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FLORENCE ZHU
HOW TO DESIGN ALMOST NOTHING INSTRUCTOR : DAVID LIEBERMAN WINTER 2016
The goal of this course is to provide an introduction to the architectural design process critically, using various representational strategies and conventions to examine spatial relationships and the qualities that define space itself. The studio is structured as a series of projects that simultaneously develop technical skills and conceptual thinking. Based upon the studio method, students are expected to work independently. Paradoxically, designing NOTHING means removing from the design input issues of cultural aesthetics, social systems, environmental ecology, formalism, and narrative. Yet, one might ask, what are we then left with? Is it possible to structure a discussion about space around‌ nothing?
TABLE OF CONTENT PROJECT ONE : LINE
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PROJECT TWO : PLANE
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PROJECT THREE : VOLUME
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EXERCISE ONE LINE
A series of rooms will be designed with the help of one project word that act as a theme to structure the design rationale, geometry or procedure within the form illustrated below with only vertical surfaces and openings. The 16 columns are load bearing and should be assumed to be 6 meters high at most resting on 2m of ground. The spaces may exceed the boundaries of the columns but should remain within an assumed “site� or perimeter that is 16x16 meters. By using vertical surfaces and openings, the space must be subdivided into 7 rooms, each of which is accessible from at least one other.
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HIERARCHY PROGRESS DIAGRAM 1:200
2.ORGINAL DESIGN
1. PLAN OF THE SITE
3. DESIGN RATIONAL
4. PLAN ON A MORE REFINE GRID 5
AXONOMETRIC 1:100
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PLAN
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1:100
B
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SECTION 1:100
SECTION A
SECTION B 8
MODEL PHTOTS MODEL SCALE IN
1:50
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HIER A R C H DIFFERENCE IN WALL HEIGHT AND INCLINATION CREATES HIERARCHY IN SPACE
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EXERCISE TWO PLANE
A series of levels will be designed with the help of one project word that act as a theme to structure the design rationale, geometry or procedure within the form illustrated below with only horizontal surfaces and links between (stairs and/or ramps). The 21 columns are load bearing and should be assumed to be 12 meters high at most resting on 4m of ground. Alteration to individual column can be made but needs to be according to sound structural rationale. Floors may exceed the boundaries of the columns but should remain within an assumed “site” or perimeter that is 16x8 meters. By using horizontal surfaces and links, the space must be subdivided into 7 or more levels; each level will be connected by one or more ‘links.’ Practical human occupation will be considered at all locations in the design.
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FOLDING
PROGRESS DIAGRAM 1:200
2. ROTATE SPLIT SECTION
1. DESIGN METHOD, PLACE CUT PLANE ON HORIZONTAL SURFACE, SPLIT
4. INCORPORATE BOTH 3. STAIRS AS THE SECOND ELEMENT
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AXONOMETRIC 1:125
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PLAN 1:100
A
B
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BASE
THE SECOND LEVEL 18
THE THIRD LEVEL
THE FOURTH LEVEL
THE FIFTH LEVEL 19
THE CANOPY
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SECTION 1:100
SECTION A 21
SECTION B 22
MODEL PHOTOS MODEL SCALE IN 1:50
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ING FOLD
WITH THE INCORPORATION OF STAIRS AND THE BENDING OF PLANE UPON ITSELF, IT CREATES RAMPS THAT ESTABLISH LINKS AND CONNECTIONS TO DIFFERENT LEVELS. THE FLOORS ARE PLANE, RAMPS AND STAIRS SIMULTANEOUSLY.
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EXERCISE THREE VOLUME
A series of enclosures will be designed with the help of one project word that act as a theme to structure the design rationale, geometry or procedure within the form illustrated below with distributed in plan and section and linked by stairs and/or ramps. The 16 columns are load bearing and should be assumed to be 12 meters high at most resting on 4m of ground. These rooms aim for both sub- and super terranean exuberance and explore the potentials of the ground. Columns may expand, contract, multiply, disappear, join together and/or be modified within reason but the field must remain the constraining geometry. Rooms may exceed the boundaries of the columns but should remain within an assumed “site” or perimeter that is 16x16 meters. By using a combination of links, floors, walls, roofs and openings the form is to be subdivided into 7 or more fully enclosed rooms that vary in section and plan location. Each enclosure will be connected by one or more ‘links’ and each may have multiple openings for light and access. Practical human occupation will be considered at all locations in the design.
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DEFORMATION PROGRESS DIAGRAM 1:200
2. PROTOTYPE
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5. REFINING THE COMPOSITION BY RELOCATING IT BACK TO THE GIRD LIKE SITE
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AXONOMETRIC 1:125
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PLAN
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1:100
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OVERALL VIEW 32
PLAN CUT 33
SECTION 1:100
SECTION A 34
SECTION B 35
RENDERING
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MODEL PHOTOS MODEL SCALE IN 1:50
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DEFORMATION THE CHANGE OF FORM OF REGULAR GEOMETRY INTO A DYNAMIC COMPOSITION
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THREE PROJECTS
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END OF NOTHING
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UNIVERISITY OF TORONTO ARC 2O1 HOW TO DESIGN ALMOST NOTHING 2016 WINTER