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.
Tuesday, January 13, 2009
ASSIGNMENT 1.2: Diagramming the site
You will focus on your specific site’s characteristics.
You should particularly concentrate in:
- Analysis of nearby buildings: lot info, front dimensions, deep dimension, number of floors, heights, use.
- Analysis of vacant spaces or vacant lots.
- Analysis of courtyards, open private spaces within the buildings in the nearby blocks.
- Analysis of public open spaces, parks, green areas, playgrounds, parkings.
- Analysis of infrastructural systems, circulation systems.
- Analysis of commercial developments.
- Demographic, economical, social conditions.
References
http://www.lubbockisd.org/DistrictInfo/SchoolLocators/AttendZones08-09.pdf
http://planning.ci.lubbock.tx.us/pdf/books/LbkArchHeritage.pdf
http://www.lubbockisd.org/DistrictInfo/SchoolLocators/DistrictMap.htm
http://planning.ci.lubbock.tx.us/images/maps/
http://planning.ci.lubbock.tx.us/pdf/Neighborhoods.pdf
http://www.lubbockisd.org
http://www.lubbockschools.com/data/
http://www.publicschoolreview.com
GOOGLE MAPS-STREET VIEW-AERIAL VIEW
You should represent 3 diagrams, related to the project-site.
Each diagram should uses digital or analog modeling techniques. Illustrate sequences and moments of each diagram. Apply operations of 3D extrusions; conceive your final diagrams as they are related to spatial issues. Explain through your favorite media each diagram’s process.
Read the site graphically in a creative way, but concentrate on urban elements. You can be more conceptual or analyze real conditions. Translate different site conditions into tridimensional intuitions with spatial qualities.
Your site diagrams will be one of the generators of your building spaces.
The 3 diagrams will be printed in 3 color-pages of size 11x17.
Analysis Example: Existing buildings
Before conceiving any diagram, you need first to research on specific conditions, elements, presences, characteristics, etc.
- Your research could focus on the analysis (transformations over time, traces of the past) of historical buildings, or on the analysis of exceptional buildings, in the projects’ block or nearby.
- You should focus on general dimensions of the buildings, on floor height (analyze the façade), on depth and width, on openings, on volumes composition, and how they are related to other adjacent buildings in the same block, structurally, functionally, formally.
- Scale, materiality, quality of light and air, are just some of the issues you should be involved within your explorations.
Narrate your site analysis through 3 diagrams exploring 3 site conditions.
Readings list
See how to analyze cities through diagrams in the following suggested books:
Rem Koolhaas, “SMLXL”
Ben van Berkel, Caroline Bos, “MOVE”
MVRDV, “Metacity, Metatown” and/or “FARMAX”
Digital Files
Save your final 3 pages into the digital folder called : visualLBB
Collect all information, images, texts, materials, and more you will use for this assignment into this folder.
Due on Wed, Jan. 21 Class pin-up
You will focus on your specific site’s characteristics.
You should particularly concentrate in:
- Analysis of nearby buildings: lot info, front dimensions, deep dimension, number of floors, heights, use.
- Analysis of vacant spaces or vacant lots.
- Analysis of courtyards, open private spaces within the buildings in the nearby blocks.
- Analysis of public open spaces, parks, green areas, playgrounds, parkings.
- Analysis of infrastructural systems, circulation systems.
- Analysis of commercial developments.
- Demographic, economical, social conditions.
References
http://www.lubbockisd.org/DistrictInfo/SchoolLocators/AttendZones08-09.pdf
http://planning.ci.lubbock.tx.us/pdf/books/LbkArchHeritage.pdf
http://www.lubbockisd.org/DistrictInfo/SchoolLocators/DistrictMap.htm
http://planning.ci.lubbock.tx.us/images/maps/
http://planning.ci.lubbock.tx.us/pdf/Neighborhoods.pdf
http://www.lubbockisd.org
http://www.lubbockschools.com/data/
http://www.publicschoolreview.com
GOOGLE MAPS-STREET VIEW-AERIAL VIEW
You should represent 3 diagrams, related to the project-site.
Each diagram should uses digital or analog modeling techniques. Illustrate sequences and moments of each diagram. Apply operations of 3D extrusions; conceive your final diagrams as they are related to spatial issues. Explain through your favorite media each diagram’s process.
Read the site graphically in a creative way, but concentrate on urban elements. You can be more conceptual or analyze real conditions. Translate different site conditions into tridimensional intuitions with spatial qualities.
