KULTURHUS_spatial model competition

A few notes about the model competition tomorrow.

The competition will be held tomorrow afternoon, in the lower level of Crown Hall.   Starting at 1:30pm, you will be asked to place your models and pin up your drawings in the locations indicated on the attached document – S14_ARCH 306_Model Competition pin up assignment+.  This document assigns each of you a number (#) (no personal markings or names should occur on your boards as to keep the competition anonymous).  The locations for each number are also noted in the document, and locations will be marked with numbers on post it notes designating the locations for hanging.   Instructions and rules for setting up are simple.  Please pin up or tape up your drawings directly below the Post-it, leaving the Post-it with your designated number exposed.  Models should be placed directly below your drawings, on bases where possible.  Please begin to collect model bases sooner rather than later.  There likely are not enough model bases in Crown Hall for all 120 of us. If not model bases are available, please place your models on the ground.  The jurors will understand.  Please use the proper tape and adhesive dots to pin up. We will be taping up over the top of the glass windows into the library, so please do so respectfully as to not disturb people working in the library.

At 2:30, please convene in lower core.  The competition will be juried by several guest jurors beginning with introductions at that time.  The jurors will be selecting a shortlist of projects for final review (red dot), and you will be asked to participate by awarding winners in three categories for Best Project (green dot), Best Model(blue dot) and Best Drawing/Rendering (yellow dot).

At 3:30-3:45 pm, all projects should be taken down from their locations, and those projects with red dots should re-hang your projects and re-place your models in lower core.  Please remember to also bring your # designation with you so we have record of which projects belong to who.   All of us will reconvene in lower core at 4:15pm, along with the jurors, for final reviewing and awarding of final winners.

Space is tight and models are large, so please work together to get everything on display.

The pin up #’s and locations will be displayed on the doorways of our studios and in Lower Core tomorrow afternoon around 1pm.    If by mistake your name does not appear on this roster, please either contact me by email (atinucci@iit.edu) or see me tomorrow for a spot.

After introductions at 2:30, please see your studio professor for the stickers you will use to select the ‘audience’ awards.  You will receive three stickers – a green, a blue and a yellow, and you will be asked to vote for your favorite Project (green dot), Model (blue dot) and Presentation (yellow dot), by placing your stickers clearly on or adjacent to your selections.

After the winners have been announced, it is your responsibility to carefully remove your presentation and models from their displayed locations and return the lower level of Crown Hall back as we found it.

Good luck on the home stretch and can’t wait to see the work tomorrow!

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Embodiment (plans and sections)

S14_Embodiment (plans and sections)

 overview:

In an effort to resist the shallow urge to turn architectural diagramming into physical reality, consider your architecture as an active participant in your script, another character in the scene. Consider your architecture not just as the backdrop and setting for events but also as the protagonist in its own story.

 Similarly, the tectonics of the Kulturhus will involve simultaneous kinds of logic- -technical, environmental, ambient, material, etc.  Seize the opportunity to explore your building’s role as a producer of effects. Use your material studies and vignettes as a guide.

objectives:

-This assignment expedites engagement with the effect of building assemblies, materials, and systems: their agency as separate systems, and the potential for poetic interrelation between systems as part of a larger composition.

-Learn to use drawing systems (like collage) as generative design tools.

 process:

1. Based on the vignettes that you generated over Spring Break generate plans and sections for each of those experiences.

2. Critique these plans and sections, and using them as a guide, collect fragments, pieces, elements of architecture – portions of a plan, sections, circulation systems, pieces of envelopes, from well-documented sources of architectural construction.  The fragments should merely symbolize characteristics of architectural assemblies (suggesting orders, thicknesses, transparencies, weight, solids, void, materialities, etc.), but they should be incomplete, and not represent a total building organization or composition (image or full composition).

3.  Now compose these fragments (including your original plans and sections)  into a new edifice – via decoupage and collage (to suggest a fully embodied plan and section).  This drawing should be completed with (a) construction lines, for reference, (b) measures, and (c) scale figures.   The process will instantly generate an accidental architecture: inheriting the materialities, thicknesses, sizes, dimensions, orders implied by the fragments.

4.  Scan this collage into an underlay (to scale) and redraw it.   The collage (underlay) will become a basis for making editorial decisions about the character of your project.

