Degree Lecture Notes - Architecture Design Studio 1 by Sheilly Tan

Understanding & Experiencing Architecture & Spaces Thru Elements and Principles of Design- ARCHITECTURE

Prince Favis Isip

Experiencing Observing

Reading & Listening

LEVELS OF KNOWLEDGE

SEE

HEAR

SMELL

TASTE The ARCHITECTâ&#x20AC;&#x2122;

TOUCH

SIXTH SENSE Images: (arranged from Top to bottom) Milwaukee Art Museum, Metropol Parasol. Seville Spain, Habitat 67 Montreal Spain , Guggenheim Museum, Bilbao, Spain; Bauhaus inspired modern building,

Images: (arranged from bottom left to topmost left) POINT Urban Plaza in Singapore, LINE Linear Building by: G. Gauthleir, PLANE Falling Water of Pennsylvania, VOLUME Milwaukee Museum, COLOR Rainbow Building, Rome, TEXTURE Entertainment Building in BrasĂlia Brazil

Elements OF DESIGN

Point ď&#x201A;§ The smallest unit in a composition, depending on the scale of the work; it may be all geometric (straight lines and arcs). Free form (flowing, organic and curvilinear), or combination of each. Image: The Great Obelisk, Washington, DC

Line ď&#x201A;§ A line is a path or a point extended through space; it may be geometric (straight lines and arcs), free from (flowing and curving, or a combination of 2) ď&#x201A;§ Line adds and gives the buildings character. Image: Conceptual image showing linear formation

Images shown: (left to bottom) Vertical Jakarta Vertical City Peruri 88 , Curvilinear conceptual design, Angular Broad Art Museum Zaha Hadid

Plane ď&#x201A;§ The simplest kind of two-dimensional surface, defined by its length and width. The primary vertical frontal plane defines the architecture of the

Images shown: (left to right) Klein Bottle House, Melbourne and Shroeder House, Netherlands

Volume/Form ď&#x201A;§ The size or extent of any three dimensional object or region of space; the bulk , size, or dimension of solid body or space.

Images shown: (left to right) Dome structure (Flower Dome, Gardens by the bay, Singapore) and Turning Torso Building, Malmo by: Santiago Calatrava

Images shown: (clockwise) Broad Art Museum, Marine Aquarium Building Design Galaxy SOHO, Zaha Hadid and Cubic House, Rotterdam

Texture ď&#x201A;§ The representation of the structure of a surface as a distinct from color or form, such as showing grainy, coarse or dimensional quality as opposed to uniformly flat and smooth aspect. ď&#x201A;§ Texture of building material create a wide variety of design effects from the coldness of marble to the warmness of wood, roughness of concrete and smoothness of glass. Images shown: (top to bottom) Timber structure, Classical Building (Concrete)

Images shown: (clockwise) Glass Building , Green Building, Metal (Stainless Steel) and Concrete Building.

Color

ď&#x201A;§ A dye, pigment, paint or other substance that imparts receptors to the eye in terms of dominant wavelengths, luminance, hue and brightness. ď&#x201A;§ The creative use of color can be achieved with the creative use of a mix materials.

Images shown: (left to right) Sample of Black & White Building and Colorful Facade

Images: (bottom right to topmost left) BALANCE – White House, Washington DC, MOVEMENT,/RHYTHM- Southern Cross Station, CONTRAST -The Gherkin, London, EMPHASIS/DOMINANCE St. Paul’s Cathedral , PATTERN/REPETITION - Olympic City, Stone Mountain, Montreal, UNITY/HARMONY- Bajai Faith, South of Delhi, SCALE/PROPORTION- Burj Dubai

PRINCIPLES OF DESIGN

Balance

harmony Scale Rhythm

hierarchydominance proportion

Contrast

SCALE & PROPORTION  The relationship of one part or the whole to an outside measure, such as the human body.  Proportion and scale are closely associated principles. Proposition deals with sizerelationship with the elements to the human body.

 Variation of scale. INTIMATE, IMPRESSIVELY and MONUMENTAL. Images: (Top to Bottom) Diagram for Human Scale & Golden Mean Proportion Penguin House, Japan (INTIMATE SCALE)

Images;(Left to Right) Berjaya Time Square, KL (LARGE SCALE) and The Jefferson Monument, USA (MONUMENTAL SCALE)

BALANCE

 Indicates a harmonizing or satisfying arrangement, proportion of parts or elements, as in A DESIGN OR COMPOSITION; THE STATE IF EQUI-POISE between different elements.  Types FORMAL; Characterized by all symmetrical elements. INFORMAL means all forms are unequal. Images: (Top to Bottom) FORMAL SYMMETRY- Taj Majal , India and KL Petronas Tower, Malaysia

Asymmetrical Balance â&#x20AC;˘ Not symmetrical , with the parts not arranged correspondingly identical on both sides of the central axis. â&#x20AC;˘ It creates a sense of equilibrium by the arrangement of two sets of forms of different size and shape. Images (Top left to bottom) Door in an asymmetrical design, Cubic Building showing similar size left & right wing but with different detailing and Angular House showing balance by making left bigger in scale but lighter due to Glass, right wing is smaller but totally solid (no openings)

UNITY.HARMONY ď&#x201A;§ A oneness and absence of diversity ; a combination or arrangements and the ordering of all the elements in a work that each contributes to the total aesthetic effect.

Image: Solomon Guggenheim Museum, USA Frank Lloyd Wright (uses variety of form but shows unity in scale and materials).

Homogeneity; involves oneness in the sense if uniformity of overall structure, resulting form a compatibility of components. Integrity: unity only indicated and the completeness of the parts by repetition of module, motif size or harmony of color. Images (top to bottom) Walt Disney Hall , Royal Ontario Museum and The Three Graces Dubai

CONTRAST ď&#x201A;§ The show of differences of forms or color, or to set in opposition in order to emphasize the differences. ď&#x201A;§ The quality of composition of line, form or materials can form contrast.

Images (left to right) Royal Ontario Museum, Toronto (Classical Masonry wall contrasts with a modern) and Lloyds of London (contrasts with the classical buildings)

Images (left to right) Louvre Pyramid, IM PEI and Malaysiaâ&#x20AC;&#x2122;s Modern Architecture (Background) Contrasting with Islamic Architecture.

PATTERN-REPETITION ď&#x201A;§ The juxtaposition of repetitive elements in design.

ď&#x201A;§ The ordered arrangement of parts into a pattern may occur at various scales at different distances.

EMPHASIS.DOMINANCE.HIERARCHY  A special importance or significance placed upon or imparted to something; a sharpness or vividness of outline.  Emphasis requires that one idea or design themes be dominant, and is important in achieving unity in design .  This idea that dominates is given greater forcefulness through making other features less prominent. Images (top to bottom) Building formation emphasizes on View of the Oceana and View is directed towards the Louvre Pyramid, IM PEI

RHYTHM/ Movement ď&#x201A;§ Any kind of movement characterized by the regular occurrence of elements, lines, shapes and forms; the flow of movement which is shown by light and heavy accents, similar to recurring musical beats. ď&#x201A;§ 3 Kinds: STEADY or uniform and without variation), IRREGULAR or changeable rhythmic flow lacking uniformity, and Counter Rhythm or Counterpoint. Images (top to bottom) Architectural Photography (showing architectural pattern) and John Curtin School of Medical Research

Images (top left to bottom right) Edificio Copan , Oscar Niemeyer and Hotel Liesma , Latvia

ARCHITECTURAL DESIGN Terminologies

Articulation  To unite by forming a joint or joints, or divide into joints: the method or manner of joining surfaces together to define a form, From the Greek “articulus” meaning small joint.  Related definition: Attachment, combination, incorporation, junction and meeting.

Images (top to bottom) Angular & Geometric Articulation and a triangular metal articulation.

