Technology 2/3
In the second phase we will ask that sustainability be addressed at first with specific diagrams that are followed up with details, which specifically address how the sustainability concepts are achieved technically.
The structural system will be modeled at the bay level, physically, in a manner that requires each piece to be fabricated by hand. For the review of the second phase a digital axon of the structural system will be required.
After the bay model has been completed it will be necessary to install the relevant piece of the mechanical system. For the review of the second phase a digital axon of the HVAC system will be required.
The envelope system determines how the building looks—its character and composition. The envelope will be added to the physical bay model and the digital model of the building. The specific details of the envelope system will be investigated at a larger scale both digitally and physically.
The interior systems of two public spaces will have to be carefully developed. Schematic details of the cabinets, doors, stairs and lighting will be required for the second presentation.
sustainability
In preparation for a visit from nationally known architect and sustainability consultant, Peter Pfieffer (April 21), you are hereby instructed to look for specific concepts that you wish to apply to your building to make it more sustainable. Begin now to tie down specific site responses to sun and wind. Look at how the design of the envelope can add to the energy efficiency of your building. We will present these ideas initially as concepts on 18” x 18” boards (due March 30); but, to pass Peter’s view they will have to be backed up with specific analysis.
structural system
For the third phase review a physical model of the classroom bay at ½”=1’-0” will be required (assigned March 25 due April 7). To this basic bay you will need to add a carefully crafted model of the envelope system including glazing. We will also use this model to check solar penetration. One of the reasons that windows in schools are blocked up is because direct solar penetration falling on desks and children is very distracting. The task is to bring in natural light but filter it in such a manner that it does not become a nuisance. A light penetration study will be required for the second phase review (March 24).
mechanical system
Add the mechanical system to your bay model. How will you expose or conceal the mechanical elements? What do you have to do to accommodate the mechanical system in your design? Create a digital model of the mechanical system that illustrates how the system is integrated into the form of the building (second review March 24). Remember that integration is a key word for this semester.
envelope system
The only way to understand the envelope of a building is to detail it at a scale that its configuration is a pregnant issue. Using pencil on gridded paper, carefully spliced, draw the full wall section of your building at 1 1/2”=1’-0”. Do not use cut lines. Also draw a plan detail at the same scale that includes one bay and a corner. This will be an in-class exercise March 31 and April 2.
interior systems
At 1/2” = 1’-0” draw a “tell tale” floor plan of the classroom. Include all lines that help us understand the integration of elements and systems: envelope, walls and structure centerlines—black; floor pattern, cabinets and other room scale elements—blue; mechanical elements—green; and all ceiling elements, such as lighting, sprinkler, speakers, and projection equipment—red. Note, in order to do this you will have to layout all the wall elevations of the room. This is a phase three exercise that will begin April 8.
The second phase of the design of your building is the most important. It is the phase that determines how sophisticated your design will be.
Tuesday, March 10, 2009
Monday, March 9, 2009
PHASE 2: Things to do: 03-24-09 Review
With AutoCAD:
- Roof Plan with site and outdoor area design; scale 1’:1/32”
- Floor Plans; scale 1’:1/8”
- One significant building Longitudinal Section with site-context; scale 1’:1/8”
- One significant building Transversal Section with site-context; scale 1’:1/8”
- Two main Elevations (N-S) with site-context; scale 1’:1/8”
- One section through one classroom, scale 1’:1/4”
- One section through one big space at your choice, scale 1’:1/4”
With 3DStudio, FormZ, Rhino, others:
- Rendered Axonometric views of the entire building with details of façades (Envelope). Pay attention to the conjunction of different elements, joints, materials.
- One Rendered Axonometric view of the entire building in light gray and the structural system in color;
- One Rendered Axonometric view of the entire building in light gray and the mechanical system in color (red and blue);
- Rendered light studies, light filtering solutions in one classroom.
