ACADEMIC PORTFOLIO STAGE 2 Sofia Kovalenko 160012831
CONTENTS
charette 3 2.1 a day in life of you 2.3 at home in the city 13 2.3.1 study type 2.3.2 leith 2030 apologia 35 2.3.3 dwelling plus 2.3.4 inhabit 2.4 engineering experience apologia 2.5 exploring experience 77 2.6 integrated design technology 125 crafting architecture workshops
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arc2009 arc2024 arc2010 arc2020
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architectural technology about architecture environmental design dissertation studies
feedback reflections
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CHARETTE “liquid glass”
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crushing glass In this charette we had to do experiments with glass. The experiments started with collecting glass bottles and crushing them into pieces. Pieces were put in different variations of colour and patterns. The moulds were put into kilns with different temperatures.
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melting glass When the glass pieces were taken back from the kilns they had different textures, opacities, hues. In some cases, colours were blending with each other, in others, they stayed as solids. My group built a light box, that was an experiment of glass, texture, colour and light.
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2.1 A DAY IN LIFE OF YOU My drawings were developed trough observation of the space in the frame of my eyes. Space around was staying the same, all I could see were objects being moved by my moving hands.
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2.3 AT HOME IN THE CITY
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2.3.1 study type The Student Resident by LAN Architects is located in Paris, France, was completed in 2011.The district is a very heterogeneous mixture of Haussmannian residential buildings, factories and workshops, and therefore has a richness and wide diversity of situations unusual within the city itself. The district has a very popular train station Gard du Nord, that makes the area very busy. There are many shops, restaurants, school and university next to the residence.
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massing The project is composed of several buildings, whose volumes and voids depend on the context. On the street, three six-storey volumes are separated by two rifts providing access to the residence and vertical circulation. The heights of the buildings at the back of the plot vary according to neighbouring buildings. In the middle, a spacious courtyard is lit by a rift in the south building, an extension of an existing void. The courtyard, the heart of the project, provides access to the various buildings and de nes their interrelationship. A 15 x15 metre square, it ensures sunlight for all the rooms and acts as a kind of green lung.
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collective The circulation system is legible, four vertical circulations are located at the four corners. The courtyard ensures that the circulation of the place is lit naturally and providing accesses for residents to di erent buildings. And it also acts as a bu er with the shutters providing a line between private spaces, these are not merely for circulation but provide the conviviality. As these spaces were not part of the project speci cations, their uses can be de ned and developed by residents.
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dwelling The design of this room has a sence of compact e ciency the rooms are arranged in a linear way forming a long and narrow corridor like atmosphere. The desks are always located next to the window to give a calming view of the courtyard conduscive for studying. Students have furnished rooms with an average surface area of 18m2, with a bathroom and a kitchen area. The building holds around 150 rooms, communal spaces, administrative premises and a caretaker’s apartment, 143 rooms have three di erent typologies. Ten rooms were specially designed for people with reduced mobility.
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detail The street side’s elevation is cladded with slate colour bricks matching the surrounding buildings. Combined with the bricks, the metal nets on the windows create shallow balconies facing the street. Based on the concrete frame,the wall also contains e cient thermal insulation, creating pleasant and comfortable indoor living space. In winter the buildings retain their interior heat, and in summer their exterior insulation reduces solar and internal overheating, while inertia enables the capture of daytime heat and its retention during the night.
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MATERIALS MATERIALS MATERIALS I SCRAPE MY HANDS ALONG THE THICK RENDERED WALL, WALKING IN SILENCE AS CARS SCREAM AT ME ON MY RIGHT. RES- IDENCE OF DEATH SILENCE LIES ON THE CORNER OF ELBE STREET, ACCENTUATING BLACK AND WHITE. THE WALL WAS COLOURFUL BUT I WAS COLOURBLIND. SEEING ONLY IN ONE DIMENSION A VIEW
2.3.2 Leith 2030
OF THE LONG WALL ARCHING ME AND CREATING BOUNDARIES BETWEEN ME AND THE CONSTRUCTION OF THE INDUSTRY. INDUSTRY INDUSTRY INDUSTRY BRINGING CHARACTER AND THE SPACE BETWEEN ME AND THEM. MOVEMENT OF LORRIES ENTERING THE SITE IN AN ORDERLY FASHION. IM STOOD IN WONDER WHY I FELT SO COLD, MISERABLE BUT CALM. THE SITE JUXTA- POSED FROM JUNK AND GRIME TO SITU- ATED LIVES. WHY DO THEY KEEP ME AWAY FROM THE DOCK? WHY AM I LEFT HERE IN SILENCE, LEFT HERE WITH THE LOT?