Uses of Articulation  Movement and circulation

 Uses and accessibility  Sequence and succession  Symbolism and meaning

Images (top left to bottom right) Telstra Dome, Forbidden Palace, Moorish Architecture, Mesquita and Sydney Opera House

To define itâ&#x20AC;&#x2122;s shape and volume can revel buildings precise nature of its parts and itâ&#x20AC;&#x2122;s relationship to one another. Overall configuration is legible and clearly perceived. DK Ching Images (left to right) Ribs under the wings of Sydney Opera House and Pompidou Centre, Richard Rogers

Images (top left to bottom right) Cleveland Clinic Lou Ruvo Center, Walt Disney Concert Hall, LA, Conceptual Image showing diamond articulation and Guggenheim Museum , Bilbao Spain F. Ghery

Aspect ď&#x201A;§ The point from which one looks, a point of view; a position facing a given direction, an exposure. ď&#x201A;§ Aspect changes as we move closer or farther away from a building or group of buildings.

Images (left to right The Giza Pyramid & the Sphinx, Egypt

Aspect also applies to the way we see a building in terms of forms or differences in light and shade on entire surfaces or in details.

Images (left to right) Light & Shadow creates depth and pattern and DSR Broad Museum

Blending  Gradual merging of one thing into another., the process of bringing together into one.  Unification: the process of bringing together into one.  Union: a seamless junction of parts.

 Incorporation : a mixture of elements. Images: (top to bottom) New Lycee Jean Moulin School, blending with site by incorporating Green Roofing & Design

Dominance ď&#x201A;§ Occupying a prominent or most influential position, exercising the most influence or governing control. ď&#x201A;§ Related to Hierarchy , where the arrangement or system in which buildings are categorized as to its function and importance, through scale, detail and location. Images: (shown clockwise) Alley and busy streets leading to Ecole Militaire and The Parthenon

Ornamentation  Any adjunct or detail used to adorn, decorate or embellish the appearance or add to the general aesthetic effect.

 Ornamentation: Every detail , shape and color that deliberately exploits or added to attract an observer or to enhance the surface,  Ornate: Excessively detailed. Image: (top to bottom) Bas relief & details (classical architecture), Ornate façade, Rome

Progression ď&#x201A;§ Gradual increase in size or shape of a form or design keeping the same basic theme and ideas.

Image: (left to right) Progression concept Kinetic Building in Dubai,

Vernacular ď&#x201A;§ Native and peculiar to a particular country or locality.; an architecture concerned with ordinary domestic and functional building rather than essentially monumental. Bases on form & materials

Image: (left to right) Museum Negara, Sultan Abdul Samad Building

Emphasis is given to the architectural character and style, unique form and elegant details and materials Images (left to right) Edificio de China Central Television (Emphasis on Form & Scale) and Burj Khalifa (Emphasis on itâ&#x20AC;&#x2122;s towering height).

References 

Elements of Architectural Design, A Visual Source. By: Ernest Burden.



Theory of Architecture By: G. Salvan



Architecture Form, Space & Order by: D.K. Ching



SEVEN PRINCIPLES of Architecture by: J. Lightbourne



VISUAL DICTIONARY OF Architecture by: D.K. Ching



http://www.slideshare.net/janicemaireneechiverri/03-architectural-principles-elements



http://en.wikipedia.org/wiki/Articulation_%28architecture%29



http://www.slideshare.net/fdjaipur/theory-of-design-9068949



http://www.puntogeek.com/2010/03/18/nueve-maravillas-de-la-arquitectura-moderna/



http://blog.allur.com/2012/10/10-lessons-from-the-world-s-greatest-architect-frankgehry/

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN Centre for Modern Architecture Studies in Southeast Asia (MASSA) _________________________________________________________________________________________

Bachelor of Science (Honours) in Architecture Module: ARCHITECTURE DESIGN STUDIO 1 (ARC 60105) Prerequisite: None Credit Hours: 5 Semester: August 2014 Instructors: Prince Favis Isip (princefavis.isip@taylors.edu.my) Zahra Namavar, Chang Yan Yee, James Chin Wai Lim Nik Kadir Shah B. Nik Kamaruddin, Raihanna Zainuddin Noorul Fadzlee bin Khamis, Shen Fei Lam,

BODY & SPACE

Module Synopsis Architectural Design Studio 1 [ARC 60105] is structured as an introduction to architectural design. Themed “Body and Space”, this studio aims and emphasizes to present and explore design through the expression of the ‘self’ and the body through the spaces created through design. This studio will teach student’s basics of architectural design by emphasizing key points: understanding the design processes (from initial conceptualization, generating and abstracting ideas to storytelling in learning how to write a design narratives and eventually experiencing spaces and bringing it to life through visualization and Imagineering). In conjunction, understanding and application of the basic elements and principles of design will aid student in the further development of design both of spatial qualities and form articulation. Module Teaching Objectives The teaching objectives of the module are: 1. To allow students to be as creative possible by having and being in a studio cultural setup. 2. To Introduce to students architectural design as ‘user-based art’ (giving understanding of subjective and objective aspect of architecture) 3. To create awareness on conceptualizing and designing a space in which incorporates an exploration of design through different media of presentation both on two dimensional and three dimensional forms. 4. To examine the expression of the ‘self’ the means of exploring how the user or ‘body ‘and each activities relates to space. 5. To develop keen attention to the basic architectural design notions such as anthropometry, elements (effects of color, texture and materiality) and principles (balance, unity, hierarchy and others) o of design particularly in architecture. 6. To heighten students’ perception through completely understanding design narrative by clearly, analytically and creatively translating it into a well-articulated spatial organization and form design.

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Module Learning Outcomes Upon successful completion of the module, students will be able to: 1. Generate design concept/idea and translate into simple (architectural) design. 2. Generate design through the process of sketching and model-making. 3. Document, sketch and explain from personal experiences of the built and natural environment 4. Apply the understanding of basic architectural design principles, and the notion of body and space interactions. 5. Maximize utilization of sketching, study modelling and other preliminary design tools going through the process-oriented approach in developing designs. 6. Produce a well-organized, systematic and creative graphical presentation through a well-drawn and executed two-dimensional form (plans, elevations and sections), three-dimensional form (sectional perspective, axonometric and perspective) and scale modelling. 7. Prepare and enhance students verbal communication and presentation skills, all three projects are to be presented to tutors assigned, respective lecturers and external assessors. Modes of Delivery This is a 5 credit hour module conducted over a period of 14 weeks. The modes of delivery will be in the form of lectures, tutorials, and self-directed study. The breakdown of the contact hours for the module is as follows:  Lecture:  Tutorial:  Self-directed study:

1 hour per week 7 hours per week 5.2 hours per week

Office Hours You are encouraged to visit the instructor/lecturer/tutor concerned for assistance during office hours. If the office hours do not meet your schedule, notify the instructor and set appointment times as needed. Office Add: LG.2.01 TIMeS Moodle will be used as a communication tool and information portal for students to access module materials such as: project briefs, assignments, module outlines, references, announcements and others.

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Taylor’s Graduate Capabilities (TGC) The teaching and learning approach at Taylor’s University is focused on developing the Taylor’s Graduate Capabilities (TGC) in its students; capabilities that encompass the knowledge, cognitive capabilities and soft skills of its graduates. Discipline Specific Knowledge 1.0

TGCs Acquired Through Module Learning Outcomes

Discipline Specific Knowledge

1.1

Able to put theories into practice.

2 ,3

1.2

Understand ethical issues in the context of the field of studies.

1.3

Understand professional practice within the field of studies.

Cognitive Capabilities 2.0

Lifelong Learning

2.1

Learn independently.

2.2

Locate, extract, synthesise and utilise information effectively.

2.3

Be intellectually engaged.

3.0

Thinking and Problem Solving Skills

3.1

Think critically and creatively.

2-5

3.2

Define and analyse problems to arrive at effective solutions.

2-5

Soft Skills 4.0 4.1 5.0

Communication Skills Communicate appropriately in various setting and modes.

2,6

Interpersonal Skills

5.1

Understand team dynamics and mobilise the power of teams.

5.2

Understand and assume leadership.

6.0

Intrapersonal Skills

6.1

Manage one self and be self-reliant.

6.2

Reflect on one’s actions and learning.

1, 4-5

6.3

Embody Taylor's core values.

7.0

Citizenship and Global Perspectives

7.1

Be aware and form opinions from diverse perspectives.

7.2

Understand the value of civic responsibility and community engagement.

