Enjoy your Spring Break. Clear your minds and take a breath. Change gears but don’t disengage. Often your best design thinking comes with distance.
– record and measure (as if Perec were studying material) your Spring Break through the variety of scales and textures of the materials you experience.
– construct a series of scenarios (a narrative of experiences from occupants points of view) about the ambiance (spaces. sequences), materiality) of your Kulturhus via a series of hand-made renderings
– to learn to use images as a design tool (rather than an after-the-fact presentation tool) – you could develop the images first and shape the project to deliver that experience.
Explore a minimum of 5 spaces and sequences of your Kulturhus through hand sketching. Produce a minimum of 5 hand drawn perspective renderings that document the primary spaces, sequences, transitions and/or thresholds of your Kulturhus.
Document your thoughts about the materiality and scale of material textures that could potentially exist in and around your Kulturhus through your daily encounters with materiality over Spring Break. Use your digital cameras and phones to document materials, materiality, scale and texture. Focus on the details of your material experiences. Examine material textures and scales. Zoom in to the scale of the material and its affect on your experience.
Due Monday, March 24th.
Scan and reproduce (5) hand drawn perspective renderings on individual 8 ½” x 11” pages. Pin-up and prepare to discuss on Monday at the start of class.
Curate your material documentation and compile your imagery into a single organized presentation. Size and format of your choosing. Pin-up and prepare to discuss on Monday at the start of class.
Next Monday is our 75% review. As we have with our 25% review stages throughout the year, we will swap professors for the review to gain some last minute fresh perspective and also see the work of students outside of your studio. The primary intent of this final review is to critique the final refinements you have made to your proposal as they relate to the floor plan, the site plan and the material agenda including the structure.
As we have worked from inside to out, we have finally found ourselves faced with the necessity to make very specific proposals for how these buildings stand up and sit on the land. We must finally compose conventional building systems to arrive at a structure that contains the rich space we have worked hard all semester to achieve.
As has become our practice, we will leave the final details regarding the deliverables for the review up to you, but at a minimum, the following will be required.
Site Plan – On one landscape 11×17, a complete and fully realized siteplan. Look back to conversations we had last semester to recall all the components of a complete site plan including but not limited to roof plan, shadows, hardscape, landscape/softscape, topography, vehicular/pedestrian paths, figures/activity, etc. Use this requirement to fully interrogate and design the experience of approaching to the monastery.
Floor Plan – Using the considerations from the plan and section workshops, present a complete and fully detailed floor plan for the monastery. Consider your design for the project, including material, planning or programming concepts, and develop a strategy for most appropriately and completely presenting your proposal for the monastery. Plan diagrams are no longer acceptable. Your proposals should be fully detailed descriptions of your intent, your agenda, your objectives and your tactics using drawing conventions that we all know and share. Your plans should make clear the thresholds between interior and exterior, material shifts, scale, use, etc.
Materiality and Structure – While this requirement is more open ended the intent is not less clear. For the review you will need to make a fully detailed proposal for both your material agenda AND the structure of your project. This can be conveyed in any number of ways, but some of the most conventional and useful methods such as detailed larger scale building and wall sections, material axonometric drawings or partis, material palettes, concrete casts, and structural models or study models should be utilized.
In addition to these any other items may be incorporated into your presentation to assist in the expression and communication of your design intent.
We know that you have a busy week, but we also know that time in the semester is running out, and now three weeks past our midterms, we need to have made significant projects towards the completion of these projects.
Final details on review assignments and locations will follow over the weekend.
please come to class with a model that synthesizes your site strategy, program analysis, parti work and feedback received from Monday’s crits into a massing model with materiality positioned and sized appropriately on site and with all of your program. This model will facilitate the next phase of structure development, then plans/sections, and enclosure.