Your site diagrams will be one of the generators of your building spaces.
The 3 diagrams will be printed in 3 color-pages of size 11x17.
Analysis Example: Existing buildings
Before conceiving any diagram, you need first to research on specific conditions, elements, presences, characteristics, etc.
- Your research could focus on the analysis (transformations over time, traces of the past) of historical buildings, or on the analysis of exceptional buildings, in the projects’ block or nearby.
- You should focus on general dimensions of the buildings, on floor height (analyze the façade), on depth and width, on openings, on volumes composition, and how they are related to other adjacent buildings in the same block, structurally, functionally, formally.
- Scale, materiality, quality of light and air, are just some of the issues you should be involved within your explorations.
Narrate your site analysis through 3 diagrams exploring 3 site conditions.
Readings list
See how to analyze cities through diagrams in the following suggested books:
Rem Koolhaas, “SMLXL”
Ben van Berkel, Caroline Bos, “MOVE”
MVRDV, “Metacity, Metatown” and/or “FARMAX”
Digital Files
Save your final 3 pages into the digital folder called : visualLBB
Collect all information, images, texts, materials, and more you will use for this assignment into this folder.
Due on Wed, Jan. 21 Class pin-up
PHASE 1: EXPLORATIONS
ASSIGNMENT 1.1: Diagramming the city
The first phase of design will be involved with the overall schematic and conceptual development of your project.
The diagram is the beginning, is the key drawing that contains the entire project. The diagram expresses the idea of the project precisely. We will try to understand what a diagram is, working on a conceptual reading of the project-site and analyzing real conditions in a creative way.
Start to get familiar with the city of Lubbock analyzing its territory. Particularly, you should focus on the conditions and urban elements in your site proximity.
References
http://planning.ci.lubbock.tx.us
http://planning.ci.lubbock.tx.us/pdf/books/LbkArchHeritage.pdf
http://planning.ci.lubbock.tx.us/pdf/CityGoals/21stCent.pdf
http://planning.ci.lubbock.tx.us/maps.aspx
http://planning.ci.lubbock.tx.us/plans.aspx
http://planning.ci.lubbock.tx.us/DemoNEco/demoEco.aspx
http://planning.ci.lubbock.tx.us/pdf/Neighborhoods/AllNeighborhoods.pdf
http://planning.ci.lubbock.tx.us/pdf/LandusePlan1975-1986.pdf
http://planning.ci.lubbock.tx.us/images/1984Map.jpg
http://planning.ci.lubbock.tx.us/images/compAnnex.jpg
http://planning.ci.lubbock.tx.us/pdf/ZoningOrdinanceAug2005.pdf
http://codes.franklinlegal.net/lubbock-flp/
Choose and explore the following conditions in the chosen neighborhood in relationship with adjacent areas:
• City grid, districts, circulation north-south-east-west systems, street-systems, important public buildings, horizontal voids, vertical voids, hierarchy of infrastructural systems, vertical and horizontal connections, access-exit to the site, paths of specific destinations, existing green spaces, congestion, densification, rarefaction, events, programmatic bands-stripes, layering of activities or of traces, people flow, cars flow, movement, in different hours, during the day, at night, courtyards, open spaces, residual islands, images, brands, signs, advertising, water, views, night life, day life, entertainment, attractions, shopping…etc.
• People flow: movement, walking, shopping, working, leisure, any activity or dynamics….
• Spaces: interiors, inside, protected, hidden, big, small, dark, bright, old, new….
• Spaces: exteriors, outdoors, open, covered, empty, full, rare, dense…
• Buildings: façade, structures, components, presence, materials, adjacency, verticality, horizontality…
• Feel free to add and discover other conditions in the chosen neighborhoods.
Compose and print your research on a total of 6 (six) pages in 11”x17” format.
Represent your research using:
• Collage of images, pictures, detailed images, 2Ddrawings, simple given diagrams, simple mapping drawings, or any visual technique that could be useful to represent a city condition.
• Add some explanatory captions, short text or titles if necessary.
• Pages Layout is at your choice.
Save your final 6 pages into a digital folder called: visualLBB
Collect all information, images, texts, materials, and more you will use for this assignment into this folder.
Due on Fri, Jan. 16 Class pin-up
ASSIGNMENT 1.1: Diagramming the city
The first phase of design will be involved with the overall schematic and conceptual development of your project.
The diagram is the beginning, is the key drawing that contains the entire project. The diagram expresses the idea of the project precisely. We will try to understand what a diagram is, working on a conceptual reading of the project-site and analyzing real conditions in a creative way.