Partial physical model of a significant portion of your building, representing envelope, structure, materials, in scale 1’:1/4”
Corrected Envelope 1 and 2, print in 18"x18" format
With AutoCAD:
- Roof Plan with site and outdoor area design; scale 1’:1/32”
- Floor Plans; scale 1’:1/8”
- One significant building Longitudinal Section with site-context; scale 1’:1/8”
- One significant building Transversal Section with site-context; scale 1’:1/8”
- Two main Elevations (N-S) with site-context; scale 1’:1/8”
- One section through one classroom, scale 1’:1/4”
- One section through one big space at your choice, scale 1’:1/4”
With 3DStudio, FormZ, Rhino, others:
- Rendered Axonometric views of the entire building with details of façades (Envelope). Pay attention to the conjunction of different elements, joints, materials.
- One Rendered Axonometric view of the entire building in light gray and the structural system in color;
- One Rendered Axonometric view of the entire building in light gray and the mechanical system in color (red and blue);
- Rendered light studies, light filtering solutions in one classroom.
Partial physical model of a significant portion of your building, representing envelope, structure, materials, in scale 1’:1/4”
Corrected Envelope 1 and 2, print in 18"x18" format
Friday, February 13, 2009
READING
Larry Speck, “Technology, sustainability and cultural identity”, Edizioni Press, NY, 2006.
Your Tectonic Theory is a narrative account of your value system as it applies to your building, independent of program—how does the building meet the sky, turn the corner, touch the ground—how does it reveal how it is configured and constructed.
In Technology, Sustainability, and Cultural Identity Larry Speck describes how he applies simple tectonic logic to the design of some of his award winning buildings. He also ties this logic to his larger set of values concerning ‘what architecture should do in the world’ and to the specifics of the programs engaged in each building. This is a rare instance where the architect has let us into his thought process and discussed the intellectual evolution of his architecture without the usual hype. It is a practical and anchored discussion.
As you read this book, please note that his thoughts are not divided into a series of steps; but rather, they flow gently through bundles of observations that freely mix technology, image, program, sustainability, site response, material selection and organization. This is why we chose this book. It is an excellent example of the type of design thinking that we want you to develop. Now that you have a firm foundation of the precincts of the design process, you are ready to artfully bi-associate them as you begin to construe your art/form/solution—delight/firmness/commodity.
In the chapter “Architecture, Globalization, and Local Identity” (p 10-29) Speck explores the relationship between architecture and its regional context. He relates this problem directly to the work of Kahn, Barragan, Aalto and Wright. He then relates these observations to four houses in Central Texas—materials p 18, orientation p 19, site and climate p 20, climate p 23, and site/sun/construction/materials p 28. Please have this chapter read and ready for discussion on 02-23-09.
In the chapter “A Broader View of Sustainability” (p 40-55) he makes the argument that sustainability is more an attitude than a movement and that it is appealing to a larger sense of responsibility than culture or fashion. He discusses his notion of sustainability p 41 and 42, site and light p 44 and 45, and technology and envelope on p 46 and 47. Please have this chapter read and ready for discussion on 02-25-09.
In the chapter “Technology as a Source of Beauty” (p 110-122) he discusses the central issue of this studio—the use and expression of technology in architecture. He begins talking about beauty and craft p 110 and 111. Then he talks about materials and structure p 112 and 113. He discusses technology, craft and material choice on p 114 and 115; and, he concludes the chapter with his discussion of the expansion of the Austin Convention Center and the way in which technology formed the basic architectural logic of the building. Thesis means ‘position’ in Greek. This is truly a built thesis. Please have this chapter read and ready for discussion on 02-27-09.
Larry Speck, “Technology, sustainability and cultural identity”, Edizioni Press, NY, 2006.
Your Tectonic Theory is a narrative account of your value system as it applies to your building, independent of program—how does the building meet the sky, turn the corner, touch the ground—how does it reveal how it is configured and constructed.
In Technology, Sustainability, and Cultural Identity Larry Speck describes how he applies simple tectonic logic to the design of some of his award winning buildings. He also ties this logic to his larger set of values concerning ‘what architecture should do in the world’ and to the specifics of the programs engaged in each building. This is a rare instance where the architect has let us into his thought process and discussed the intellectual evolution of his architecture without the usual hype. It is a practical and anchored discussion.
As you read this book, please note that his thoughts are not divided into a series of steps; but rather, they flow gently through bundles of observations that freely mix technology, image, program, sustainability, site response, material selection and organization. This is why we chose this book. It is an excellent example of the type of design thinking that we want you to develop. Now that you have a firm foundation of the precincts of the design process, you are ready to artfully bi-associate them as you begin to construe your art/form/solution—delight/firmness/commodity.
