will be presented in sub-briefs outlining
Modelling
specific deliverables and in some cases
limitations regarding format and size
Rhinoceros 3D
structured set of presentation material.
Adobe Illustrator
These sub-briefs will be handed out at
Adobe After Effects
the start of each new phase.
Portfolio/Books
Adobe Indesign
SUBMISSIONS TFA values punctuality and
BLOG & WEBSITE
INTERMEDIATE
Diagrams
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might apply in order to help you form a
professionalism. You will be asked to submit both digital and physical
TFA believes in sharing. Our site
presentation material on the day before
www.toolsforarchitecture.org will
pinups and juries. This will encourage
function both as a communication
you to reflect upon your work and rest
tool to the world outside as well as an
before important events where you
internal platform where everyone’s
are not only expected to present your
work is regularly updated. You will all
arguments with focus but also listen
be uploading work in tandem with our
and participate in the presentations of
pinups and juries.
your fellow unit members.
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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 Vernon, Magdalen Dorothea. Psychology of perception. 1965
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Hall, Edward T. The Hidden Dimension. 1966 Bloomer, Kent & Moore, Charles. Body, Memory and Architecture. 1977
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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 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. 1996 Evans, Robin. Translations from drawing to building. 1997 Batchelor, David. Chromophobia. 2000 Frank, Isabelle. The Theory of Decorative Art, 1750-1940. 2000 Grosz, Elizabeth. Architecture from the Outside, Essays on Virtual and Real Space. 2001
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Human Behaviour
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 Koolhaas, Rem. Elements. 2014 Sussman, Ann. Cognitive Architecture: Designing for How We Respond to the Built Environment. 2014 Robinson, Sarah. Mind in Architecture: Neuroscience, Embodiment, and the
Ellard, Colin. Places of the Heart: The Psychogeography of Everyday Life. 2015
ONE
Future of Design. 2015
Colomina, Beatriz & Wigley, Mark. Are We Human?: The Archeology of Design. 2016 Williams Goldhagen, Sarah. Welcome to Your World: How the Built Environment
INTERMEDIATE
Urist, Jacoba. The Psychological Cost of Boring Buildings. 2016
Shapes Our Lives. 2017
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U N I T
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S C H E D U L E
TERM ONE
Human Behaviour
SCENES WEEK 1
WEEK 2
WEEK 3
THU
SEP 28
1.1 UNIT INTRO + W.1
TUE
OCT 03
1.1 PIN UP + L.1
FRI
OCT 06
1.1 TUTORIAL
TUE
OCT 10
1.1 W.2 UE4 + TUTORIALS
THU
OCT 12
1.1 EARLY SUBMISSION
FRI
OCT 13
1.1 JURY
TUE
OCT 17
1.2 INTRODUCTION - L.2, L.4, W.3 & W.8