Start to get familiar with the city of Lubbock analyzing its territory. Particularly, you should focus on the conditions and urban elements in your site proximity.
References
http://planning.ci.lubbock.tx.us
http://planning.ci.lubbock.tx.us/pdf/books/LbkArchHeritage.pdf
http://planning.ci.lubbock.tx.us/pdf/CityGoals/21stCent.pdf
http://planning.ci.lubbock.tx.us/maps.aspx
http://planning.ci.lubbock.tx.us/plans.aspx
http://planning.ci.lubbock.tx.us/DemoNEco/demoEco.aspx
http://planning.ci.lubbock.tx.us/pdf/Neighborhoods/AllNeighborhoods.pdf
http://planning.ci.lubbock.tx.us/pdf/LandusePlan1975-1986.pdf
http://planning.ci.lubbock.tx.us/images/1984Map.jpg
http://planning.ci.lubbock.tx.us/images/compAnnex.jpg
http://planning.ci.lubbock.tx.us/pdf/ZoningOrdinanceAug2005.pdf
http://codes.franklinlegal.net/lubbock-flp/
Choose and explore the following conditions in the chosen neighborhood in relationship with adjacent areas:
• City grid, districts, circulation north-south-east-west systems, street-systems, important public buildings, horizontal voids, vertical voids, hierarchy of infrastructural systems, vertical and horizontal connections, access-exit to the site, paths of specific destinations, existing green spaces, congestion, densification, rarefaction, events, programmatic bands-stripes, layering of activities or of traces, people flow, cars flow, movement, in different hours, during the day, at night, courtyards, open spaces, residual islands, images, brands, signs, advertising, water, views, night life, day life, entertainment, attractions, shopping…etc.
• People flow: movement, walking, shopping, working, leisure, any activity or dynamics….
• Spaces: interiors, inside, protected, hidden, big, small, dark, bright, old, new….
• Spaces: exteriors, outdoors, open, covered, empty, full, rare, dense…
• Buildings: façade, structures, components, presence, materials, adjacency, verticality, horizontality…
• Feel free to add and discover other conditions in the chosen neighborhoods.
Compose and print your research on a total of 6 (six) pages in 11”x17” format.
Represent your research using:
• Collage of images, pictures, detailed images, 2Ddrawings, simple given diagrams, simple mapping drawings, or any visual technique that could be useful to represent a city condition.
• Add some explanatory captions, short text or titles if necessary.
• Pages Layout is at your choice.
Save your final 6 pages into a digital folder called: visualLBB
Collect all information, images, texts, materials, and more you will use for this assignment into this folder.
Due on Fri, Jan. 16 Class pin-up
STUDIO STATEMENT
This Studio has the intent to produce a comprehensive architectural project for the design of a school for the 21st century that critically examines life cycle and proposes innovative solutions in steel. The challenge will be the ACSA/AISC 2008-2009 Steel Design Student Competition: “…architects should consider the life cycle while designing buildings so that they may be adaptable, flexible, and offer change. Buildings of the 21st century need to be designed and built to accommodate varied life times, disassembly, deconstruction, reuse, prefabrication, and temporary structures.” (Competition Brief).
SITE
The site for the competition should foster a dialogue in its community regarding the current state and future of school design and construction. It should have access from a myriad of transportation options, be accessible on foot, and be safe. In addition, outdoor recreation, access to natural air and sunlight is important for children and should be considered in the development of the project.
Perbellini Studio Site: 2807 25th Street (Roscoe Wilson Elementary School);
White Studio Site: 100th Street to 102nd Street, between Frankford and Fulton Ave.
PROGRAM REQUIREMENTS
The designs but must be for an elementary school that accommodates at least K-5 grade years.
In addition, buildings need to be used more than just during the day. Twenty-four hour use cycle that offer more than one purpose will serve the larger community through varied programs morning, afternoon and evening.
This competition will provide a much needed theoretical and practical education in resilient school design.
You will follow the “Elementary school space allocation guide” of the competition brief. This data is a speculative space allocation based on precedents.
The data should be seen as a beginning to understanding fundamental space uses in a school.
Together with your studio master, the program may be elaborated, modified, combined based on the concepts of the design regarding life cycle assessment.
CODE INFORMATION
Refer to the International Building Code and the Lubbock Zoning Ordinance for information on parking requirements, height restrictions, set-backs, easements, flood, egress, and fire containment.