In the chapter “Architecture, Globalization, and Local Identity” (p 10-29) Speck explores the relationship between architecture and its regional context. He relates this problem directly to the work of Kahn, Barragan, Aalto and Wright. He then relates these observations to four houses in Central Texas—materials p 18, orientation p 19, site and climate p 20, climate p 23, and site/sun/construction/materials p 28. Please have this chapter read and ready for discussion on 02-23-09.
In the chapter “A Broader View of Sustainability” (p 40-55) he makes the argument that sustainability is more an attitude than a movement and that it is appealing to a larger sense of responsibility than culture or fashion. He discusses his notion of sustainability p 41 and 42, site and light p 44 and 45, and technology and envelope on p 46 and 47. Please have this chapter read and ready for discussion on 02-25-09.
In the chapter “Technology as a Source of Beauty” (p 110-122) he discusses the central issue of this studio—the use and expression of technology in architecture. He begins talking about beauty and craft p 110 and 111. Then he talks about materials and structure p 112 and 113. He discusses technology, craft and material choice on p 114 and 115; and, he concludes the chapter with his discussion of the expansion of the Austin Convention Center and the way in which technology formed the basic architectural logic of the building. Thesis means ‘position’ in Greek. This is truly a built thesis. Please have this chapter read and ready for discussion on 02-27-09.
Friday, February 6, 2009
ENVELOPE 2
The Envelope is an expression of the logic of configuration that governs the construction and the visual impression of your builidng.
The configuration of a building is an expression of value. It tells us how we intend to relate to the material and productive forces of the society in which the building is a part. It gives ‘public body’ to the craftspeople who make the building and the industries that supply the materials and assemblies of which it is constructed. Buildings are ‘fashioned’ in the sense that they are created out of raw materials that constitute their culture. Buildings are ‘fashioned’ in the sense that they are intimately a part of the visual culture of forms that circulate in their time. They are in this way an essential component of our ‘world of desire’—that is they are part of the fashion industry.
The essential wall section of a building is not always the typical wall section. The essential wall section is that section which speaks most clearly to the image of the building that you most ardently wish to convey. This is wall section is apt to be special in some particular way; yet, it must relate to the typical wall section of the building. They should appear as two members of the same family.
Your task for our meeting next Thursday will be to draw an exploded axonometric of your “special” wall section.
On an 18” x 18” panel artfully compose the axonometric so we feel that we understand directly how the building is constructed.
The Envelope is an expression of the logic of configuration that governs the construction and the visual impression of your builidng.
The configuration of a building is an expression of value. It tells us how we intend to relate to the material and productive forces of the society in which the building is a part. It gives ‘public body’ to the craftspeople who make the building and the industries that supply the materials and assemblies of which it is constructed. Buildings are ‘fashioned’ in the sense that they are created out of raw materials that constitute their culture. Buildings are ‘fashioned’ in the sense that they are intimately a part of the visual culture of forms that circulate in their time. They are in this way an essential component of our ‘world of desire’—that is they are part of the fashion industry.
The essential wall section of a building is not always the typical wall section. The essential wall section is that section which speaks most clearly to the image of the building that you most ardently wish to convey. This is wall section is apt to be special in some particular way; yet, it must relate to the typical wall section of the building. They should appear as two members of the same family.
Your task for our meeting next Thursday will be to draw an exploded axonometric of your “special” wall section.
On an 18” x 18” panel artfully compose the axonometric so we feel that we understand directly how the building is constructed.
ENVELOPE 1
The Envelope is an essential part of the schematic image of the building.
The Greek word techne reflects the quality of an object to embody and depict the method by which it has been fashioned. The paradigm for Greek architecture was sculpture so this affection for the quality of a process to be embedded in a form seemed immediately logical. Early modern architecture acquired a similar sense of “transparency” with its concern for the honest use of materials—Ruskin, Violet le Duc, Behrens. Twentieth century architecture turned this candid approach to materiality into a new formal language—Wright, le Corbusier, Kahn. Late modernists exploited the idea that architecture could use more active metaphorical references—the machine, the factory, the computer—that valorized a transparent use of materials and assemblies. The conceptual logic of techne continues to influence the way we configure aspects of our architecture, particularly the envelope.