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site analysis As a group a wide range of factors was analysed: uses of the buildings, people living, economy of the area, sounds and feelings, roads, wind and sun.
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masterplan Our master plan became a main street, potentially being used as a market street, that was going in between student houses. This road would be a connection between Leith and the decks. In the opposite direction, there is a series of cantilever buildings that also had a function of student housing. Next to the waterfront, there is a series of restaurants and shops. On the side there is an area with offices, on the opposite side, there is a parking.
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atmosphere Different atmospheres were created for different areas of the site. Quiet for the deck, busy and loud for the central market street, very wide and exposed for the restaurant plaza and a narrow and enclosed for the under cantilevers rout.
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APOLOGIA My approach to the project was designing something more exiting than a usual student accommodation. Living in various student accommodations myself, I noticed that they all had the atmosphere of being very commercial and were build as a source of income rather than bring students together. Long endless corridors, as many small rooms as possible along the perimeter, courtyard in the middle. For my project, I wanted to play around those very usual elements. Typical corridor became a spiral ramp, it is a continuous circulation element that connects four floors and leads everyone to the terrace on the top floor. The spiral ramp is wrapped around dining areas. It became an imitation of a typical ‘courtyard in the middle’. Every dining space has a kitchen and a common area with a TV, it would bring people together every day despite the weather conditions. Spiral ramp is divided from the central areas by glass walls. These walls allow people to visually stay together while physically being in different spaces. It makes every spot in the building public and exposed, it forces people to interact with each other. The ramp gave an opportunity to make this accommodation accessible for all. Wheelchair users are going to be able to be a part of the main circulation and participate in the interaction. This accommodation is designed to be a continuation of the flow of the street. The street transitions into the ramp and the ramp transitions into the interior of the rooms. These transitions unite spaces, that means that they will unite people.
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2.3.3 dwelling plus “Everything is provided on site for your convenience, 24 hours a day, from study space to social life, so you never have to leave.” -Vita Sales Assistance In my project, the main idea was not only designing ‘never have to leave’ space for students, but also a space that is accessible for all. Not only have ‘social life’ areas, but a space that actually forces students to communicate.
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Kunsthal/Rotterdam/OMA One of the main elements of Kunsthal is its’ ramp that slowly brings the visitor from one gallery space to another. During my visit, I found it very comfortable to not worry about not missing the next staircase step, but just effortlessly move up and focusing on observing exhibiting pieces, architecture and people.
precedence study There were two ideas I was looking for in existing designs:
I used this idea of ‘slowing down the circulation’, so people start noticing more things around them, in the case with student accommodation - notice other students.
-accessibility for all -communication between users
Guggenheim Museum/ New York/Frank Lloyd Wright Circulation in Guggenheim has the same idea of slowing down the circulation as in Kusthal. But the ability to look up or down or trough the emptiness makes it even a more exiting element. Making a spiral corridor that would be interesting enough to be used in a student accommodation became a goal for my design. Because of the ramp, the museum becomes wheelchair accessible (t the gallery on the top floor that has two steps at the entrance).
Precede
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De Bondgenoot/ a2o Architecten/ Leuven, Belgium
precedence study
It is a student accommodation that has glass barriers between different parts of the main circulation. I had a chance to visit this accommodation, students who live there were saying that because of the exposure of everyone’s ‘outside the room space’ students have a very strong friendship with each other. I integrated this idea of openness in my design.
-accessibility for all -communication between users
Dalarna Media Library/ ADEPT/Falun, Sweden Other than being one more example of the spiral circulation, this project attracted my attention because of its’ dining area being located in the middle. Being wrapped into the corridor it becomes a separate area without building up any walls.
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development of the ramp Creating the ramp that would be -acessable for all -helping users communicate with each other -designed to be used with joy and exitement
Circulation was developed trough understanding the building regulations part M (ramps) modelling different combinations of longer and shorter parts of the ramp finding an alternative way to reach the required amount of rooms trough including stairs and lifting platform in specific places (explained on the next page)
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private semi private public
development of the plans The ramp is placed in between rooms and dining areas that are covered in class, so users can see trough the whole building. It connects reception, rooms, dining areas, study room and outdoor terrace area. The challenge was to place the ramp in such way that it reaches the next level of the rooms. Due to width limitations of the building, staircases became nesessary. The ramp was kept in the 70% of the circulation. These 70% wrap around the kitchen and connct all the rooms on one level. If the wheel chair user would need to reach the next floor, he would use an elevating platform. In this case, the users reach their desitination faster but still use a part of the ramp observing and interracting with each others.