CONSTRUCTION TYPE
The design must be conceived in structural steel construction. A strategy should be considered that evaluates a method for taking advantage of steel’s properties and characteristics in order to conceptualize and propose a critical evaluation of the life cycle of an elementary school.
This project will allow you to explore many varied functional and aesthetic uses for steel as an ideal building material because it offers a high strength to weight ratio and can be designed as a kit of part or prefabricated to allow for quicker construction time, thus reducing the cost of construction. Schools constructed in steel are more flexible and adaptable to allow for diversity of uses over the life of the facility.
READINGS LIST
The American Institute of Architects, Rush, Richard D., Ed; THE BUILDISNGS SYSTEMS INTEGRATION HANDBOOK. New York: John Wiley and Sons, 1986
Birkstead, Jan, Ed: RELATING ARCHJITECTURE TO LANDSCAPE. New York: Routledge, 1999
Clark, Roger H.; Pause, Michael; PRECEDENTS IN ARCHITECTURE, Analytical Diagrams, Formative Ideas, and Partis, 3rd Edition; Hoboken, New Jersey: John Wiley and Sons, 2005
Glass, Jacqueline; ENCYCLOPEDIA OF ARCHITECTURAL TECHNOLOGY. Chichester, West Sussex, UK: Wiley/Academy, John Wiley and Sons, 2002
Guise, David; DESIGN AND TECHNOLOGY IN ARCHITECTURE. New York: John Wiley and Sons, 1985
Hendricks, Julie; Malarkey, Brian: THE KIRKSEY GUIDE TO A GREEN FACILITY. Houston: Kirksey Architecture, 2006
Kieran, Stephen; Timberlake, James: REFABRICATING ARCHITECTURE. New York: McGraw-Hill, 2004
Killory, Christine; Davids, Rene; DETAILS IN CONTEMPORARY ARCHITECTURE. New York: As Built, Princeton Architectural Press, 2007
Moore, Fuller: CONCEPTS AND PRACTICE OF ARCHITECTURAL DAYLIGHTING. New York: Van Nostrand Reinhold, 1991
Moorhead, Stephen, Ed; LANDSCAPE ARCHITECTURE. Gloucester, Massachusetts: Rockport Publishers, Inc., 1997
Fernandez, John, MATERIAL ARCHITECTURE: emergent materials for innovative and ecological construction, Architectural Press 2006, Chapter 2: time and materials, pg.31-74;
Kieran and Timberlake, REFABRICATING ARCHITECTURE: how manufacturing methodologies are poised to transform building construction, McGraw Hill 2004.
Perbellini Studio Notes
Studio: Room 608, Architecture Building
Office: Room 405, Architecture Building
Phone: 806 742 3136 x229
Email: maria.perbellini@ttu.edu
Office hours: MT 10.00-11.30am
White Studio Notes
Studio: Room 606, Architecture Building
Office: Room 1008 E, Architecture Building
Phone: 806 742 3136 x257
Email: John.white@ttu.edu
Office hours: MW 9.30-11.00am
Andrew Vernooy Notes
Studio: Room 606, 608, Architecture Building
Office: Room 1005, Architecture Building
Phone: 806 742 3136
Email: andrew.vernooy@ttu.edu
Assignments, readings, web-sites, digital-info
A list of assignments, links, books, articles, references, web-materials, images, lectures, comments and communications will be posted on the studio blog.
Studio Blog
http://www.5901perbellini.blogspot.com
http://www.5901white.blogspot.com
Journal
Each student must keep a personal journal updated and nurtured every day with notes, sketches, and writings.
Digital portfolio
Every student is responsible for his/her own digital portfolio on CD/DVD including the work of the entire semester. Each phase must be well organized in ordered folders and sub-folders. Constant up-dates and regular back-ups of your files is necessary.
See Course Syllabus for descriptions, goals, methods, and requirements.
This Studio has the intent to produce a comprehensive architectural project for the design of a school for the 21st century that critically examines life cycle and proposes innovative solutions in steel. The challenge will be the ACSA/AISC 2008-2009 Steel Design Student Competition: “…architects should consider the life cycle while designing buildings so that they may be adaptable, flexible, and offer change. Buildings of the 21st century need to be designed and built to accommodate varied life times, disassembly, deconstruction, reuse, prefabrication, and temporary structures.” (Competition Brief).
