MAKING ARCHITECTURE WWW.COURSERA.ORG ROTHA OUDOM | MOOC | 2016
WEEK 1: INTRODUCTION 1.
COURSE OVERVIEW
2. NOTHING IS STOPPING YOU FROM BECOMING AN ARCHITECT 3. WHAT DO ARCHITECTS MAKE? 4. INTERVIEW WITH SARAH WIGGLERWORTH
DESIGNER MINDSET 1. BETWEEN PEOPLE AND TREES •
Architecture overlaps people (Cultural Environment) & trees (Natural Environment)
•
We living in modified environment
•
We’ll take a bigger look on (cultural environment, natural environment, Technique, Economy) Architecture is in the center of them
2. WHAT I MEAN WHEN I SAY “ARCHITECTURE” •
It divided in 4 different layers
Society:
Nature:
Different Countries
Weather Environment
Different Society Different Religion
Technique:
Economy:
Know how to support the building
Control Budget Design
PAGE 1
3. YOU ARE NOT ALONE how to speak with a bigger community Society Budget
Anthropologist Sociologist Community Involvement Economy Project manager
Ecologist
Environment
Biologist
Plants
Hydrologist
Foreman builder Economist
Nature
Geologist
Water Sciences
Technique Structural Engineer Facility Engineer Energy Consultant
Specialize in calculations In facility design
Architect is a king of strategies! •
Be open & listen
•
Learn from other pro
•
You are not alone
•
Your island is full of people
PAGE 2
4. SYNCHRONIZE YOUR DESIGN •
Synchronize the different voices of professional’s natural environment, cultural environment, technique, economy.
•
Your attitude need to becomes open & flexible.
•
It’s possible to make order from the chaos by adjusting your attitude & synchronize all the movement.
5. THE SECRET ART OF MIND-READING •
“If I asked for what people wanted, they would have said FASTER HORSES”
•
Develop empathy: the ability to share someone else’s feeling by imaging yourself in their situation.
•
Reading people’s mind, you shouldn’t listen to what people say but observe what they do.
6. CREATIVITY STARTS BY ASKING STUPID QUESTIONS •
Creative process start by observing and asking ourselves. Why are things like this? What would happen if something was different?
•
The curiosity about the world we live in
•
Best design is not all about prominent visual pieces, it’s very often hidden and invisible
•
Best design helps live better without imposing itself on us
•
Think about best ways to go about things or there’s some other solution to this particular problem
•
Asking yourself “why am I liking this so much?”
•
While analyzing yourself, you can recognize the steps that artist/designers have made
PAGE 3
7. HOW TO OPEN UP TO ORIGINAL IDEAS •
Creativity is a capability to come up with original new ideas
•
Architect don’t just try to find one correct answer to a problem/ New possibilities/ New direction to solve a problem
•
This way of thinking is called divergent thinking Ex: Brick: think of as many uses of a brick o
The shape: build wall
o
The weight: weapon etc.
1st – Observation (collect info) 2nd – Think of way to combine them/ rephrase the problem in as many different ways
Brainstorming is divergent thinking process Divergent thinking
As a designer: you think both, observe, go wild & silly
Convergent thinking
Convert to right solution
PAGE 4
8. USE HANDS TO THINK BETTER •
Writing and sketching things down, we take those concepts out of our brains.
•
Having all concepts visually in front of you on the table help you make new connections, which is essence of creative thinking.
•
It’s not important for the sketches to look good, what’s really important is that they’re focused and they explain to yourself and to other people your idea and concept that you tried to communicate.
•
As a designer, you really want to use your hands to help you think better.
9. ARCHITECTS DO NOT JUST MAKE BUILDINGS It’s about much more, sometime architects are kind of group position that we’re not sure if they’re architects, landscape design, building or urban planning. 10. LET’S PLAY A GAME CALLED FINDING ARCHITECTS •
Architect is everywhere o
A cup of coffee
o
Table
o
Color of necklace
o
House
o
Window
o
Layout of the street, how things move around
o
The benches, street lamps, trees, position of the trees
o
City, village
o
Virtual space in game
•
You can invent whatever you want
•
You can design the new role of the architect
•
Don’t think that architect just make buildings!