8.0 8.1

Digital Literacy Effective use of information and communication (ICT) and related technologies.

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General Rules and Regulations Late Submission Penalty The School imposes a late submission penalty for work submitted late without a valid reason e.g. a medical certificate. Any work submitted after the deadline (which may have been extended) shall have the percentage grade assigned to the work on face value reduced by 10% for the first day and 5% for each subsequent day late. A weekend counts as one (1) day. Individual members of staff shall be permitted to grant extensions for assessed work that they have set if they are satisfied that a student has given good reasons. Absenteeism at intermediate or final presentation will result in zero mark for that presentation. The Board of Examiners may overrule any penalty imposed and allow the actual mark achieved to be used if the late submission was for a good reason. Attendance, Participation and Submission of Assessment Components Attendance is compulsory. Any student who arrives late after the first half-hour of class will be considered as absent. The lectures and tutorials will assist you in expanding your ideas and your assessments. A minimum of 80% attendance is required to pass the module and/or be eligible for the final examination and/or presentation. Students will be assessed based on their performance throughout the semester. Students are expected to attend and participate actively in class. Class participation is an important component of every module. Students must attempt all assessment components. Failure to attempt all assessment components worth 20% or more, including final exam and final presentation, will result in failing the module irrespective of the marks earned, even though the student has achieved more than 50% in the overall assessment. Plagiarism (Excerpt from Taylor’s University Student Handbook 2013, page 59) Plagiarism, which is an attempt to present another person’s work as your own by not acknowledging the source, is a serious case of misconduct which is deemed unacceptable by the University. "Work" includes written materials such as books, journals and magazine articles or other papers and also includes films and computer programs. The two most common types of plagiarism are from published materials and other students’ works. 1. Published Materials In general, whenever anything from someone else’s work is used, whether it is an idea, an opinion or the results of a study or review, a standard system of referencing should be used. Examples of plagiarism may include a sentence or two, or a table or a diagram from a book or an article used without acknowledgement. Serious cases of plagiarism can be seen in cases where the entire paper presented by the student is copied from another book, with an addition of only a sentence or two by the student. While the former can be treated as a simple failure to cite references, the latter is likely to be viewed as cheating in an examination. Though most assignments require the need for reference to other peoples’ works, in order to avoid plagiarism, students should keep a detailed record of the sources of ideas and findings and ensure that these sources are clearly quoted in their assignment. Note that plagiarism also refers to materials obtained from the Internet too.

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2. Other Students’ Work Circulating relevant articles and discussing ideas before writing an assignment is a common practice. However, with the exception of group assignments, students should write their own papers. Plagiarising the work of other students into assignments includes using identical or very similar sentences, paragraphs or sections. When two students submit papers that are very similar in tone and content, both are likely to be penalised. Student Participation Your participation in the module is encouraged. You have the opportunity to participate in the following ways:     

Your ideas and questions are welcomed, valued and encouraged. Your input is sought to understand your perspectives, ideas and needs in planning subject revision. You have opportunities to give feedback and issues will be addressed in response to that feedback. Do reflect on your performance in Portfolios. Student evaluation on your views and experiences about the module are actively sought and used as an integral part of improvement in teaching and continuous improvement.

Student-centered Learning (SCL) The module uses the Student-centered Learning (SCL) approach. Utilization of SCL embodies most of the principles known to improve learning and to encourage student’s participation. SCL requires students to be active, responsible participants in their own learning and instructors are to facilitate the learning process. Various teaching and learning strategies such as experiential learning, problem-based learning, site visits, group discussions, presentations, working in group and etc. can be employed to facilitate the learning process. In SCL, students are expected to be:     

Active in their own learning; Self-directed to be responsible to enhance their learning abilities; Able to cultivate skills that are useful in today’s workplace; Active knowledge seekers; Active players in a team.

Types of Assessment and Feedback You will be graded in the form of formative and summative assessments. Formative assessments will provide information to guide you in the research process. This form of assessment involves participation in discussions and feedback sessions. Summative assessment will inform you about the level of understanding and performance capabilities achieved at the end of the module. Assessment Plan Assessment Components

Type

Learning Outcome/s

Submission

Presentation

Assessment Weightage

Project 1

Individual

1,2,7

Week 4

10%

Project 2

Group

3,4,5,7

Week 9

30%

Final Project

Individual

1-7

Week 13

Week 14

60%

TGC Portfolio

Individual

1-7

Week 16

Pass/Fail

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Assessment Components Projects 1, 2 and 3 should incorporate the points learned from the various topic presented and discussed during the lecture series. The following points shall be highlighted during the conceptualization, design development and submission and presentation; design narrative and brief should be made clearly and relevant, should have undergone rigorous design thinking processes, creative interpretation through for, and drawings. 1. Project 1 Self-Expression through Object ‘REPRESENTING ME ‘ This ice-breaking design project is an introduction of the basic methods and approaches in generation of ideas and conceptual narratives. This shall be achieved through the exploration and creative representation of one self. Students will be exposed to various means of exploring ideas by translating it through artworks and expressions on specific various art forms of personal interests, the student will be given freedom to communicate and express form and come up with an abreacted form of one self. The final outcome of the project can take shape either as a piece of a three-dimensional form of artwork (example: masks, sculptural form, pop-up model and others) Submission: 1 Panel of A-2 Board, Poster type presentation (Poster design should fit concept behind the artwork)  Written Summary / Explanation (50 -100 words)  Initial design (sketches)  Final design (drawing or photograph of actual model) Actual Model (1:1)  Materials (any material) 2. Project 2 Life Capsule ‘LIFE CAPSULE’ The main aim of Project 2 is to expand the interpretation of one self and heighten the awareness of students about the human body, interaction of space and body, and explores the role of reasoning and logic in shaping the form and space. This project consists of two major stages a. through designing a confined space which we call ‘Life Capsule’ for a 24-hour use. This limited space will challenge you to thoroughly examine and consider anthropometry and ergonomics. Through designing a limited space you will explore more about the scaled models and then is blown up to a full scaled installation. The final outcome of the project will be both shown in two dimensional and three dimensional forms. Submission: 2 Panel of A-2 Board, Poster type presentation (Poster design should fit concept behind the artwork)  Design narrative (200 words maximum)  Initial design and conceptual sketches  Two dimensional drawings a. Floor Plan(s) b. 2- Elevations(front and one side) c. 1- Section Scaled Model (study model) Scale 1:20 mts Actual full-scale installation Scale 1:1 mts ARCHITECTURE DESIGN STUDIO 1 (ARC 60105): August 2014

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3. Project 3 Space for the Self ‘MY CITY DREAM SPACE ‘ In project 1, students were allowed to express oneself through their creative means; Project 2 on the other hand is meant to prepare students to be aware on the relationship between user and space, shaping space and articulation of form. Project 3 on the other hand it incorporates both the creativity and imagination. Students are required ti design a space for you by attaching it to the walls/surfaces of an imagined ‘city’ on an empty abandoned lot in between two buildings. The space is to fit a specific need of the user (as a hideout space for viewing, transitional space, space for viewing, space for dreaming, space showcasing and others) that best fits the personality, occupation and character of the person that the user you are designing for. This understanding is to be architecturally translated into a space that successfully establishes the quality of the interior and articulation of exterior. Concept shall evidently show the experiential and spatial quality. Students are also to consider how design is to be attached and harmonize with the two existing buildings. Additional considerations should also be given to human scale and dimensional requirements. The final outcome shall be represented in both two dimensional and three dimensional means. Submission: 3-Panel A-2 (Presentation board)  Design Narrative / Brief (200 words)  Conceptual Sketches/Studies  Two dimensional drawings -Floor Plan(s) Scale 1:100 mts -Front elevation 1:100 mts - Sectional Perspective or Axonometric 1:100 mts .