SITE
The site for the competition should foster a dialogue in its community regarding the current state and future of school design and construction. It should have access from a myriad of transportation options, be accessible on foot, and be safe. In addition, outdoor recreation, access to natural air and sunlight is important for children and should be considered in the development of the project.
Perbellini Studio Site: 2807 25th Street (Roscoe Wilson Elementary School);
White Studio Site: 100th Street to 102nd Street, between Frankford and Fulton Ave.
PROGRAM REQUIREMENTS
The designs but must be for an elementary school that accommodates at least K-5 grade years.
In addition, buildings need to be used more than just during the day. Twenty-four hour use cycle that offer more than one purpose will serve the larger community through varied programs morning, afternoon and evening.
This competition will provide a much needed theoretical and practical education in resilient school design.
You will follow the “Elementary school space allocation guide” of the competition brief. This data is a speculative space allocation based on precedents.
The data should be seen as a beginning to understanding fundamental space uses in a school.
Together with your studio master, the program may be elaborated, modified, combined based on the concepts of the design regarding life cycle assessment.
CODE INFORMATION
Refer to the International Building Code and the Lubbock Zoning Ordinance for information on parking requirements, height restrictions, set-backs, easements, flood, egress, and fire containment.
CONSTRUCTION TYPE
The design must be conceived in structural steel construction. A strategy should be considered that evaluates a method for taking advantage of steel’s properties and characteristics in order to conceptualize and propose a critical evaluation of the life cycle of an elementary school.
This project will allow you to explore many varied functional and aesthetic uses for steel as an ideal building material because it offers a high strength to weight ratio and can be designed as a kit of part or prefabricated to allow for quicker construction time, thus reducing the cost of construction. Schools constructed in steel are more flexible and adaptable to allow for diversity of uses over the life of the facility.
READINGS LIST
The American Institute of Architects, Rush, Richard D., Ed; THE BUILDISNGS SYSTEMS INTEGRATION HANDBOOK. New York: John Wiley and Sons, 1986
Birkstead, Jan, Ed: RELATING ARCHJITECTURE TO LANDSCAPE. New York: Routledge, 1999
Clark, Roger H.; Pause, Michael; PRECEDENTS IN ARCHITECTURE, Analytical Diagrams, Formative Ideas, and Partis, 3rd Edition; Hoboken, New Jersey: John Wiley and Sons, 2005
Glass, Jacqueline; ENCYCLOPEDIA OF ARCHITECTURAL TECHNOLOGY. Chichester, West Sussex, UK: Wiley/Academy, John Wiley and Sons, 2002
Guise, David; DESIGN AND TECHNOLOGY IN ARCHITECTURE. New York: John Wiley and Sons, 1985
Hendricks, Julie; Malarkey, Brian: THE KIRKSEY GUIDE TO A GREEN FACILITY. Houston: Kirksey Architecture, 2006
Kieran, Stephen; Timberlake, James: REFABRICATING ARCHITECTURE. New York: McGraw-Hill, 2004
Killory, Christine; Davids, Rene; DETAILS IN CONTEMPORARY ARCHITECTURE. New York: As Built, Princeton Architectural Press, 2007
Moore, Fuller: CONCEPTS AND PRACTICE OF ARCHITECTURAL DAYLIGHTING. New York: Van Nostrand Reinhold, 1991
Moorhead, Stephen, Ed; LANDSCAPE ARCHITECTURE. Gloucester, Massachusetts: Rockport Publishers, Inc., 1997
Fernandez, John, MATERIAL ARCHITECTURE: emergent materials for innovative and ecological construction, Architectural Press 2006, Chapter 2: time and materials, pg.31-74;
Kieran and Timberlake, REFABRICATING ARCHITECTURE: how manufacturing methodologies are poised to transform building construction, McGraw Hill 2004.
Perbellini Studio Notes
Studio: Room 608, Architecture Building
Office: Room 405, Architecture Building
Phone: 806 742 3136 x229
Email: maria.perbellini@ttu.edu
Office hours: MT 10.00-11.30am
White Studio Notes
Studio: Room 606, Architecture Building
Office: Room 1008 E, Architecture Building
Phone: 806 742 3136 x257
Email: John.white@ttu.edu
Office hours: MW 9.30-11.00am
Andrew Vernooy Notes
Studio: Room 606, 608, Architecture Building
Office: Room 1005, Architecture Building
Phone: 806 742 3136
Email: andrew.vernooy@ttu.edu
Assignments, readings, web-sites, digital-info
A list of assignments, links, books, articles, references, web-materials, images, lectures, comments and communications will be posted on the studio blog.