PAGE 5
WEEK 2: Design Analysis I.
PROJECT BRIEF
1. INTRODUCTION TO WEEK 2 •
Discuss the work of architecture or the project in a larger context (material environment, social environment)
•
At the end you’re going to be able to think about and map a building’s broader context
•
The social and material context in which a project exists.
2. HOW DID YOU LEARN HOW TO RIDE A BIKE? •
Design process is about falling off and falling off until sometimes you get a kind of success.
•
Success is just the sum of a huge amount of energy and mistakes
•
That’s why design is non-linear process – you know where to start but don’t know where you going to end.
•
Different ways and different situations.
3. HOW WILL YOU WORK ON THIS COURSE?
4. YOUR FIRST DESIGN MISSION Design a public space where people will enjoy to come together and just socialize and do things together.
PAGE 6
PAGE 7
II.
ANALYZING THE ENVIRONMENT
1. TRAINING THE LOOK •
Try to read the natural environment for the cultural environment where we are
2. READING THE NATURAL ENVIRONMENT •
We can start thinking about the work environment with the climate
•
Another really important issue about the natural environment is trying to understand what you need, not just like we did before, like bigger look to the environment through google trip.
3. FINDING INSPIRATION FROM THE NATURAL ENVIRONMENT •
Architects should have a bigger concern with the natural environment.
•
Reduce as much as we can the impact over nature.
•
All the living things in an area and the way they affect each other and the environment, have a bigger look.
4. READING THE CULTURAL ENVIRONMENT •
It’s formed of many different layers o
Physical objects around the buildings
o
People
o
Cars
o
Nature
o
Building (how they have been built…)
•
Analyze the time and history
•
We need to read not just now at this time of the day
PAGE 8
5. FINDING INSPIRATION FROM THE CULTURAL ENVIRONMENT •
Rather than thinking of what the architect has lost regarding the decisions that they need to take.
•
It’s much more interesting to think that architects are gaining more social engagement.
6. HOW TO MAP ACTIVITIES TO SPACE •
Ask people around you
•
Consider the site features
•
Be specific
•
Do not judge (Quantities)
•
Think in 3D
•
Think in time
•
Work quickly
PAGE 9
WEEK 3: Creating Spaces IMAGINING ARCHITECTURAL SPACE 1. INTRODUCTION TO WEEK 3 •
We can conceive of spaces in very complex way. In fact, really the only limit to those space is your creativity and we’re going to work on your creativity.
2. INTRODUCTION TO VISUAL COMPOSITON • • • •
Symmetry – Express feelings of order, power Asymmetry – create feelings of movement / change Horizontals – create feelings of peace Verticals – Show aspirations
3. AN INTERVIEW WITH CRISTOPH LNGENHOVEN • •
Architect is like a director, coach who has a concept or a line he’s following Ability: Open-minded It’s not about drawings, giving things a form or design things This is just a result of long, intensive thinking process
•
Being curious about everything that happens around you and not fixed to anything
4. THE RELATIONSHIP BETWEEN FORM AND SPACE 1st – The form and space are inseparable 2nd – Architects are primarily interested in space •
Architecture is primarily preoccupied with space
•
We build walls, platforms, forms in order to create space
•
Any object that you place will always articulate and affect the space around it.