Scale Model (1:50 mts)

4. Taylor’s Graduate Capabilities (TGC) Portfolio The Taylor’s Graduate Capabilities (TGC) Portfolio is a document that collates all assessments produced in a module and reflects a student’s acquisition of the Module Learning Outcomes and Taylor’s Graduate Capabilities.  For students enrolled in the 2011 Programme Structure The TGC portfolio is an edited A3-size bound document that includes all the assessments produced in the module. Visual diary and process of work (packaged) are to be included as part of the portfolio submission. Students must reflect on their learning through the TGC Portfolio Form.  For students enrolled in the 2012 Programme Structure onwards Each student is to develop an e-Portfolio, a web-based portfolio in the form of a personal academic blog. The e-Portfolio is developed progressively for all modules taken throughout Semesters 1 to 5, and culminates with a final Portfolio in printed form produced in the final semester. The printed Portfolio must encapsulates the acquisition of Programme Learning Outcomes and Taylor’s Graduate Capabilities, and showcase the distinctiveness and identity of the student as a graduate of the programme.

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Marks and Grading Table (Revised as per Programme Guide 2013) Assessments and grades will be returned within two weeks of your submission. You will be given grades and necessary feedback for each submission. The grading system is shown below: Grade Marks

Grade Points

Definition

4.00

Excellent

Evidence of original thinking; demonstrated outstanding capacity to analyze and synthesize; outstanding grasp of module matter; evidence of extensive knowledge base.

Very Good

Evidence of good grasp of module matter; critical capacity and analytical ability; understanding of relevant issues; evidence of familiarity with the literature.

Good

Evidence of grasp of module matter; critical capacity and analytical ability, reasonable understanding of relevant issues; evidence of familiarity with the literature.

Pass

Evidence of some understanding of the module matter; ability to develop solutions to simple problems; benefitting from his/her university experience.

80 – 100

A-

75 – 79

3.67

B+

70 – 74

3.33

Description

65 – 69

3.00

B-

60 – 64

2.67

C+

55 – 59

2.33

50 – 54

2.00

D+

47 – 49

1.67

44 – 46

1.33

D-

40 – 43

1.00

0 – 39

0.00

Fail

Insufficient evidence of understanding of the module matter; weakness in critical and analytical skills; limited or irrelevant use of the literature.

Withdrawn

Withdrawn from a module before census date, typically mid-semester. [refer to Description 1 below].

F(W)

0.00

Fail

Withdrawn after census date, typically mid-semester. [refer to Description 2 below].

Marginal Fail

Evidence of nearly but not quite acceptable familiarity with module matter, weak in critical and analytical skills.

Incomplete

An interim notation given for a module where a student has not completed certain requirements with valid reason or it is not possible to finalise the grade by the published deadline.

Pass

Given for satisfactory completion of practicum.

Audit

Given for a module where attendance is for information only without earning academic credit.

Description 1:

Week 3 to week 7 (inclusive) for long semester, or week 3 to week 5 (inclusive) for short semester. A short semester is less than 14 weeks. Not applicable for audit and internship.

Description 2:

After week 7 for long semester, or after week 5 for short semester. A short semester is less than 14 weeks. Not applicable for audit and internship.

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Hurdle Assessment Guideline for Architectural Design Studio Hurdle assessments are compulsory requirements within individual modules that must be met in order to achieve satisfactory results in those modules. The hurdle assessment for final submission of Architectural Design Studio modules is set at 40%. Students who obtain a D grade (40 - 49) for final submission and overall D grade or higher for the module will be permitted a resubmission assessment. Students are required to obtain a minimum C grade in the resubmission to pass the module. Students who obtain a Fail grade (0 - 39) for the final submission will fail the module, regardless of his/her overall grade for the module. Failure of the module may impede student progression. Module Schedule

Week/Date

Topics/Readers

Week 1 25-27 August

Orientation Week For Semester 1 students

Week 2 01 Sept 03 Sept

Lecture A: Module Introduction, Policies and Holiday- National Say/Merdeka Day Project 1 Brief- SELF EXPRESSION THROUGH OBJECT  Tutorial grouping and meeting with assigned lecturers/tutors

Week 3 08 Sept 10 Sept

Lecture 1- Generating /Abstracting Ideas  Developing idea through sketches and models.

Lecture

Tutorial

Hours

Lecture A

-In class exercise

Lecture 1

1 Week 4 15 Sept 17 Sept

Week 5 22 Sept 24 Sept

Lecture 2- Basic Elements and Design Principles in Architecture  Finalization and presentation of project  Pin up and presentation 17th Sept 09:00-11:00 AM

Lecture B: Project brief & guidelines Project2-’ Life Capsule’ SELF IN SPACE  Formation of group  Writing narrative and concept development.

ARCHITECTURE DESIGN STUDIO 1 (ARC 60105): August 2014

-in class exercise : finalize idea through sketches 7

Self-directed Study Hours

-Concept development / Abstraction & Expression 5.2 -Finalization of 2D drawings and start modelling 5.2

In-class exercise Finalization Presentation and of work

-Execution and finishing of models & drawings.

5.2

Lecture B

In-class exercise: Writing narrative & conceptual sketches

-Finalize study model

5.2

Lecture 2

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Week 6 29 Sept 01 Oct

Week 7 06 Oct 08 Oct

Week 8 13 Oct 15 Oct

20-25 Oct

Week 9 27 Oct

29 Oct

Week 10 03 Nov 05 Nov

Week 11 10 Nov 12 Jun

Lecture 3: Self in Space  Development of ideas through sketches and write up  Finalization of design. Start with finalization of drawings

Holiday- Hari Raya Haji/Replacement Lecture 4: Process of Exploration: Model Making  Model installation and finalization of presentation boards.

Lecture 3

In-class exercise: translation of ideas thru Floor plans & sketches

-Execution of drawings

5.2

In-class exercise: Finalization of design and modelling.

Execution of drawings and modellings fitting.

5.2

In-class exercise; Finalization Presentation and of work

Execution of drawings and modellings fitting.

5.2

Lecture 6

In-class exercise: Finish Model fittings

12 -Finish Model fitting and formulation conceptual & idea development.

5.2

In-class exercise ; Writing narratives and doing study sketches

-Visit places and experience quality of spaces

5.2

Lecture 4

Lecture 5: Experiencing Spaces 

Finishing Model (1:1 scale) and Presentation.  Finish drawings (presentation board Lecture C: Project 3- MY CITY DREAMSPACE Briefing

Mid-semester Break (Non-contact Week) Oct 22 Holiday Deepavali Lecture 6: Materiality & Sensory  Submit and presentation of work Board+Model  (Pin up and presentation 27 Oct 09:00-11:00 AM) Project 3- MY CITY DREAMSPACE  Project Writing narrative and development of ideas. Lecture 7: Making & Experiencing Space Bringing Spaces to Life  Developing Ideas and finalizing narrative. 

Submission Task 1- Project 3 (to present to respective tutor/lecturer)

Lecture 8: Story telling: Presenting your space  Design Development thru sketches and study modelling.  Site Analysis

Lecture 5 and C

Lecture 7

Lecture 8

1 ARCHITECTURE DESIGN STUDIO 1 (ARC 60105): August 2014

In-class exercise : presentation of design progress / development 7

Execution of study drawings and models 5.2 10 | P a g e

Week 12 17 Nov 19 Nov

  

Week 13 24 Nov 26 Nov

Week 14 01 Dec 03 Dec

Week 15 08-12 Dec Week 16 15 Dec Note:

Design Development for City Dream space Finalization of concept, floor plans and form concept E- Portfolio Lecture/Tutorial (Schedule to be confirmed)

In-class exercise: Design Finalization 8

Execution of drawings and models 5.2

In-class exercise: Presentation Packaging & Skills

Portfolio preparation

5.2

Finalization of Project & Preparation of Portfolio

Study Leave Week

PORTFOLIO SUBMISSION

Portfolio and presentation preparation  Submission of Final Project.  Project pin up (schedule to be confirmed)

Final Presentation  Specific time, date and venue to be confirmed by Week 12

The Module Schedule above is subject to change at short notice. Week 03 Friday Week 07 Friday Week 08 Friday Week 09 Friday Week 11 Friday

(05 Sept) (10 Oct) (17 Oct) (24 Oct) (15 Nov)

Week 12 Friday (22 Nov)

Last day to add /drop module. Last day for subject/module withdrawal with WD grade Online Student Registration Last day for Online Student Registration Online Course Evaluation & last day for subject/module withdrawal with F (W) Grade Last day for completion of Online Course Evaluation

References Main References: 1. 2. 3. 4.

