Storyboards

Alfred Hitchcock Storyboards, link here

vertigo-7

Saul Bass for Hitchcock’s Psycho 

Advertisements

07 / Investigation / Program and Organization

Given Material

Based on the given “Program for Elementary Montessori School” reverse engineer the implied stories in relation to the involved protagonists: Student, teacher, parent, receptionist, principal, administrator, janitor, etc. Represent each story in form of a storyboard annotating space, time, protagonist, and ambience (spatial qualities).

4-sample-storyboard

Interpretation

Falling back onto the operational take-offs in the “Excerpt from a Client – Architect Interview” and your own observations drawn from your individual school experiences, construct a comprehensive inventory of all conceivable activities and uses appropriate to a learning environment, along with their requisite spaces/areas. Include all interior and exterior activities and uses from the most significant to the most ancillary. Use the following criteria to develop the detailed program:

 

  • Function: What is the purpose(s) of the individual space?
  • Scale: What is the size of the space expressed in rough dimensions?
  • Use: What takes place inside the space? What takes place alongside the space?
  • Elements: Describe all the components that will ultimately occupy the space such as furniture, fixtures, cabinetry, etc.
  • Schedules: When is which activity active?

1-sample-sequence

Analysis

Analyze each of the programmatic uses/spaces by evaluating them relative to one-another through the use of the following criteria.  By answering basic questions about each space as you look at them through the following lenses, you can begin to develop spatial and organizational preconceptions for each of the uses/spaces.

5-sample-ambient

  • Light: What is the quality of light in the space.  Is it direct, indirect, natural, artificial?
  • Climate: Is the space hot, warm, cool, cold?  Is it naturally ventilated or mechanically controlled?
  • Hygiene: Is the space highly controlled hygienically, moderately controlled or uncontrolled?
  • Inside/Outside: Does the use of the space demand it be interior or could it be exterior, or both? What uses/activities/spaces could become transitional zones between inside and outside?
  • Public/Private: Which uses/spaces require to be private or public? Are there opportunities for programmatic elements that could be a hybrid o both?
  • Hierarchy: What are the primary/secondary/tertiary areas?
  • Access: What kind of accesses are desirable? How do people and vehicles get access?  Which program requires what kind of access?
  • Adjacency: What relationships do the different uses/activities have with one another?
  • Schedule: What are the time frames for using programmatic elements?
  • Acoustics: What is the sound/noise profile for each use-space? Loud? Quiet? Echoes? Lively? Hushed?
  • Views and Hides: In which programmatic spaces are views relevant? What is the purpose of those views? What is desired to see? What is desired to be seen?
  • Finishes and Materials: What is the quality of the different finishes and materials in the space?
  • Sensual: Consider your senses and ask yourself what senses might be engaged by each particular programmatic element.  What kind of experience might be relevant or compelling in each particular spaces?

 

Modeling

With the analysis of the relationship between activities, uses, and spaces, you will begin to gain insight into possible strategies for ordering programmatic elements. Determine how the programmatic elements relate to one-another. Uncover orders and invent iterations of ordering strategies. Be particular and precise about the nature of the various programmatic relationships: Do elements relate to the human body? Are they related to contextual issues? Are they satisfying operational, mechanical, and/or functional issues? Does programmatic relationship create meaning? What about delight?

2-sample-operation

Develop models for representational systems that are appropriate to your analyses such as comparative studies, generative matrices, adjacency diagrams, network diagrams (tree,mesh), color coding, mapping and graphing of relationships, narrative sequences.

3-sample-operation

Deliveries

  1. Monday, October 3rd: Five (5) storyboards, format: combined layout on one single sheet 30” x 30”
  2. Wednesday, October 5th: Five (5) physical study models showing various iterations of organizational operations. Supporting sequence- and operational diagrams.
  3. Friday, October 7th (Midterm): One (1) physical program model as a conclusion of all preceding program studies. 30” x 30” base, including furniture (scale: 1’-0” = 3/16”). Additional postings addressing the formal procedure of the review will follow.

 

References

  1. Ernst & Peter Neufert, Architects’ Data (Download PDF here)
  2. Herman Hertzberger, Lessons for Students in Architecture
  3. Herman Hertzberger, The School as City
  4. John Habraken, Interview in DE DRAGER
  5. Deborah Cameron & Thomas A. Markus, The Words Between the Spaces: Buildings and Language; 2003

07 / Workshop / Program and Organization

This slideshow requires JavaScript.

Architecture consists of the stories of our lives. It organizes the irregular and recurring events that structure our daily routine such as going after our businesses, experiencing unexpected urban adventures, etc. As spatial traces, we find these stories written into what is called “architectural program.”

Accordingly, a Program Analysis might be viewed as presenting a set of implied stories and opportunities that must be interpreted, analyzed and modeled. As opposed to a mere list of room names and area requirements, it is critical to see Programming as an organizational process that encodes spatial qualities and operations.  A Program is much more a catalog of possibilities and potentials  – think of it as a map of the unknown that only consists of a set of rules.

 

Students to arrive with the following:

  1. Sketch book
  2. Pad or roll of large, tracing paper
  3. Measuring tape or other measuring devices
  4. Drafting implements and tools
  5. Smartphone or Mp4-Player

 

Given Material

Listen to the audio: “Excerpt from a Client – Architect Interview” that refers to simple sequences of a few daily operations within a learning environment.

  1. (30 min.) Identify, and document the protagonists, such as student, teacher, parent, receptionist, principal, administrator, janitor, etc.
  2. (60 min.) Related to each protagonist (A), identify, extract, and document their various linked activities, such as arriving/drop-off – entry into school – hang coats – take stuff from locker – go to classroom – meet friends and classmates – teacher welcomes – class starts – etc.
  3. (30 min.) Compare the different sequences (B) and analyze the nature of their constellation. Map found constellations, such as linear, parallel, tree, open, closed, circular, etc.
  4. (60 min.) Combine the various sequences (B) within iterative spatial layouts. Model operational studies,  such as rolling, folding, layering, coupling, stacking, hybridizing, etc.

06 / Workshop / Envelope

Students to arrive with the following:

  1. Sketch book
  2. Pad or roll of large, tracing paper
  3. Measuring tape or other measuring devices
  4. Drafting implements and tools
  5. Smartphone or camera

Material Notations

Screen Shot 2016-09-22 at 10.09.19 PM.png

Workshop Schedule – 120 minutes total

In groups of two, select one of the following campus buildings:

  1. Rettaliata Engineering Center.
  2. Wishnick Hall.
  3. Siegel Hall.
  4. Carr Memorial Chapel.
  5. Minerals and Metals Research Building.

What specifically is a building envelope?  For this workshop you must think beyond your traditional understandings, and investigate your selection as a cohesive series of assemblies, some quite obvious, some not.  For instance, a “roof assembly” is considered a part of the building envelope.  In order to be successful during this workshop you will be required to make some assumptions.

Record the envelope of your campus building incorporating elevation (interior & exterior), plan, section, and/or axonometric diagrams.  Exhaustively catalogue the elements and materials that make up each of the envelopes assemblies.  Record the actors and actions of those who experience the envelope.

Review your findings with your sections professor.