FRI
OCT 20
1.2 TUTORIALS
TUE
OCT 24
1.2 PINUP + UNIT TRIP INTRO + L.3, W.6
THU
OCT 26
1.3 UNIT TRIP DEPARTURE (EVENING)
WED
NOV 01
1.3 UNIT TRIP RETURN
FRI
NOV 03
UNDERGRADUATE OPEN JURY
TUE
NOV 07
1.3 TURORIAL
FRI
NOV 10
1.3 W.4 UE4 TRANING. SERGIO IRIGOYEN
MON
NOV 13
EARLY SUBMISSION
TUE
NOV 14
1.3 JURY
FRI
NOV 17
1.4 W.4 UE4 TRANING. SERGIO IRIGOYEN + FUSE MIXAMO W.5
TUE
NOV 21
1.4 TUTORIALS
FRI
NOV 24
1.4 TUTORIALS + W.7
TUE
NOV 28
1.4 TUTORIALS
FRI
DEC 01
1.4 TUTORIALS
TUE
DEC 05
1.4 TUTORIALS
FRI
DEC 08
1.4 TUTORIALS
MON
DEC 11
EARLY SUBMISSION
TUE
DEC 12
END OF TERM JURY
FRI
DEC 15
DEBRIEFING
SPACES WEEK 4
WEEK 6
WEEK 7
SIMMULATION WEEK 8
WEEK 9
WEEK 10
WEEK 11
WEEK 12
INTERMEDIATE
WEEK 5
ONE
CASE STUDIES
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S C H E D U L E
TERM TWO
Human Behaviour
PROTOTYPES WEEK 1
WEEK 2
WEEK 3
MON
JAN 08
2.1 BRIEF INTRO + L.5 + TUTORIALS
TUE
JAN 09
2.1 TUTORIALS
TUE
JAN 16
2.1 PINUP (PROTOTYPES) + L.6
FRI
JAN 19
2.1 TUTORIALS (TS Y3)
SAT
JAN 20
2.1 TUTORIALS (Y2)
THU
JAN 25
EARLY SUBMISSION
FRI
JAN 26
2.1 JURY
WEEK 5
WEEK 6
WEEK 7
WEEK 8
JAN 29
2.2 TUTORIALS
TUE
JAN 30
2.2 TUTORIALS
FRI
FEB 02
2.2 GROUP SESSION
MON
FEB 05
2.2 TUTORIALS
TUE
FEB 06
2.2 TUTORIALS
MON
FEB 12
2.2 TUTORIALS
TUE
FEB 13
2.2 TUTORIALS
FRI
FEB 16
TS INTERIM JURY Y3 + PINUP Y2
MON
FEB 19
2.2 TUTORIALS
TUE
FEB 20
2.2 TUTORIALS
FRI
FEB 23
2.2 GROUP SESSION
MON
FEB 26
2.2 TUTORIALS
TUE
FEB 27
2.2 TUTORIALS
FRI
MAR 02
2.2 PINUP
INTERMEDIATE
WEEK 4
MON
ONE
BUILDING ELEMENTS
FABRICATION & ASSEMBLY WEEK 9
WEEK 10
WEEK 11
MON
MAR 05
2.3 TUTORIALS
TUE
MAR 06
2.3 TUTORIALS
MON
MAR 12
Y2 PREVIEWS
TUE
MAR 13
Y2 PREVIEWS
MON
MAR 19
Y3 PREVIEWS
TUE
MAR 20
Y3 PREVIEWS
FRI
MAR 23
DEBRIEFING
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S C H E D U L E
TERM THREE
Human Behaviour
SCENARIOS
WEEK 1
WEEK 2
WEEK 3
MON
APR 23
3.1 BRIEF INTRO + L.7 + TUTORIALS
TUE
APR 24
3.1 TUTORIALS
FRI
APR 27
3.1 GROUP SESSION
MON
APR 30
3.1 VR PINUP - GROUP ONE
TUE
MAY 01
3.1 VR PINUP - GROUP TWO
MON
MAY 07
3.1 TUTORIALS (SCENARIO WRAP UP)
TUE
MAY 08
3.1 TUTORIALS (SCENARIO WRAP UP)
WEEK 5 WEEK 6
WEEK 7
WEEK 8 WEEK 9
MAY 14
3.2 TUTORIALS
TUE
MAY 15
3.2 TUTORIALS
FRI
MAY 18
3.2 TUTORIALS (OPTIONAL)
TUE
MAY 22
EARLY SUBMISSION
WED
MAY 23
FINAL JURY
THU
MAY 24
TUTORIALS - JURY DEBRIEF
TUE
MAY 29
Y2 FINAL TABLE REHEARSAL
MON
JUN 04
Y2 END OF YEAR REVIEWS
TUE
JUN 05
Y2 END OF YEAR REVIEWS
WED
JUN 06
Y3 FINAL TABLE REHEARSAL
MON
JUN 11
INTERMEDIATE PART 1 FINAL CHECK
TUE
JUN 12
INTERMEDIATE PART 1 FINAL CHECK
TUE
JUN 19
ARB/RIBA PART 1
INTERMEDIATE
WEEK 4
MON
ONE
REPRESENTATION
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TOOLS FOR ARCHITECTURE
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 32 \
INTERMEDIATE
ONE
Human Behaviour
Ezgi Terzioglu
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ARCHI TE CTUR A L A SS O C I AT I O N SCHOO L O F A R C H I T E CT U RE
P OW ERED B Y SPAC E P OP ULAR