D.K. Ching, F. Eckler, J.F. 2013. Introduction to Architecture. New Jersey: Wiley & Sons. D.K. Ching, F. 2014. Architecture: Form Space and Order (4nd ed.). Van Nostrand Reinhold. Agrest, Diana. 1993. Architecture from Without. The MIT Press Antoniades, A. 1992. Poetics of Architecture. Van Nostrand Reinhold.

Secondary References: 1. Eckler, J.F. 2012. Language of Space and Form: Generative Terms for Architecture. New Jersey: Wiley & Sons 2. Tanizaki, J. 1977. In Praise of Shadows. Connecticut: Leetes’s Island Books. 3. Pressman, A. 2011 Designing Architecture: The Elements of Process. Routledge. 4. Heatherwick, T. 2012. Thomas Heatherwick: Making Ideas. Thames & Hudson. 5. Unwin, S. 2011. Exercises in Architecture: Learning to Think as an Architect. Routledge 6. Richardson, Phyllis. 2001. S: Big Ideas, Small Buildings. Universe Publishing. ARCHITECTURE DESIGN STUDIO 1 (ARC 60105): August 2014

11 | P a g e

Design Studio 1- ARC60105 Semester Lecturer

: :

August 2014. Prince Favis Isip Zahra Namavar, Chang Yan Yee, James Chin Wai Lim, Nik Kadir Shah B. Nik Kamaruddin, Raihanna Zainuddin Noorul Fadzlee bin Khamis, Shen Fei Lam,

Module Synopsis

BODY & SPACE

 aims and emphasizes to present and explore design through the expression of the ‘self’ and the body through the spaces created through design  This studio will teach student’s basics of architectural design.  understanding the design processes (from initial conceptualization, generating and abstracting ideas to storytelling in learning how to write a design narratives and eventually experiencing spaces and bringing it to life through visualization and Imagineering).

Module Learning Outcomes  Generate design concept/idea and translate into simple (architectural) design.  Generate design through the process of sketching and model-making.  Document, sketch and explain from personal experiences of the built and natural environment.  Apply the understanding of basic architectural design principles, and the notion of body and space interactions.  Maximize utilization of sketching, study modelling and other preliminary design tools going through the process-oriented approach in developing designs.  Produce a well-organized, systematic and creative graphical presentation through a well-drawn and executed two-dimensional form (plans, elevations and sections), three-dimensional form (sectional perspective, axonometric and perspective) and scale modelling.  Prepare and enhance students verbal communication and presentation skills, all three projects are to  be presented to tutors assigned, respective lecturers and external assessors.

Module Teaching Objectives  The teaching objectives of the module are:  To allow students to be as creative possible by having and being in a studio cultural setup.  To Introduce to students architectural design as ‘user-based art’ (giving understanding of subjective and objective aspect of architecture)  To create awareness on conceptualizing and designing a space in which incorporates an exploration of design through different media of presentation both on two dimensional and three dimensional forms.  To examine the expression of the ‘self’ the means of exploring how the user or ‘body ‘and each activities relates to space.  To develop keen attention to the basic architectural design notions such as anthropometry, elements (effects of color, texture and materiality) and principles (balance, unity, hierarchy and others) o of design particularly in architecture.  To heighten students’ perception through completely understanding design narrative by clearly, analytically and creatively translating it into a well-articulated spatial organization and form design.

Modes of Delivery This is a 5 credit hour module conducted over a period of 14 weeks. The modes of delivery will be in the form of lectures, tutorials, and self-directed study. The breakdown of the contact hours for the module is as follows:

Lecture Tutorial Self-directed study

:1 hour per week :7 hours per week :5.2 hours per week

Office Add: LG.2.01 TIMeS Moodle will be used as a communication tool and information portal for students to access module materials such as: project briefs, assignments, module outlines, references, announcements and others.

Project 1: Self-Expression through Object â&#x20AC;&#x2DC;REPRESENTING ME â&#x20AC;&#x2DC; This ice-breaking design project is an introduction of the basic methods and approaches in generation of ideas and conceptual narratives. This shall be achieved through the exploration and creative representation of one self. Students will be exposed to various means of exploring ideas by translating it through artworks and expressions on specific various art forms of personal interests, the student will be given freedom to communicate and express form and come up with an abstracted form of one self.

Go through the basic design process: Unravelling ‘self’ -Identify qualities’ that best describes you, (You may use image mapping )

distinct, generate/abstract ideas, (sketches and translate traits and presentation into a more visible and tangible ABSTRACTED form )

Select Mode of Art form, (Mask, sculpture and others) - Apply elements and principles of design in translating and representing ideas. - Psychology and meaning of shapes and forms. ART FORM (Representing ME). (support artwork with a written explanation)

The final outcome of the project can take shape either as a piece of a threedimensional form of artwork (example: masks, sculptural form, pop-up model and others)

Verbal presentation ( 5 minutes) MATERIALS: Cardboard, Acrylic or transparencies, tracing paper, material and other board.

Submission: Actual Model or 3D Artwork (1:1 mts ) Maximum dimension of object or art form is 300mm x 300mm x300mm; no side of the objects dimension shall exceed the abovementioned. 1-Panel only of A2 board; poster like board written explanation or write (50 words) diagrams, thumbnail pictures and sketches to explain more clearly. conceptual sketches (not to scale) front view of the art work (1:1 scale) may put photograph of actual artwork

Do not use Balsa wood or materials that are too colourful.

Project 2 :Life Capsule ‘LIFE CAPSULE’

The main aim of Project 2 is to expand the interpretation of one self and heighten the awareness of students about the human body, interaction of space and body, and explores the role of reasoning and logic in shaping the form and space. This project consists of two major stages a. through designing a confined space which we call ‘Life Capsule’ for a 24-hour use. This limited space will challenge you to thoroughly examine and consider anthropometry and ergonomics. Through designing a limited space you will explore more about the scaled models and then is blown up to a full scaled installation.

Presentation Panel 2- Panel of A2 Board (Presentation board) will consist of the following: - Design Narrative. (200 words maximum) The beginning of the project will allow the student how to develop a conceptual narrative and storyline based on the user and based on the self. Narrative and storyline should clearly stipulate the userâ&#x20AC;&#x2122;s body dimension, activities, personality, occupation, needs, desires and likes. -Conceptual Sketches -Floor Plan (Scale 1:20 mts) -Front Elevation (Scale 1:20 mts) -1 Section (1:20 mts) -Study models (Scale 1:20 mts)

1:1 Model Installation For this project, you are required to produce a 1: 1 installation that encompasses this spatial quality and form articulation. This will be a cardboard installation that measures up a volume not more than 12.5 cu.mts (minimum height of 2.0 meters)

Project 3 Space for the Self ‘MY CITY DREAM SPACE ‘ In project 1, students were allowed to express oneself through their creative means; Project 2 on the other hand is meant to prepare students to be aware on the relationship between user and space, shaping space and articulation of form. Project 3 on the other hand it incorporates both the creativity and imagination. Students are required ti design a space for you by attaching it to the walls/surfaces of an imagined ‘city’ on an empty abandoned lot in between two buildings. The space is to fit a specific need of the user (as a hideout space for viewing, transitional space, space for viewing, space for dreaming, space showcasing and others) that best fits the personality, occupation and character of the person that the user you are designing for.

This understanding is to be architecturally translated into a space that successfully establishes the quality of the interior and articulation of exterior. Concept shall evidently show the experiential and spatial quality. Students are also to consider how design is to be attached and harmonize with the two existing buildings. Additional considerations should also be given to human scale and dimensional requirements. A-3 Sketch journal This exploration will document the ideas and schemes during the design development. A proof that your final designs has undergone series of studies and rigorous development and modification. Presentation Panel Maximum of 3 Panel, A-2 Board (landscape layout) will comprise of the following:

Design Narrative (200 words) Two dimensional Drawings -Floor Plan -Front elevation Note: All drawings at scale 1:50 mts. Three dimensional drawings -Sectional Perspective -Interior perspective -Axonometric view Note: Scale to be discussed with tutor Note: All drawings shall be manually done, use pen and ink presentation and most applicable rendering technique of your choice.