PAGE 10
5. THE RELATIONSHIP BETWEEN FORM AND SPACE • • • • • •
•
The forms and space can affect our perception and evoke feelings, meaning, symbolical. Transparency materials: connect space Opaque materials: Separates spaces Most important properties of space are the size and proportion Interior spaces are these that are limited by walls and roof Exterior space is everything exist around the buildings that we create and you must take a look at the environment between what we create and what’s already there around the building. Transition space – threshold space is between interior and exterior (a space that is not completely closed)
6. DESIGN PRINCIPLES: HIERARCHY Basic ways to make hierarchy: • • •
The size Having some dominant elements with more a complex shape Very strong color
• •
Start thinking about hierarchy even before you start sketching the space In order to establish a good hierarchy, you need to know what the idea about your project No Hierarchy - People could not understand
•
7. DESIGN PRINCIPLE: BALANCE • First: Symmetrical (Feeling: stability, power, stable)
The same distance and weight
Like mirror
PAGE 11
•
Second: Asymmetry (Feeling: unstable, movement. Dynamic)
move near axis (bigger object)
•
Third: Radial symmetry (Feeling: Strong focus on what inside)
Same focus point to the center
o o
Use for rituals eg: Stonehenge Stadium & Music venues •
Fourth: Mosaic (order chaos)
PAGE 12
8. DESIGN PRINCIPLE: C.R.A.P C – contrast (emphasize the difference between 2 things) R – rhythm/repetition (easy to understand/boring, think about changing the scale) A – Alignment (order) P – Proximity (group element – simplify the composition)
9. A PRACTICAL GUIDE TO VISUAL COMPOSITION First: Think where the focus of the project is (Hierarchy) means that you’ll make those space that are important bigger or more different than the others. •
Big shape position add more shape
Hierarchy + Balance
Detail
Second: Use C.R.A.P
10. AN INTERVIEW WITH EVA JIRICHA • Having good visual perception of the work then make it into an intellectual/philosophical level • Able to see in proportion, connections • What you learned yesterday is not good enough for tomorrow or even for today
PAGE 13
MATERIALIZING ARCHITECTUAL SPACE 1. TECHNOLOGY AND TECHNIQUE Ex: Cardboard Technology: how this cardboard is built, analyze it. Technique: how you’re going to use it, the way to apply it It is how you apply the technology available Open your eyes and just look everywhere around, you can find technologies and techniques that suitable for architecture!
2. PUFFER FISHES, CUTTLE FISHES AND LIMPETS • Think as nature as an advanced technology • Puffer fish: o It can expand to protect against predators o It has spine that can make its size bigger Imagine to design a kind of expandable building that can compress and expand •
The cuttlefish o Camouflage skin that can change its color & texture to hide against predator. A building with camouflage skin that to protect against sun radiation/enhance a type of iconic view of the building
•
Limpets o It’s almost impossible to take them off the rocks Use as construction of a building (biting effect to support) Don’t copy its shape! Copy its behavior, its idea, look at them like a really high technology.
PAGE 14
3. ROLLER COASTERS AND OIL RIGS Roller coaster
roller coaster elevator
Oil rags
Floating Architecture
PAGE 15
4. DO IT YOURSELF • •
Good Architect can adapt to a constraint condition or low technology What can you do with the technology which not you wanted?
Enhance material that you have available! Small Cabin from the material around
PAGE 16
5. GIVING MATERIALS A SECOND CHANCE
PAGE 17
6. THE WEEK ASSIGNMENT: WHAT TO DO? • • •
Think about space not the activities Open space not building Try different options
7. 7 creative tips for this week’s assignment • • • • • • • •
Combine rational and irrational Big elements first, details later Make each version different (3 options) Work quickly (go with a glow) Creative block? Do something silly! (try to get yourself curious & interested, unpredicted way) Prepare “design kit” then use to composition Consider site features (scale…) Avoid “almost” situations (decide whether it’s yes or no)
PAGE 18
WEEK 4: THE PROCESS I. • • II.
INTRODUCTION TO WEEK 4 Going to talk about design process & graphic communicator End session by talking about your future DESIGN IS REPETITION TOWARDS PERFECTION
• • • •
Creativity is slow It’s not running in circle because with every new circle that you do, you learn and come closer to the solution Don’t stick to the very first idea You always learn new things, the more you learn, the better ideas you have NEVER FALL IN LOVE WITH YOUR IDEAS
III. •
DESIGN IS NOT ABOUT FALLIN IN LOVE; IT’S ABOUT HAVING AFFAIRS Forget about loving yourself & your ideas; open up and have many different affairs with other professionals
PAGE 19
IV.
