A small scale exploration of irregular and uncommon adjacency and use.

As a warmup to the Fall semester, and as your first step towards defining Hybridity, combine two conventional spaces into a single space that in some way becomes more than just the sum of its parts.


– Produce layered orthographic drawings.

– Use the act of drawing to define the act of designing.

– Build a quality presentation model.

– Break rules, be bold, get curious.

– Loosen up. Get to work.  Find fun.


Thinking back to your Dwelling project from last semester, a Dwelling from your memory/childhood, or your current Dwelling, choose two discreet spaces to blend into a new single space.  The two spaces should not typically be adjacent to one and other, and they must require the body to be in different positions (sitting, standing, lying) or states (still or in motion).   They may be interior or exterior.

Some examples to consider:

A space to eat. A space to think. A space to bathe. A space to climb.
A space to transition. A space to sleep. A space to rest. A space to read.
A space to watch. A space to elevate. A space to cook. A Space to store.
A space to defend. A Space to create. A space to wait. A space to run.
etc… etc… etc… etc…

Start by analyzing the individual spaces through drawing(s).  Your objective is to analyze and deconstruct your chosen spaces into their most basic and essential elements by producing a single drawing or series of layered drawings.

Using two separate sheets of 18 x24 drawing medium (or similar size of your choosing), one for each of the two initial spaces, document the object orthographically (plans, sections, elevations).  Produce hardlined and measured orthographic plans, elevations, sections, and details by hand to document and analyze the spaces.   If you choose, you may use other methods of projection including Axonometric, Isometric or Perspective.  Next, find a minimum of two additional examples of each of your chosen spaces, and compare them to them to the spaces you have documented.  Based on this analysis, add or subtract from your initial drawings with the intent of adding more information/layers/meaning to the analysis of the initial spaces. Continue to add layers.  Consider the differences between the lines that the user of a space sees and all the lines and logics that a designer must see, interpret and reconcile while designing any space.  Add those layers to the drawing.   Consider tectonics, materiality, space, time and the body.  Do this by adding and subtracting from the initial drawing, by layering drawings on top of each other, through collage, by using mixed media, or through any combination of processes that you choose.

NOTE:  The drawings may initially appear messy. This is GREAT!  This is the intent.  If your drawing does not achieve this messiness, you are not digging deeply enough into the analysis.  Our objective is to teach you that the act of design is complex and messy, and that you need systems and processes to organize and find logic in that mess.  If a design problem appears simple, then you aren’t working hard enough to solve it.

Next, compare the drawings from your two spaces against one and other.  Find similarities and dissimilarities.  Compare similar layers and logics to one and other.  Work to find concepts for combining the spaces that have the most new potential in their final result.  In this instance, we are looking for 1 + 1 to equal something greater than two, and potentially even 4, 5, 6….  Explore a variety of potentials, and explore different gradients of hybridization by overlapping similar functions or elements.

Options for comparative iterations:

1. Drawing: On another piece of drawing medium, begin to overlay and blend the two spaces into a single space.  We would recommend using trace for the initial iterations.  Using the same techniques from your previous analysis, draw the two spaces together and into one single space.

2.  Modeling: Using scale models and using simple and fast modeling media (paper, chip board, cardboard), begin by selecting similar elements between your two spaces and modeling them individually.  Then, by making several additional models (make many; don’t keep changing one), explore how the layers of the two discreet spaces may be modeled into one.  Do this for several layers until you find the most compelling potentials.

REMEMBER:  It is essential to understand how the value of the resultant Smoosh is measured.  What YOU  like or what YOU want has very little value to your studio professor and ultimately your clients.  How is a compelling idea measured?  Define this system of value measurement early, and your results will be more compelling.   

Finally, draw a final projection drawing that describes the final resultant space.  This final drawing may be the drawing from Option 1 above or it may be a new drawing.  Once the final solution is developed, build a final scale model of the designed space.  The model should be to scale and very finely crafted.


  1.  Scale:  The object/element/moment should be able to fit into approximately a 10’x10’x10’ area.


  1. What are the primary architectural elements of your space and how do they facilitate its primary use?
  2. How does the body operate in each of your spaces, and what are the physical requirements of that space?


M 25 Aug Introduction

W 27 Aug Descriptive drawings of individual objects due

F 29 Aug Lecture “1 + 1 = ?”, Desk crits

M 01 Sep Labor Day_No Class

W 03 Sep Hybrid drawings/Models due – Desk Crits

F 05 Sep Desk Crits

M 08 Sep Desk Crits




A maximum of three (3) 18×24 (+/-)  drawings that graphically describe the design process.

One (1) 1”=1’-0” finely crafted presentation model of your final design made from a single material of your choosing.



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