Scaled Model The final model shall be of a 1:50 mts scale and shall clearly show design. Consider correct dimensions of materials (such as wall thickness, door height and others). The final model should sit on site and shall the 2 buildings.

Attendance, Participation and Submission of Assessment Components Attendance is compulsory. Any student who arrives late after the first half-hour of class will be considered as absent. The lectures and tutorials will assist you in expanding your ideas and your assessments. A minimum of 80% attendance is required to pass the module and/or be eligible for the final examination and/or presentation. Students will be assessed based on their performance throughout the semester. Students are expected to attend and participate actively in class. Class participation is an important component of every module. Students must attempt all assessment components. Failure to attempt all assessment components worth 20% or more, including final exam and final presentation, will result in failing the module irrespective of the marks earned, even though the student has achieved more than 50% in the overall assessment.

Plagiarism (Excerpt from Taylorâ&#x20AC;&#x2122;s University Student Handbook 2013, page 59) Plagiarism, which is an attempt to present another personâ&#x20AC;&#x2122;s work as your own by not acknowledging the source, is a serious case of misconduct which is deemed unacceptable by the University. "Work" includes written materials such as books, journals and magazine articles or other papers and also includes films and computer programs. The two most common types of plagiarism are from published materials and other studentsâ&#x20AC;&#x2122; works. Hurdle Assessment Guideline for Architectural Design Studio \\\ Hurdle assessments are compulsory requirements within individual modules that must be met in order to achieve satisfactory results in those modules. The hurdle assessment for final submission of Architectural Design Studio modules is set at 40%. Students who obtain a D grade (40 - 49) for final submission and overall D grade or higher for the module will be permitted a resubmission assessment. Students are required to obtain a minimum C grade in the resubmission to pass the module. Students who obtain a Fail grade (0 - 39) for the final submission will fail the module, regardless of his/her overall grade for the module. Failure of the module may impede student progression.

References Main References: D.K. Ching, F. Eckler, J.F. 2013. Introduction to Architecture. New Jersey: Wiley & Sons. D.K. Ching, F. 2014. Architecture: Form Space and Order (4nd ed.). Van Nostrand Reinhold. Agrest, Diana. 1993. Architecture from Without. The MIT Press Antoniades, A. 1992. Poetics of Architecture. Van Nostrand Reinhold.

Secondary References: Eckler, J.F. 2012. Language of Space and Form: Generative Terms for Architecture. New Jersey: Wiley & Sons Tanizaki, J. 1977. In Praise of Shadows. Connecticut: Leetesâ&#x20AC;&#x2122;s Island Books. Pressman, A. 2011 Designing Architecture: The Elements of Process. Routledge. Heatherwick, T. 2012. Thomas Heatherwick: Making Ideas. Thames & Hudson. Unwin, S. 2011. Exercises in Architecture: Learning to Think as an Architect. Routledge Richardson, Phyllis. 2001. S: Big Ideas, Small Buildings. Universe Publishing.

Architecture Design Studio 1 Lecture 1:

Generating and Abstracting Ideas + Introduction to basic ways of generating ideas and the creative process.

fadzlee khamis

Design Is Everywhere + “Design could be viewed as an activity that translates an idea into a blueprint for something useful, whether it’s a car, a building, a graphic, a service or a process. The important part is the translation of the idea..”

- The Design Council

Design is.....

“Making things better for people” - Richard Seymour / Design Council’s Design in Business Week / 2002

types of + Design Process

DESIGN THINKING + IS A PROCESS OF EXPLORING INSIDE THE BOX

brief, restriction, resource, information, needs and desire, consideration, audience

OUTSIDE THE BOX

possibilities, opportunity, solutions, insights, different, radical, new,

the +Process

sketching as a design tool

model making + sketching as design tool

architectural drawing components conceptual sketch diagrams

think create explore experiment discover identify test decide implement

+thank you

Basic Elements

and Design Principles

• • • •

The author writes The artists draws The builder builds The architect __________

How does one begin designing?

How does one begin “drawing”?

Dot. Line. Plane. Volume

Source: https://www.youtube.com/watch?v=PrglsXr0lRU

Basic Elements in a drawing (i.e. Design) • Point • Line • Plane • Volume Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey

• Can a design be achieved with just points? • Can it be achieved with just lines? • Without points and lines, will there be any planes ? • Without planes, will there be any volumes? • Without volumes, will there be any buildings? • What is the conclusion based on these realizations?

What is a Point? • • • • • •

A position in space Two ends of a line Intersection of lines Meeting of lines at the corner Center of field Static

Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey

What is a Line? • Connection of two points • An extended point • Movement and direction Function: • Joint and linkage • Define edges • Articulate surfaces Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey

What is a Plane?

• A line extended in a direction • Two parallel lines may become a visual description of a plane • Series of parallel lines through repetition reinforce the perception of a plane

Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey

Plane cont’d • Overhead plane • Wall plane • Base plane

Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey

How does one experience: point(s), line(s) & plane(s)

in architecture?

Point

Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey

Point

Source: A Student's Guide to Paris, [webpage] 2013, retrieved 14 September, 2014, from the World Wide Web: http://www.topuniversities.com/where-to-study/europe/france/paris/students-guide-paris

Line

Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey

Line

Source: Archicentre Office [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.archicentre.com.my/contact.php

Plane

Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey Wells, J. 2011, Wrightâ&#x20AC;&#x2122;s Fallinwater Doesnâ&#x20AC;&#x2122;t Dissappoint, [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://travelonthelevel.blogspot.com/2011/08/wrights-fallingwater-doesnt-disappoint.html

Plane

Image Source: Guggenheim Museum Bilbao [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao New York City Gallery, Guggenheim Museum Bilbao [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.britannica.com/EBchecked/media/101412/The-Solomon-RGuggenheim-Museum-in-New-York-City Robie House, Chicago [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.panoramio.com/photo/377345

Thus far, we have covered: • Points • Line and • Plane

We now ask, what consists a:

volume ?

Form & Space

What is form and space? â&#x20AC;˘ what differentiates the two?

Image Source:

Brcak, N. Form, Space, Materials And Structure, Volumes [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.ithaca.edu/faculty/brcak/elements/form-space-materials-structure/volumes.shtml

â&#x20AC;˘ if a space is outdoor and not encased within plane(s), is it still a space?

Image Source:

Central Park [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://es.wikipedia.org/wiki/Central_Park

Thus far, we have covered: â&#x20AC;˘ Basic Elements in Design

What are some of the ordering principles of space and form?

What is order and arrangement? â&#x20AC;&#x153;Order refersâ&#x20AC;Śto a condition in which each part of a whole is properly disposed with reference to other parts and to its purpose so as to produce a harmonious arrangement.â&#x20AC;? Francis D.K. Ching Form, Space and Order 2007

Some Ordering Principles (note: this list is not exhaustive)

• • • •

Axis Hierarchy Rhythm & Repetition Symmetry & Asymmetry

Axis â&#x20AC;˘ Imaginary line established by two points in space

Image Source:

Retrieved 30 April, 2013, from the World Wide Web: http://www.taylors.edu.my/photo/about/Campuses/november_2009/building_plan.gif

Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey

Axis

Image Source:

Arc De Triomphe [webpage]. Retrieved 30 April, 2013, from the World Wide Web: http://www.ign.com/boards/threads/culture-porn-summer-2013-tourney-round-2-match-4.453378815/

Axis cont’d

Image Source:

Champs-Élysées [webpage]. Retrieved 30 April, 2013, from the World Wide Web: http://en.wikipedia.org/wiki/Champs-%C3%89lys%C3%A9es

Hierarchy â&#x20AC;˘ Articulation of a form or space according to the degree of importance or significance using size, shape or placement

Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey Walks Inside Florence[webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.tripadvisor.com.my/Attraction_Review-g187895-d2068562-ReviewsWalks_Inside_Florence-Florence_Tuscany.html

Hierarchy

Image Source:

Retrieved 30 April, 2013, from the World Wide Web: http://web.carteret.edu/keoughp/fromblackboard/Greek/Acropolis%20street%20plan.jpg

