project 3a. home-ranging: vertical hometown - phase I
So much preoccupied by the aesthetic value of pleasure, architects have repeatedly manifested the importance of play in the production of beauty, often creating controversial phenomena of painful play. Centre Point proudly advertises the cycle of creation and recreation, yet in an underdeveloped sense of modernism. Now, the built environment is the site to hatch a cocoon/cockpit. Your logic of habitation, still premature, undergoes a series of metamorphoses/transformations. The energy of growth slowly turns Centre Point into a playful place to live in. Your colleagues flock to the incomplete environment where all together play to work to play to shape a vertical hometown.
week 18. (Jan. 19)
drawing: exploded axonometric of pod
- catalogue (separate the components of pod and identify what each component is and does)
site analysis
-horizontal and vertical analysis of Centrepoint premise - context
week 19. (Jan. 25)
visual brief (four graphic statements in separate sheets)
1. profile
- characterise architects, who they are and what they do, based on your interest
- collage or drawing
2. programme - categorise programmes you provide based on 1 (what architects do)
- diagram of their activities and programmes
3. user group size - critical proposition on the size of architects’ community
- diagram - represent your proposition visually
4. area - critical proposition on the size of each programme based on 1, 2, 3
- diagram - represent your proposition visually
week 20. (Feb. 2)
catalogue: pod components - each component on one sheet of paper (min. A3)
- transform each component of pod considering the following:
1. week 18, 19 tasks
2. location to plant the component in the Centrepoint and its size (spatial/volumic growth)
3. forms
- Geometry - linear, curved, faceted
- System - types and variations
- Pattern - repetitive, fractal or graduated
- Facade - materials and manufacturing
week 21. (Feb. 9)
week 22. (Feb. 16)
week 23. (Feb. 23)
week 24. (Mar. 2)
week 25. (Mar. 9)
week 26. (Mar. 16)
crit
week 27. (Mar. 23)
crit
Saturday, January 30, 2010
Thursday, December 3, 2009
Task - 3 Home-thrusting
workshop: landscape of escape
An entrance takes shape in the pride of architectural design, while an exit does in the mere excuse of building codes or may feature the negative side of an access. An exit hardly fosters a habit. But it brings about an unhomely condition, when engaged in consciously. Highrises due to verticality sometimes, particularly at accidents, unfold the familiar, homely, almost subconsciously acknowledged scene of leaving into a much desperate form of flight. We are reconfiguring the urban phenomenon by equipping two existing towers with new exits and choreographing an enjoyable means of way-out.
term: 6 ½-day (14 Nov. - 20 Nov.)
venue: Architecture Dep. American Univ.
participants: 4 groups (Greenwich Univ. + American Univ.)
coordinator: Mohamed Daljubori
tutors: Tea Lim, Taeyoung Kim
critics: Tea Lim, Taeyoung Kim, Mohamed Daljubori
sponsor: Campbell Reith Hill International
design: a network of exits with a specific programme
site: ½ of Al Thurraya in Dubai + ½ of Centre Point (London), including each context
preparatory work:reading the information inc. drawings on Al Thurraya tower and Centre Point
study on the homely/unhomely, domestic/foreign conditions of each context
schedule:
14 Nov. arrival, visit Dubai tower (TBC), brain storming seminar
issues: contexts of two towers (urbanism, weather/climate, culture)
atmospheric characters of escape (intensity, duration, frequency)
escape orientations (in/out parameter, verticality, (non)linear)
15 Nov. schematic design
outcome: collages, axonometric translations of collages, study models (physical)
16 Nov. trip to Abu Dhabi, design development
outcome: design development
17 Nov. design development
outcome: preliminary digital models, scenic sketches (perspective)
18 Nov. design development, short trip
outcome: preliminary digital models, scenic drawings
19 Nov. design development
outcome: digital models, basic drawings, scenic drawings
20 Nov. finalising design, presentation (15:00 - )
outcome: story boards, digital models, basic drawings, scenic drawings, process doc.