5. The short version: Generate incredible plans and sections that do both of the following:

1. Capture architectural systems that embody your concepts for the building and site (site, structure, assembly, envelope, environment, light, circulation, use, , materiality, etc).  These systems can act in alone and in concert to shape experience.

2. Embody your concepts and criteria for the design of the project in your representational style.   Conventional plans and sections are not merely enough.

 criteria/questions:

-How did you use the decoupage/collage to expand the terms of your  project?

-Do the new plans propose a coherent relationship between spatial sequence, the architectural body, and atmospheric effects?

-Are your drawings and drawing techniques specific to your own concepts and ideas about driving ideas behind the project, the neighborhood, the experience, the project’s agency?

– Do your plans and sections clearly convey your intentions about the concept for the project and the relevant architectural systems (site, structure, assembly, envelope, environment, light, circulation, use, materiality, etc).

 deliverables:

Due Friday / 4 Apr 2014

– Fully developed and detailed plans and sections of your building at ⅛” = 1′-0″ scale.  NOTE: Your first floor plan must include the adjacent site plan as part of the same drawing.

 resources:

-Marco Frascari, Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect’s Imagination, ISBN-13: 978-0415779265.

Marco Frascari, “The Tell-the-Tale Detail.”

http://diffusive.files.wordpress.com/2009/11/frascari-m-the-tell-the-tale-detail.pdf

Assignment 2a_Use Mapping (Kulturhus program)

S14_3_Use Mapping (Kulturhus program)

overview:

Excerpt from Sylvie & Bruno, Lewis Caroll:

“And then came the grandest idea of all! We actually made a map of the country, on the scale of a mile to the mile!”

“Have you used it much?” I enquired.

“It has never been spread out, yet,” said Mein Herr. “The farmers objected: they said it would cover the whole country, and shut out the sunlight! So we now use the country itself, as its own map, and I assure you it does nearly as well.”

The program students will be asked to write will embody similar tensions.  It’s a speculation that reflects the student’s interpretation of the territory.  Students will devote themselves to making that fiction seem completely inhabitable.

“Now that I am awake I still find this dream as masterly as when i slept.” –Salvador Dali

“These false facts relate to the real world as spies to a given society: the more conventional and unnoted their existence, the better they can devote themselves to that society’s destruction.” –Rem Koolhaas

 

objectives:

– Develop a use program for the Culture House / Activity Center

– Prove the validity/relevance of the use program through GIS mapping and analysis.

– Evaluate your AREA OF INTEREST for the proper site for the Culture House / Activity Center

– Prove the validity / relevance of your choice through GIS mapping and analysis.

 

process:

Develop a use program for the Kulturhus.  Mine your AREA OF INTEREST for it’s infrastructure and develop a use program that improves, exploits, contradicts, etc, that framework.

Substantiate your use program through GIS mapping.  Use QGIS software and the various data sources available to you, and in conjunction with your fieldwork, produce mapped documentation that validate your hypothethis for the use program of the Kulturhus.

Further, use the use mapping and program substantiation to propose a location for the Kulturhus within the AREA OF INTEREST.

 

criteria:

Kulturhus brief:

– a new Chicago institution.  a network of buildings across the city  conceived as a collaboration between the Chicago Park District and the Chicago Transit Authority

– +/-20,000sf

– max 8000sf footprint

– min 3 primary uses

– min 2 stories

– agent of the place

-adjacent to CTA transit (bus, bike, train)

 

questions:

1. Is the relationship between the parts complimentary or not/complimentary?  Why?

2.  How will the Kulturhus ACT in the place?  How will it have agency?

3.?

 

schedule:

F 1/24 Institution as Agent Lecture / programming conversation in studio

M 1/27 Draft use program due / desk crits / GIS intro lecture 4p

W 1/29 Initial GIS maps, substantiation due / GIS lecture 2p

F 1/31 Institution Symposium / Second draft use program due / GIS maps refines

M 02/03 Use mapping due / in class critique

 

deliverables

For an in studio pin up review/conversation on Monday, February 3:

1.  Use program matrix that defines use, size, audience, scale of engagement and class of use.

2.  GIS mapping that substantiates choices for use and location.

3.  Written statement of cultural  effects/result of Kulturhus.  Verbally diagram the relationship and chemistry between the ingredients of the Kulturhus and the neighborhood.