Hierarchy contâ&#x20AC;&#x2122;d

Image Source:

Retrieved 30 April, 2013, from the World Wide Web: http://shelton.berkeley.edu/175c/Acropolis.jpg

Rhythm and Repetition â&#x20AC;˘ Rhythm: Patterned recurrence of elements at regular or irregular intervals â&#x20AC;˘ Repetition: recurring elements in an architectural composition

Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey

Rhythm and Repetition

Image Source: Retrieved 30 April, 2013, from the World Wide Web: http://desousinho.wikispaces.com/file/view/R5.jpg/34919349/317x259/R5.jpg Retrieved 30 April, 2013, from the World Wide Web: http://ad009cdnb.archdaily.net/wp-content/uploads/2011/11/1320373638-1-evening-main-528x373.jpg Retrieved 30 April, 2013, from the World Wide Web: http://farm5.static.flickr.com/4068/4656421589_3a5b7519bb_m.jpg

Rhythm and Repetition

Image Source: Moulmein Rise, 2004 [webpage] Retrieved 15 September, 2014, from the World Wide Web: http://www.skyscrapercity.com/showthread.php?t=137706 Inspiring Miami Architecture, 2010 [webpage] Retrieved 15 September, 2014, from the World Wide Web: http://seekingdecor.blogspot.com/2010/09/inspiring-miamiarchitecture.html

Symmetry • “…balanced arrangement of equivalent patterns of form and space on opposite sides of a dividing line or plane, or about a center or axis.” Francis D.K. Ching Form, Space and Order 2007

Source: Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey

Symmetry

Image Source:

Retrieved 30 April, 2013, from the World Wide Web: http://www.webestates.biz/wp-content/uploads/2014/01/closed-alternativeview-theme-symmetry-and-architecture-128209.jpg Retrieved 30 April, 2013, from the World Wide Web: http://dc198.4shared.com/doc/Kvse8Hny/preview_html_285cb5fa.png

Assymmetry

Image Source:

Fairhaven Residence / John Waddle Architects [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.archdaily.com/369004/fairhaven-residence-johnwardle-architects/

References: • Movie source: https://www.youtube.com/watch?v=PrglsXr0lRU • Ching, F.D.K. 2007, Form, Space, and Order 3rd ed, John Wiley & Sons, New Jersey • Image Retrieved 30 April, 2013, from the World Wide Web: http://www.taylors.edu.my/photo/about/Campuses/november_2009/building_plan.gif • Arc De Triomphe [webpage]. Retrieved 30 April, 2013, from the World Wide Web: http://www.ign.com/boards/threads/culture-pornsummer-2013-tourney-round-2-match-4.453378815/ • Champs-Élysées [webpage]. Retrieved 30 April, 2013, from the World Wide Web: http://en.wikipedia.org/wiki/Champs%C3%89lys%C3%A9es • Image Retrieved 30 April, 2013, from the World Wide Web: http://web.carteret.edu/keoughp/fromblackboard/Greek/Acropolis%20street%20plan.jpg • Image Retrieved 30 April, 2013, from the World Wide Web: http://shelton.berkeley.edu/175c/Acropolis.jpg • Image Retrieved 30 April, 2013, from the World Wide Web: http://desousinho.wikispaces.com/file/view/R5.jpg/34919349/317x259/R5.jpg • Image Retrieved 30 April, 2013, from the World Wide Web: http://ad009cdnb.archdaily.net/wp-content/uploads/2011/11/13203736381-evening-main-528x373.jpg • Image Retrieved 30 April, 2013, from the World Wide Web: http://farm5.static.flickr.com/4068/4656421589_3a5b7519bb_m.jpg • Image Retrieved 30 April, 2013, from the World Wide Web: http://www.webestates.biz/wp-content/uploads/2014/01/closedalternative-view-theme-symmetry-and-architecture-128209.jpg • Image Retrieved 30 April, 2013, from the World Wide Web: http://dc198.4shared.com/doc/Kvse8Hny/preview_html_285cb5fa.png • Fairhaven Residence / John Waddle Architects [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.archdaily.com/369004/fairhaven-residence-john-wardle-architects • Brcak, N. Form, Space, Materials And Structure, Volumes [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.ithaca.edu/faculty/brcak/elements/form-space-materials-structure/volumes.shtml • Guggenheim Museum Bilbao [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao • Robie House, Chicago Bilbao [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.panoramio.com/photo/377345 • New York City Gallery, Guggenheim Museum Bilbao [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.britannica.com/EBchecked/media/101412/The-Solomon-R-Guggenheim-Museum-in-New-York-City • Wells, J. 2011, Wright’s Fallinwater Doesn’t Dissappoint, [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://travelonthelevel.blogspot.com/2011/08/wrights-fallingwater-doesnt-disappoint.html • Walks Inside Florence[webpage]. retrieved 14 September, 2014, from the World Wide Web: http://www.tripadvisor.com.my/Attraction_Review-g187895-d2068562-Reviews-Walks_Inside_Florence-Florence_Tuscany.html • A Student's Guide to Paris, [webpage] 2013, retrieved 14 September, 2014, from the World Wide Web: http://www.topuniversities.com/where-to-study/europe/france/paris/students-guide-paris • Central Park [webpage]. retrieved 14 September, 2014, from the World Wide Web: http://es.wikipedia.org/wiki/Central_Park • Moulmein Rise, 2004 [webpage] Retrieved 15 September, 2014, from the World Wide Web: http://www.skyscrapercity.com/showthread.php?t=137706 • Inspiring Miami Architecture, 2010 [webpage] Retrieved 15 September, 2014, from the World Wide Web: http://seekingdecor.blogspot.com/2010/09/inspiring-miami-architecture.html

PROJECT 2- ‘LIFE CAPSULE’ SELF EXPRESSION THROUGH ARCHITECTURAL SPACE MODULE : ARCHITECTURE DESIGN STUDIO 1 MODULE CODE: ARC 60105 PREPARED BY: PRINCE FAVIS ISIP TAYLORS UNIVERSITY_ SCHOOL OF ARCHITECTURE, BUILDING & DESIGN

PROJECT AIMS • UNDERSTANDING THE USE (BODY, MOVEMENT, ACTIVITIES AND ITS SPACE) • EXPLORE THE NOTIONS OF SCALE AND PROPORTION • DESIGNING A CONFINED SPACE WHICH WE CALL A ‘ LIFE CAPSULE’

ï&#x192;¼ TO EXPAND ON UNDERSTANDING ONESELF (NEED, WANTS , DESIRES AND EXPECTATIONS OF MAN

ï&#x192;¼ HEIGHTEN THE AWARENESS OF STUDENTS ABOUT THE HUMAN BODY. (FIGURE SHOWN : GENDER, AGE, PHYSICAL CAPABILITIES, OCCUPATION)

 HOW TO DESIGN BASED ON HOW HUMAN BODY USES THE SPACE… ( BASIC ACTIVITIES OF MAN = SPATIAL REQUIREMENTS)

 AND IT IS EXPRESSED

SPATIALLY….

PROJECT AIMS • UNDERSTANDING THE USE (BODY, MOVEMENT, ACTIVITIES AND ITS SPACE) • EXPLORE THE NOTIONS OF SCALE AND PROPORTION • DESIGNING A CONFINED SPACE WHICH WE CALL A ‘ LIFE CAPSULE’

ï&#x192;¼ ANTROPOMETRICS & ERGONOMICSREFERRING TO INDIVIDUAL & MOVEMENT

ï&#x192;¼ ANTROPOMETRICS & ERGONOMICSREFERRING TO POSITION & ACTIVITIES

ï&#x192;¼ ANTROPOMETRICS & ERGONOMICSGENERIC SCALE DETERMINES FURNITURE & FIXTURE STANDARDS ALSO THOSE WITH SPECIAL NEEDS

• UNDERSTANDING THE USE (BODY, MOVEMENT, ACTIVITIES AND ITS SPACE) • EXPLORE THE NOTIONS OF SCALE AND PROPORTION • DESIGNING A CONFINED SPACE WHICH WE CALL A ‘ LIFE CAPSULE’

EXPERIENCES OBSERVATION BASIC KNOWLEDGE

PROJECT AIMS

LIFE CAPSULECONSIDERATIONS  TO BE ABLE TO INCORPORATE AND APPLY THE BASIC PRINCIPLES AND ARTICULATION OF SPACE.  TO EXPLORE DESIGN THROUGH SOLVING REAL ARCHITECTURAL PROBLEMS.  TO BE ABLE TO KNOW THE IMPORTANCE OF SCALE AND PROPORTION. BODY & SPACE.  UNDERSTANDING HUMAN FACTORS SUCH AS USER NEEDS.  TO CREATE A SPACE THAT EMBODIES AND EXPRESS IDEAS IN THE DESIGN NARRATIVE.

