5 More Days until submission

Having completed all your marking, i should also add that this being a 6 unit course, you are expected to put in at least 12 hours per week on this course.

Cameron and Ginnys work appears to be 12 hours worth of work. There is a truckload more to do (at least 12 more hours) in the 5 days ahead of you. If you are not up to this benchmark before i see you tomorrow, then good luck with EXP 2.

Cami's

Ginny's

Experiment 1 General Feedback

1) Clarity and consistency in your architectural expression is the key. If you run with something then make it to home base. See comparison below:

 insetad of 1) Near Haphazard mix of random Euclidian forms...

...why not, consistent Haphazard forms arranged in a logical way (Denver Art Museum: Eisenman).

intead of, Elements which take away from one of your main expression (horizontal slats)...

...why not, Elements which add and complement to the whole composition (Dionisio González).

2) Shapes vs Architectural Spaces. Are you drawing geometries and shells or are you articulating different parts which make up architectural spaces/buildings (Surfaces? Edges? Details?)

vs.

openings, treatment of edges, space in-betweens. (Interlace, OMA)

3) Stop the process of addition and fragmentation in design (the way which you design one part before you move on to the next), and design holistically. Start on a new model if you need to move out of a mental block.

[Insert Spent_too_long_doing_above_ground_room_so_i'll_draw_a_box_below_a_huge_flat_rectangle_and_stick_a_pole_in_the_middle_to_join_them.jpg]

4) Details Details Details. 

vs.

Scottish Parliament: Enric Miralles

Santa Caterina Marketplace: Enric Miralles

Experiment 2 - Things to Consider

1) Start from the Moleskine, and refine with sketchup. Work concurrently on both Sketchup and Lumion as shown in class so you can see your changes happening live. Define your three spaces!

2) Consider the interplay of various scales - balance of or otherwise

Example not with 10 blocks - keep yours to 10 blocks.

3) Architecture is about the experience both external and INTERNAL. Please consider this point for this experiment:

AND be judicious in your internal shots - they are to sell not to identify.  Make sure they say something special about your interior, not just to show that you have successfully stuck a furniture in:

4) Exercise some judicious thought into curvilinear forms. Curvilinearity can happen in different intensities rather than blindly hitting on the button within the artisan tool. Ask yourself "what are you trying to achieve by curving this element(s)":

Stolen from Ro's Blog - Thanks Ro!

Preston Scott Cohen - Torus House - Soft vs hard curves, vs straight lines.

4) This here is a good example of how to 1+1=3.

http://joshuasleight.blogspot.com.au/2014/04/combination-and-electroliquid.html

5) Details! What are your 10 blocks, and what are details that goes beyond the 10 blocks:

6) Landscapes + Forms. Make them work together:

01 - Lima Houses, Eduardo Souto de Moura



02 - Mario Botta, Chapel of Santa Maria Degli Angeli



03 - Tadao Ando, Rokko Housing: 



04 - Tadao Ando, Chikatsu Museum




05 - Tadao Ando, Naoshima Museum


06 - Jun Aoki, Aomori Museum of Art: Idea of space as that between the landscape and the mass, rather than the massing. 

Experiment 1 musings

Some thoughts on your experiment 1 - consistency in expression is the key. If there is something in your model which takes away from your above and below spaces, then take it out!

http://www.archdaily.com/494404/surreal-renderings-of-disaster-resistant-structures/

Lumion please.

Ok first thing off the rank. I need to know that all of you can use lumion before we proceed with the regulars.

Theres absolutely no excuse if you run into any technical difficulties now or 5 minutes before submission time, so the earlier you get this ironed out the better. If you're using a Mac and youre having trouble bootcamping this, then there's plenty of lab computers downstairs all primed up and ready for you to run your models through. In fact, i'll start sending people without lumions downstairs the first thing tomorrow.

WHERE ARE YOUR MODELS?!?

https://3dwarehouse.sketchup.com/model.html?id=ubd135169-3320-47db-b3f5-97579eb26e0b

Please upload all your sketchup models via Google warehouse (dropbox if it is too large). You are all technically late!

EXP 2 Week 1 Rule #1 - Consider different scales of spaces

Concepts: Class Pool

Ricardo Porro

Contrast of structural mass and large voided spans.

Heavy homogenous frames as indeterminate outlines of spaces.

Porosity of Architecture and repetition of open spaces.

Curvilinear buildings providing a free-flowing movement.

Absence of distinct orientation.

Horizontal expansion vs verticality.



Aldo Van Eyck


Modularity blurring distinction between small and monumental.

Organised forms arranged in a labyrinthian way.

Decentralisation and absence of boundary.

Unity and Harmonisation of overlapping geometry.

Displacement of different forms to create light and shadow.

Precision in construction but tactility in materiality.

EXP2 Clients: Ricardo Porro

Client #2: Ricardo Porro

(1925- )

Works Include: National Arts School Cuba, Secondary School at Cergy le-Haut

National Arts School Cuba (School of Plastic Arts + School of Dance)

Secondary School at Cergy le-Haut