WHY STORIES MATTER IN ARCHITECTURE What is the end objective of architecture? The result of architecture are not the buildings but things that people do there. Think about sort of stories about activities that people do in the places you design.
• • •
PROBLEM: 1.
Home for poor people Architect: Aravena
Good quality but small 3. Want both quality and normal size
2. Low quality but normal size
Half good quality home
Leave space and infrastructure Half to resident
•
He thought about the process that can lead this people to better life.
• • •
Always have human perspective in mind! Designing for people, not forms in space! Try imagine a happy ending!
Write it down – Keep writing back so that you can see the process.
PAGE 20
V.
DISCOVER THE STORY OF YOUR PROJECT • • •
Story can keep human perspective in mind while we design Task: find main idea for your project – write down in a form of a short story Focus on activities and telling the story behind them
Assignment 4.1 short story about project 1.
People fishing, children running, play kite, play house tree, breath a good air, watch sunset, couple feeding bird, people having picnic under the tree (watching their children play, watching sunset together after that eating out and watching movie. 2. Fresh Air – Relax; eating; exercise; silent; movie; couple; old people; alone
“I’m making a place for people exercising while look after their children play and many shops, coffee shop at upper floor seeing sunset or having food or coffee during day time and night”
PAGE 21
V. First: • •
DESIGN A SPACE FOR YOUR STORY Think about the hierarchy. Think about the main activity in your story.
It means that the space that you create for these main activities should be the visually dominant spaces. (the biggest of all/ Making a different) Second: •
Think about the size of the place but don’t have to be specific
Third: • •
Think about relationships between your activities because they will influence the relationship between space you create If you want to separate some activities, you can do some sort of all or platform
Fourth: • •
Consider the movement of people We call it circulation, is the space that we just use between one point and another.
Fifth: • • •
Try to diverge your thinking a bit Let’s just try to do couple of really quick tests first Instead of using hard cardboard, you can try make real quick test on paper and see how that works
PAGE 22
ASSIGNMENT 4.2: YOUR FINAL DESIGN
PAGE 23
DESIGN COMMUNICATION I.
METHODS OF ARCHITECTURAL PRESENTATION Explain
• • • 1.
Excite
You don’t only need to explain yourself, you also need to get excited. Remember: the best work and the most creative work comes from the things that we want to do, not things that we have to do. Use various media to explain and excite people.
Drawing: • Technical drawing • A piece beautiful graphic design
2. Model: • Explain the space and see from many perspectives 3. Images + Video 4. VR Interactive: most exciting II.
WHAT MAKES A GOOD ARCHITECTURAL IMAGE? • • • •
Showing how your design effect/improve their life? Showing activities doing in your space Position your camera Edit architectural photos using Instagram
PAGE 24
III.
WHAT IS YOUR BRAND? • • • • • •
Architect is the most complex discipline Architect should be able to make clear message How are you going to tell your story? Story is a path of being a path of an architect How to make clear message of this city? How our design to be seen in google earth? Symbol – Clear – Easy to recognize
PAGE 25
CONCLUSION: A LOOK INTO THE FUTURE I. YOUR DESIGN IS NEVER FINISHED • Architectural is a long process • Your design is like around 2,3,4 years but the life of the building can be last more than 100 years • Architects shouldn’t just focus on the design. They should focus even more in the future life of the buildings Ex: About the design for this touristic city in Bosnia Herzegovina 1. Plants the tree 2. The design of the city should be synchronized with the growing of the trees 3. Think of seasonal changes of the leaves falling, the flowers grow in the springs, the future life of the city. It’s really important to think about how are you going to synchronize all these different timing of the project to allow a much better life of the city. Think about how your design is going to be adaptable. How your design is going to look to the future and let to be flexible and open to now requirements. II. • • • • •
THE FUTURE ARCHITECT IN YOU If you follow this course, you have an interest in architecture You have an interest in design, complex problems, make stuffs It doesn’t have to be linear path The study of architect will develop so many of your creative, analytical capacities It’s really a wonderful thing to study that lets you begin that path of changing the world, be it on scale of the object, the room, the building, or the city.
PAGE 26