SIMPLIFY TO BASIC ARCH’L TERMS  SPATIAL REQUIREMENTS (NEEDS, WANTS & DESIRES) AND ORGANIZATION.

 MAKE THE MOST OUT OF LIMITED SPACE, INCORPORATING ALL SPATIAL REQUIREMENTS.  TO BE ABLE TO KNOW THE IMPORTANCE OF SCALE AND PROPORTION. BODY & SPACE.  PHYSIOLOGICAL NEED (COMFORT, SAFETY, VENTILATION, LIGHT, ACCESSIBILITY & ETC.  DESIGN SHOULD FOLLOW INTENTIONS.

WHAT IS A LIFE CAPSULE?

LIFE + CAPSULE

DESIGN GUIDELINES  TEMPORARY SHELTER. 24.0 HOURS USAGE

 CAPSULE : 12.50 CU. MTS.  DESIGN FOR SINGLE OCCUPANCY ONLY.

Circle, Cylinder, Square and other forms

ï&#x201A;§ RECONCEPTUALIZATION OF FURNITURES, FIXTURES (FOLDABLE, CONVERTIBLE, FLEXIBLE AND MULTI FUNCTIONAL OR TRANSFORMING.)

Transforming and Space Saving Furniture Conceptsâ&#x20AC;Ś

IS THERE A SPECIFIC SITE FOR THE PROJECT? • NO. CREATE AN IMAGINARY SITE WHEREIN THE CAPSULE SHOULD BE SITUATED.

In the middle of the Jungle, On Water, near the Lake, On top of the Hill…

• SINCE YOU WILL BE WORKING WITH YOUR PREFERRED SITE. • LIFE CAPSULE SHOULD CONSIDER : LIGHT, VENTILATION, ENCLOSURE, SAFETY AND SECURITY. • REFELECT ON : HOW DOES BODY SHAPE THE SPACE? AND HOW DOES THE SPACE DICTATE THE BODY MOVEMENT?

IS IT IMPOSSIBLE TO BUILD A 12.50 CU.MTS CAPSULE? CAN WE BUILD A 12.5 CU. MTS CAPSULE WITH ALL THE BASIC ACTIVITIES IN PLACE? SHOULD I CONSIDER HAVING A TOILET INSIDE?

CROSS SHAPED MODULAR HOUSE- 12.0 CU METERS

12.00 CU. MTS CYLINDRICAL HOUSE

LIFE CAPSULE- DESIGN REFERENCE

Flexibility of Space + Sense of Privacy + Mobility

Incorporating Anthropometrics & Ergonomics

Multi Functional Space

HOW TO I GET STARTED? WHAT ARE REQUIREMENTS THAT WE NEED TO DO? WHAT ARE THE MATERIALS THAT I CAN USE?

HOW MUCH TIME DO WE HAVE?

GROUP INTO 4-6 MEMBERS EACH RESEARCH ON ANTROPOMETRICS, ERGONOMICS & OTHERS CHOOSE A CLIENT

(INDIVIDUAL ; ADULT, YOU, YOUR FRIEND , FAMILY MEMBER, LECTURER) CLIENT PROFLE & NARRATIVE PROFESSION, NEEDS, WANTS, DESIRES, ACTIVITIES & OTHERS TRANSLATE TO SPACE REQUIREMENTS EX: DESIGNERS (NEEDS AREA TO DRAW, USE COMPUTER, STORE BOOKS, OTHERS) EXECUTE DESIGN & PROJECT REQUIREMENTS

TASKS-METHODOLOGY

PROJECT REQUIREMENTS  GROUP PROJECT 4-6 MEMBERS ( MAX 3 GROUP EACH TUTORIAL GROUP)  PRESENTATION PANELS PANEL A-2 BOARD (PRESENTATION) - DESIGN NARRATIVE - CONCEPTUAL SKETCHES - 2- ELEVATIONS - 1- SECTION - STUDY MODELS  ALL PRESENTATION BOARDS ARE TO BE PRODUCED MANUALLY, PROPERLY LABELLED AND ANNOTATED.  SCALE 1:20 MTS.

 MODEL INSTALLATION 1:1 -ACTUAL SCALE -MATERIALS: MAIN STRUCTURE/ (BOTH INTERIOR & EXTERIOR) (CARDBOARD, TRANSPARENT MATERIALS (WINDOWS), OTHER TYPES OF BOARDS AND PAPER, TRACING PAPER,

 VERBAL PRESENTATION - GROUP - 10 MINUTES PRESENTATION EACH GROUP

TRIANGULAR & CIRCULAR FRAMING , TRANSLUCENT COVER

CARD BOARD ARCHITECTURE

INTERLOCKING , TUBULAR & EGGCRATE METHOD

MIXTURE OF DIFFERENT TYPES OF BOARDS

BRICK TYPE, STACKED / LAYERING

ROLL AND CARDBOARD PIPE

TRIANGULAR, TRUSS LIKE / SPACE FRAME TYPE

INTERLOCKING JOINERY

• BRIEFING, RESEARCH & FORMULATION OF DESIGN NARRATIVE: WEEK 5* • PLANNING & SCHEMATIC STAGE WEEK 6* • FINALIZATION OF DESIGN WITH STUDY MODEL: WEEK 8 * *Specific date be confirmed from Respective Tutor

• SUBMISSION & PRESENTATION: 9 – 27TH OCTOBER 2014 TARGET SCHEDULE

architecture design studio 1 (arc 60105)

Materiality & Sensory 29.10.14

WHY MATERIALITY & SENSORY?

intricacy of spaces? light & Shadows? acoustic effect?

j just a structure stru uct ture tu n cu c ot s c s? light & S Sh hadows? h th tables tab ta t ables a ab with ? & furnitures? rn re

What is Architecture without Materiality & sensory ?

What is Materiality & sensory without architecture ?

The Roman architect Vitruvius believed that all architecture began with the primitive hut

Tangible & Intangible

1. traditional transformation

material understanding structural advancement ornamental expression

proportion

ROMANESQUE

GOTHIC

RENAISSANCE

BAROQUE

2. precedences

transculture

20th century Ornament as Crime (1910)

the virtues of an architecture that was the product of the machine age rather than a mimic of historical styles.

Mies van Der Rohe German Pavilion

3. traditional vs modern

religious expression ?

grandeur expression ?

cladding system ?

facade treatment ?

art space ?

digital facade treatment?

video facade

What is the contempory notion of materiality & sensory in the 21st century ?

Technology challenges our notion of materiality & Sensory of space

Tangible & Intangible

materiality might change, sensory remains

4. theories

juhani pallasma finland

chapter : an architecture of the 7 senses

sense of touch texture and contour evokes imagination and memory

sense of sight sense of separation and space sense of awe

Frederic Edwin Church, The Icebergs, 1861, oil on canvas, 64 1/2 x 112 1/2 inches, Dallas Museum of Art, Anonymous gift, 1979.28

muscle & bones proportion, ergonomics, movement, distance

bodily identification memory

sense of scent evokes memory

Taste vision transfer to taste

sound sound measures space

5. modern materiality & sensory

jagged walkway

garden of exile

memory void

holocaust tower

Taylorâ&#x20AC;&#x2122;s own space of Daniel Libeskind ?

memory void jagged walkway

architecture of fiction as an extreme of materiality & sensory ?

as a space to evoke memory and experience

project 1 form abstraction of individualâ&#x20AC;&#x2122;s character

project 2 creating space understanding ergonomics

project 3 creating space - shows experiential and spatial quality

the end