What you see is what you get. Lou Kahn said, “Ornament is the avocation of the joint”. It is not possible, for example, to ignore the physical realities of a veneer wall. It must be jointed and the visual placement of the joints affects the compositional strategies of the façade. The material and assembly configuration of the wall system determines what your building will look like. The elevation, the wall section and the plan relationship of the constituent parts of the envelope are intimately related. We will explore these relationships with two exercises, due next week, that will raise specific issues relative to how we want the building to appear and how we want the building to be built.
Your task for our meeting next Tuesday will be to layout the basic details of the envelope of your building—a plan detail at 1 ½” = 1’-0”, a projected axonometric wall section at 1” = 1’-0”, and a partial elevation drawn at ½” = 1’-0”. The plan detail must be at a corner of the building and it must cut through some glazing. It determines the basic relationship of the glazing to the envelope material. The wall section should be cut through the roof and glazing. It should be drawn in axonometric and ‘projected’ back to show how the envelope material continues past the glazing. This determines the essential lines that make up the elevation of your building. The partial elevation should be carefully drawn to include all of the ‘lines’ of construction as they would be seen when looking at the building. Each line of the elevation should respond to a line revealed in the other two drawings.
On an 18” x 18” panel artfully compose the three drawings so they begin to tell us how the envelope of the building is configured. As these are really three aspects of the same thing the drawings should overlap and engage each other.
The Envelope is an essential part of the schematic image of the building.
The Greek word techne reflects the quality of an object to embody and depict the method by which it has been fashioned. The paradigm for Greek architecture was sculpture so this affection for the quality of a process to be embedded in a form seemed immediately logical. Early modern architecture acquired a similar sense of “transparency” with its concern for the honest use of materials—Ruskin, Violet le Duc, Behrens. Twentieth century architecture turned this candid approach to materiality into a new formal language—Wright, le Corbusier, Kahn. Late modernists exploited the idea that architecture could use more active metaphorical references—the machine, the factory, the computer—that valorized a transparent use of materials and assemblies. The conceptual logic of techne continues to influence the way we configure aspects of our architecture, particularly the envelope.
What you see is what you get. Lou Kahn said, “Ornament is the avocation of the joint”. It is not possible, for example, to ignore the physical realities of a veneer wall. It must be jointed and the visual placement of the joints affects the compositional strategies of the façade. The material and assembly configuration of the wall system determines what your building will look like. The elevation, the wall section and the plan relationship of the constituent parts of the envelope are intimately related. We will explore these relationships with two exercises, due next week, that will raise specific issues relative to how we want the building to appear and how we want the building to be built.
Your task for our meeting next Tuesday will be to layout the basic details of the envelope of your building—a plan detail at 1 ½” = 1’-0”, a projected axonometric wall section at 1” = 1’-0”, and a partial elevation drawn at ½” = 1’-0”. The plan detail must be at a corner of the building and it must cut through some glazing. It determines the basic relationship of the glazing to the envelope material. The wall section should be cut through the roof and glazing. It should be drawn in axonometric and ‘projected’ back to show how the envelope material continues past the glazing. This determines the essential lines that make up the elevation of your building. The partial elevation should be carefully drawn to include all of the ‘lines’ of construction as they would be seen when looking at the building. Each line of the elevation should respond to a line revealed in the other two drawings.
On an 18” x 18” panel artfully compose the three drawings so they begin to tell us how the envelope of the building is configured. As these are really three aspects of the same thing the drawings should overlap and engage each other.
Tuesday, February 3, 2009
The Mechanical System is an essential part of the schematic understanding of the building.
The solution to air quality and air conditioning must occur during the initial schematic proposals not as an addition to the basic scheme. The location of essential equipment and the strategy for circulating fresh air have an impact on the organization of rooms and the allotment of space to each room. Mechanical noise and unsightly appearance of equipment can also affect the logic and execution of the “form/solution”—the schematic solution to the problem.