Studio Blog
http://www.5901perbellini.blogspot.com
http://www.5901white.blogspot.com
Journal
Each student must keep a personal journal updated and nurtured every day with notes, sketches, and writings.
Digital portfolio
Every student is responsible for his/her own digital portfolio on CD/DVD including the work of the entire semester. Each phase must be well organized in ordered folders and sub-folders. Constant up-dates and regular back-ups of your files is necessary.
See Course Syllabus for descriptions, goals, methods, and requirements.
INTRODUCTORY EXERCISE
What game shall we play?
You will analyze children’s ludic activities, or/and children’s actions, potentialities and instruments with an aptitude toward play.
Play implies the choice of a field, rules and a framework, but also the idea of expansion and change without limitations. A game can be different plays; can be related to an evanescent, virtual space (video-games, online-games) or to a real, known surrounding space (hide-and-seek), or to an unpredictable space. Games extend into physical space that is permeated by devices, sensors, information technologies.
Choose your favorite playing situation, game or ludic activity. Particularly, you will focus on the following components:
- Creativity, fantasy, luck, competition, excellence, pleasure, imagination, safety, scenarios and situations, dynamics, movement, stimulation of emotions, illusion, magic, ambiguity, spatial relationships, ability, rules, fictions, freedom towards experience, adventure and narration.
You should explore forms of relationships between the real or the conceptual space of play and the special role of the player/players.
Process
Compose an assembly of 8 ½ x 11” images, combined with digital or hand drawings/sketches, and /or diagrams representing the narrative of your selected play/game/ludic activities.
Mount your process of visual mapping on a horizontal cheap-board stripe, max length 36” (3 ft), max height 11”.
Use colors only in selected areas/zones/parts, to emphasize a concept running through the entire stripe.
You must also apply the following manipulations to selected parts of the images/drawings/diagrams: cutting, layering, overlapping, folding, and bending.
The resulting narrative should have a 3D graphical and physical result.
References
Alberto Iacovoni, Game Zone, IT Revolution series, Birkhauser, 2004
Steffen P. Walz, Space Time Play. Computer games, Architecture and Urbanism: the next level, Birkhauser 2007
www.playbe.com
www.spacetimeplay.org
www.gigglepotz.com/kidsworld.htm
www.pbskids.com
www.webkinz.com
www.kids.nationalgeographic.com
Fields of interests: playground activities, toys, books, music, arts, stories, media, electronics, etc.
Due Tuesday, Jan 13
Class pin-up
What game shall we play?
You will analyze children’s ludic activities, or/and children’s actions, potentialities and instruments with an aptitude toward play.
Play implies the choice of a field, rules and a framework, but also the idea of expansion and change without limitations. A game can be different plays; can be related to an evanescent, virtual space (video-games, online-games) or to a real, known surrounding space (hide-and-seek), or to an unpredictable space. Games extend into physical space that is permeated by devices, sensors, information technologies.
Choose your favorite playing situation, game or ludic activity. Particularly, you will focus on the following components:
- Creativity, fantasy, luck, competition, excellence, pleasure, imagination, safety, scenarios and situations, dynamics, movement, stimulation of emotions, illusion, magic, ambiguity, spatial relationships, ability, rules, fictions, freedom towards experience, adventure and narration.
You should explore forms of relationships between the real or the conceptual space of play and the special role of the player/players.
Process
Compose an assembly of 8 ½ x 11” images, combined with digital or hand drawings/sketches, and /or diagrams representing the narrative of your selected play/game/ludic activities.
Mount your process of visual mapping on a horizontal cheap-board stripe, max length 36” (3 ft), max height 11”.
Use colors only in selected areas/zones/parts, to emphasize a concept running through the entire stripe.
You must also apply the following manipulations to selected parts of the images/drawings/diagrams: cutting, layering, overlapping, folding, and bending.
The resulting narrative should have a 3D graphical and physical result.
References
Alberto Iacovoni, Game Zone, IT Revolution series, Birkhauser, 2004
Steffen P. Walz, Space Time Play. Computer games, Architecture and Urbanism: the next level, Birkhauser 2007
www.playbe.com
www.spacetimeplay.org
www.gigglepotz.com/kidsworld.htm
www.pbskids.com
www.webkinz.com
www.kids.nationalgeographic.com
Fields of interests: playground activities, toys, books, music, arts, stories, media, electronics, etc.
Due Tuesday, Jan 13
Class pin-up
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