21 Nov. departure
refs: Bernard Tschumi, 1996, Architecture & Disjunction
J. G. Ballard, 1975, High-rise
Rem Koolhaas et al, 1995, S, M, L, XL (Exodus)
Jonathan Hill, 1998, The Illegal Architect
Mark Wigley, 1998, Constant’s New Babylon: The Hyper-Architecture of Desire
An entrance takes shape in the pride of architectural design, while an exit does in the mere excuse of building codes or may feature the negative side of an access. An exit hardly fosters a habit. But it brings about an unhomely condition, when engaged in consciously. Highrises due to verticality sometimes, particularly at accidents, unfold the familiar, homely, almost subconsciously acknowledged scene of leaving into a much desperate form of flight. We are reconfiguring the urban phenomenon by equipping two existing towers with new exits and choreographing an enjoyable means of way-out.
term: 6 ½-day (14 Nov. - 20 Nov.)
venue: Architecture Dep. American Univ.
participants: 4 groups (Greenwich Univ. + American Univ.)
coordinator: Mohamed Daljubori
tutors: Tea Lim, Taeyoung Kim
critics: Tea Lim, Taeyoung Kim, Mohamed Daljubori
sponsor: Campbell Reith Hill International
design: a network of exits with a specific programme
site: ½ of Al Thurraya in Dubai + ½ of Centre Point (London), including each context
preparatory work:reading the information inc. drawings on Al Thurraya tower and Centre Point
study on the homely/unhomely, domestic/foreign conditions of each context
schedule:
14 Nov. arrival, visit Dubai tower (TBC), brain storming seminar
issues: contexts of two towers (urbanism, weather/climate, culture)
atmospheric characters of escape (intensity, duration, frequency)
escape orientations (in/out parameter, verticality, (non)linear)
15 Nov. schematic design
outcome: collages, axonometric translations of collages, study models (physical)
16 Nov. trip to Abu Dhabi, design development
outcome: design development
17 Nov. design development
outcome: preliminary digital models, scenic sketches (perspective)
18 Nov. design development, short trip
outcome: preliminary digital models, scenic drawings
19 Nov. design development
outcome: digital models, basic drawings, scenic drawings
20 Nov. finalising design, presentation (15:00 - )
outcome: story boards, digital models, basic drawings, scenic drawings, process doc.
21 Nov. departure
refs: Bernard Tschumi, 1996, Architecture & Disjunction
J. G. Ballard, 1975, High-rise
Rem Koolhaas et al, 1995, S, M, L, XL (Exodus)
Jonathan Hill, 1998, The Illegal Architect
Mark Wigley, 1998, Constant’s New Babylon: The Hyper-Architecture of Desire
Task - 2 Home-breeding
project 2a, 2c. home-breeding: mechanical cocoon or organic cockpit?
Over 99 % of registered architects live in ‘homes’ designed by others. Reality bites in financial or temporal contexts. Or, certain comfort in given conditions neutralises individual eager to conduct experiments for his/her own home. This situation is to be challenged by you; in a yet premature architect’s dream. You are growing the kinetic-spatial machine (Project 1) into an inhabitable pod in a way to refine your attitude toward an unhomely condition as well as machinery. You are then transplanting the pod to the premise of Centre Point and exploring
a spatial relationship between the two to create an odd symbiotic/parasitic environment.
term: 5 weeks
design a: an inhabitable pod where you work/live
design c: a spatial relation between the pod and Centre Point (survey)
definition:unhomely adj.
- from Freud’s essay Die Unheimliche (The Uncanny, 1919)
- describing an uneasy condition developing from the rediscovery of
something familiar; the uncanny disrupts one’s solid sense of home
homebred adj. - raised, bred, or reared at home; domestic
site: Centre Point premise
options: position - inside, outside the tower, low, high
intensity of use - working, living
level of automation, self-sufficiency
tasks:
workshop: casting
refs: Georges Perec, 1998, Species of spaces and other pieces
Anthony Vidler, 1994, The Architectural Uncanny: Essays in the Modern Unhomely
Krzysztof Wodiczko, 1999, Critical Vehicles: Writings, Projects, Interviews
Aaron Betsky, 2003, Scanning: The Aberrant Architectures of Diller + Scofidio
week 6. (for Oct. 27 tutorial)
photo documentation:
- device in use at home - A2
photo documentation:
- device dissembled and reinstalled at home
- more than 30% should be in an outdoor/outside the room - A2
model: model of pod divided in two pieces to show interior
- app. 1:10
- materials: clay, wire mesh, blue foam etc. paper march, mixed media …
- be creative to give it a full 3-dimensional gesture
- we are rather against symmetry
photo montage: pod in use by you
manifesto 1: definition of home and brief description (50 words) - A4
manifesto 2: description of pod (100 words)
- what is it? what does it do? what do I do there? - A4
week 7. (Nov. 3)
model:
drawing: 2 plans of pod
- 1: 10
- describe all the structural, mechanism and material features of pod in detail
- what does it do? what do I do there?