Many older schools built after WWII have ceiling mounted air handling units that heat, cool and blow conditioned air around the classroom. Larger spaces had roof top units that were self contained. The inefficiency of so many units seems obvious; however, for long linear buildings with lots of exterior wall surface they were somewhat energy efficient because each room could be controlled for its individual exposure. Sometimes one could link all of the units together with a water circulating system and literally pump heat from the ‘sun’ side of the building to the other side. These systems had to change dramatically when fresh air standards for schools were drastically increased. In order to reduce the spread to illness and to respond to studies that determined that fresh air was essential for a quality education, the ability to fully ‘change’ the air in a room frequently became a requirement.
The fresh air requirement changed the mechanical system from a decentralized one to a centralized one. This means that we need to intake fairly large amounts of outside air, filler it, blow it across coils with either heated or chilled water in them, circulate it to conditioned spaces and exhaust it. In other words throughout the building there will be ductwork that may be exposed or concealed. There will be an intake area that should not be at the most public part of the building. There must be room for a heat exchanger, like a cooling tower, to generate chilled water and there must be room for a boiler to generate hot water. There must be a fan and coil unit; but, this may be centralized or at individual spaces. And, there must be a place to exhaust the old air.
Your task for our next meeting will be to layout a conceptual mechanical system that includes all of the above. It must be laid out in axonometric form roughly to the axonometric of the schematic plan of your building. We used to use this document to explain our desires to our engineer and our client. It was useful in both cases because the strategy used always had an impact on the quality of the schematic solution. Lay this out on an 18 x 18 square.
technology
The technology requirements of the studio will include artfully developed details in five areas: sustainability—specific concerns regarding the control of natural light and water, structural systems—specific concerns regarding the space defining qualities of the integrated system, mechanical systems—specific concerns regarding energy efficiency, envelope systems—specific concerns regarding figuration and detail, and interior systems—specific concerns regarding the celebration and meter of finish materials. We will present a series of technical assignments that are to be completed as the design assignments are addressed. In many cases the technical assignments will have a limited immediate application to the larger design issues addressed at the same time; but, as we enter the next phase of design we will see that adjacent issues will become fundamental.
1
During the first phase of design we want to explore the way in which light can be controlled from two cardinal positions using a light box to explore the filtering and directing of natural light from each direction.
We also want to build a ‘library’ of contemporary precedents that use a steel structural system to define space and support the building. We need to understand how the system resists lateral load, how it connects to the wall envelope system and how it can be used to define architectural space.
The fresh air requirements of a school are substantial. This means that the mechanical system must take in, filter, treat, circulate and filter an enormous amount of air. We will begin our thought process with a conceptual axon that shows the vital steps in this sequence. What equipment will be required; where should it be placed; and how much of it is visible?
Envelope systems represent the most important advances in architectural technology of this decade. Precedent studies that include a partial elevation, a projected wall section and a plan detail of the corner will help us chose appropriate envelope systems for our building. The first phase presentation will require a ‘proposed’ exploded axon that shows how the envelope and its glazing system interact.
Setting goals for interior systems is essential from the beginning. How would you characterize the most important public spaces of your building? What kind of materials will help you realize these goals? Can you find examples of buildings that have spaces that are good precedents for your space? You will be asked to present how the materials that define the space are detailed. If it helps, consider the following: floor, ceiling, cabinets, doors and stairs. Find examples of each and describe them in words.
2
In the second phase we will ask that sustainability be addressed at first with specific diagrams that are followed up with details, which specifically address how the sustainability concepts are achieved technically.
The structural system will be modeled at the bay level, physically, in a manner that requires each piece to be fabricated by hand. For the review of the second phase a digital axon of the structural system will be required.
After the bay model has been completed it will be necessary to install the relevant piece of the mechanical system. For the review of the second phase a digital axon of the HVAC system will be required.
The envelope system determines how the building looks—its character and composition. The envelope will be added to the physical bay model and the digital model of the building. The specific details of the envelope system will be investigated at a larger scale both digitally and physically.
The interior systems of two public spaces will have to be carefully developed. Schematic details of the cabinets, doors, stairs and lighting will be required for the second presentation.
3
Final, third phase technical requirements will be determined after the second phase presentation.
Subscribe to:
Posts (Atom)