drawing: 2 sections of pod
- 1: 10
- describe all the structural, mechanism and material features of pod in detail
week 8. (Nov. 10)
- design development - pod
- laser cutting model pieces (Centrepoint, Dubai tower)
week 9. (Nov. 17)
- workshop
week 10. (Nov. 24)
week 11. (Dec. 1)
week 12. (Dec. 8)
cross-atelier crit - 2nd year
week 13. (Dec.15)
cross-atelier crit - 3rd year
Over 99 % of registered architects live in ‘homes’ designed by others. Reality bites in financial or temporal contexts. Or, certain comfort in given conditions neutralises individual eager to conduct experiments for his/her own home. This situation is to be challenged by you; in a yet premature architect’s dream. You are growing the kinetic-spatial machine (Project 1) into an inhabitable pod in a way to refine your attitude toward an unhomely condition as well as machinery. You are then transplanting the pod to the premise of Centre Point and exploring
a spatial relationship between the two to create an odd symbiotic/parasitic environment.
term: 5 weeks
design a: an inhabitable pod where you work/live
design c: a spatial relation between the pod and Centre Point (survey)
definition:unhomely adj.
- from Freud’s essay Die Unheimliche (The Uncanny, 1919)
- describing an uneasy condition developing from the rediscovery of
something familiar; the uncanny disrupts one’s solid sense of home
homebred adj. - raised, bred, or reared at home; domestic
site: Centre Point premise
options: position - inside, outside the tower, low, high
intensity of use - working, living
level of automation, self-sufficiency
tasks:
workshop: casting
refs: Georges Perec, 1998, Species of spaces and other pieces
Anthony Vidler, 1994, The Architectural Uncanny: Essays in the Modern Unhomely
Krzysztof Wodiczko, 1999, Critical Vehicles: Writings, Projects, Interviews
Aaron Betsky, 2003, Scanning: The Aberrant Architectures of Diller + Scofidio
week 6. (for Oct. 27 tutorial)
photo documentation:
- device in use at home - A2
photo documentation:
- device dissembled and reinstalled at home
- more than 30% should be in an outdoor/outside the room - A2
model: model of pod divided in two pieces to show interior
- app. 1:10
- materials: clay, wire mesh, blue foam etc. paper march, mixed media …
- be creative to give it a full 3-dimensional gesture
- we are rather against symmetry
photo montage: pod in use by you
manifesto 1: definition of home and brief description (50 words) - A4
manifesto 2: description of pod (100 words)
- what is it? what does it do? what do I do there? - A4
week 7. (Nov. 3)
model:
drawing: 2 plans of pod
- 1: 10
- describe all the structural, mechanism and material features of pod in detail
- what does it do? what do I do there?
drawing: 2 sections of pod
- 1: 10
- describe all the structural, mechanism and material features of pod in detail
week 8. (Nov. 10)
- design development - pod
- laser cutting model pieces (Centrepoint, Dubai tower)
week 9. (Nov. 17)
- workshop
week 10. (Nov. 24)
week 11. (Dec. 1)
week 12. (Dec. 8)
cross-atelier crit - 2nd year
week 13. (Dec.15)
cross-atelier crit - 3rd year
Task - 1 Homing
project 1. homing: Vitruvius’s weapon
A residence has adopted you. You have adapted to a given logic of habitation, constantly negotiating with familiar factors you like or dislike. The residence is the very site of home which still requires your definition. To specify the notion of home, you are choosing a space (e.g. the east-south corner of your room, a space between a kitchen door and a fridge) in relation to a particular action you habitually perform before, while or after working. You are analysing your activities of eating, bathing, sleeping or working in the space through a series of drawings and designing a device to use the space better; better in that it could help you perform/work more effectively.
term: 3 weeks
design: a kinetic-spatial machine
definition: home. v.
- to be guided to a destination by radio signals of missiles, aircraft (1920)
- used earlier in reference to homing pigeons (1875)
site: each student’s residence
options:function - to facilitate the spatial engagement or bring up a new activity
refs: Michel de Certeau, 1988, The practice of everyday life
C. J. Lim, 2006, Devices: a manual of architectural + spatial machines
Ted Vancleave, 2003, Totally Absurd Inventions: America's Goofiest Patents
Celia Lury, 1998, Prosthetic culture: photography, memory and identity
tasks:
week 2. hand sketches identifying your habitual action/space:
sketch #1 : relation between a space and you (your body part, habit)
- sketch your (favourite) habitual action
- sketch the spatial context in relation to your body part (specific, detailed)
- sketch the ambience of the habitual space
- sketch #2:a device/machine which can enhance the relation
(i.e. - to use the space better)
week 3. drawings of the device/machine + site elevation drawing (sketch/photomontage):
model: study model of your device in proper scale
drawing #1: unfolded plan of every elements of a device in proper scale
- how to manufacture – cad drawings for 3D laser printing
- see the attached image
drawing #2: composite drawing
- cut-outs of picture images in combination with line drawings (+ colouring)
to capture a specific scene/atmosphere in which you use your device in
the space you chose
week 4. laser cutting + drawings of the device/machine:
model: scaled or full size model of a device
materials: cardboard etc.
drawing #4:plan and section, each describing the detailed mechanism and materials of a device in proper scale
week 5. model installation/performance @internal crit:
model: full size functional device
drawing #3: partial site elevation drawing as a setting
drawing #5:3-dimensional perspective describing the effect of a device application on the space
internal crit (20Oct) week 5 task needs to be completed and pinned up together with
previous tasks for the internal crit.
A residence has adopted you. You have adapted to a given logic of habitation, constantly negotiating with familiar factors you like or dislike. The residence is the very site of home which still requires your definition. To specify the notion of home, you are choosing a space (e.g. the east-south corner of your room, a space between a kitchen door and a fridge) in relation to a particular action you habitually perform before, while or after working. You are analysing your activities of eating, bathing, sleeping or working in the space through a series of drawings and designing a device to use the space better; better in that it could help you perform/work more effectively.
term: 3 weeks
design: a kinetic-spatial machine
definition: home. v.
- to be guided to a destination by radio signals of missiles, aircraft (1920)
- used earlier in reference to homing pigeons (1875)
site: each student’s residence
options:function - to facilitate the spatial engagement or bring up a new activity
refs: Michel de Certeau, 1988, The practice of everyday life
C. J. Lim, 2006, Devices: a manual of architectural + spatial machines
Ted Vancleave, 2003, Totally Absurd Inventions: America's Goofiest Patents
Celia Lury, 1998, Prosthetic culture: photography, memory and identity
tasks:
week 2. hand sketches identifying your habitual action/space:
sketch #1 : relation between a space and you (your body part, habit)
- sketch your (favourite) habitual action
- sketch the spatial context in relation to your body part (specific, detailed)
- sketch the ambience of the habitual space
- sketch #2:a device/machine which can enhance the relation
(i.e. - to use the space better)
week 3. drawings of the device/machine + site elevation drawing (sketch/photomontage):
model: study model of your device in proper scale
drawing #1: unfolded plan of every elements of a device in proper scale
- how to manufacture – cad drawings for 3D laser printing
- see the attached image
drawing #2: composite drawing
- cut-outs of picture images in combination with line drawings (+ colouring)
to capture a specific scene/atmosphere in which you use your device in
the space you chose
week 4. laser cutting + drawings of the device/machine:
model: scaled or full size model of a device
materials: cardboard etc.
drawing #4:plan and section, each describing the detailed mechanism and materials of a device in proper scale
week 5. model installation/performance @internal crit:
model: full size functional device
drawing #3: partial site elevation drawing as a setting
drawing #5:3-dimensional perspective describing the effect of a device application on the space
internal crit (20Oct) week 5 task needs to be completed and pinned up together with
previous tasks for the internal crit.
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