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materials The choice of the materiel was based on the reflection to Leith - that is mostly built using brick. My choice was white brick that gives a modern feel to the traditional material. It is also a structural element in my project. Visiting the De Bondgenoot accommodation made me appreciate the timber that is used there for doors, partition walls and decorative elements. It has a great smell and brings in a cozy atmosphere. Glass faรงade lets in the light that is needed in not so bright Leith. It also exposes the inner life of the building, that would make it more inviting for the public.
Materials
final outcome Every building can accommodate 28 students, with a dining area for every 6 rooms and a bigger dining area for the 9 students on the top floor. There are 2 rooms that are drawn to be used by a wheelchair user on the ground floor, but other two floors have identical layot, so the rooms can be modified to accommodate extra 4. On the top floor, there is a study room and an activity room that has a glass window to the terrace. The room and the terrace can have different uses like yoga classes, student meetings, various masterclasses. It can be organised by students and become a source of income for them. In summer the building can be used by students who participate in short programs, for example, English language clases for foregners that are very popular during summer months.
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Ramp is wrapped around glass kitchens, allowing the users to see trough the building.
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Activity room opens up into the terrace.
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This skylight brings in the light trough all the floors until the reception area.
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Top floor corridor trough the cantiliver area is glazed for preventing the space from being ‘long and dark corridor’, it also continues the design language of the rest of the building.
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Ramp forces people to observe.
Glazed wall visually connects two separate areas.
Light corridor is more welcoming that would also lead to more interaction between students.
The elevating platform is also glazed, so it does not interrupt the views.
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2.3.4 inhabit The room continues the language of connecting all the different spaces with the ramp.The timber flow goes trough the furniture, floor, wall and ceiling making all the pieces look like one.
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2.5 EXPLORING EXPERIENCE
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APOLOGIA While visiting the site I was fascinated by the nature, the smell of the trees, the sound of the water and the way the sun was trying to go trough the leaves, everything was calming and inspiring. The site was a city escape. The challenge was to make people notice these moments in nature. My material is clay, trough material experiments I realised that the process of making something out of clay may also be quite therapeutic. The connection between the site and the material became that meditational feeling, that was achieved trough the walk in the forest as well as trough clay modelling. Durham is a place of education, my festival was meant to give people another kind of knowledge. Something more for the soul, that can only be experienced trough the process of making. This idea evolved into a workshop festival, where people are walking trough the forest and on their way they come trough spaces that function as different kinds of workshops. You may start your visit with learning how to make a clay plate, after that you may go for a clay pot cooking class, buy a clay mask...or not do any of these and just have a walk trough the forest and have a break from a daily routine. A series of rammed earth buildings filled the forest and became one more element of inspiration, that can actually be considered as natural, since the walls are made of raw materials.
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Durham Durham has a large amount of students living and studying all around the city. This led me to the idea of making the festival educational. Learning something that is impossible to get from books.
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festival rout The festival rout goes trough all the most popular spots of Durham, where people can buy or just get to know all the things that are being produced at the main site.
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site analysis The site is a hill covered in forest and a river at the bottom of it. Because of the trees, there is not that much sun coming trough, but on the other hand, the trees are protecting the site from the wind. This gives an opportunity to have large open areas. And the sunlight was brought in trough making glass roofs on the buildings.
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moments Recording the moments from the site inspired me for my further development. I thought about my site being a slope, where underneath the soil there is a rock. This rock is formed buy all the leaves falling down and turning into subsoil and then to this rock. This process inspired me to use rammed earth as my material, where by compressing a mixture of clay, sand, gravel and concrete we turn it into a rock hard structure.
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material Rammed earth is made of raw natural materials that give it its charm. It has excellent thermal mass and looks beautiful without anything being applied on top. The layered pattern can be transformed with using different pigments of the sand.
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method
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Hotel Ubud Hanging Gardens/Popo Danes/Indonesia This hotel caught my attention because of the way it blends into the slope that is covered with trees. It feels like houses are growing trough the trees. In my design, I am trying to achieve this connection between architecture and nature.
precedence study
Zaryadya Park/ Diller Scofidio + Renfro/ Moscow, Russia Visiting this project in April, it was a great inspiration for my own design. It is a park, where you are led trough a series of underground spaces, bridges and unusually-shaped buildings. It felt like walking in a fantasy movie, even though it is located in a very centre of a massive city. It gave me a lot of ideas for circulation in my design.
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development
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development plans
The plan for the site was a conversation between buildings, levels, views and accessibility. But the main focus was to create a path where the visitor would feel as if he is walking trough the forest. The idea was changing from keeping the slope untouched to digging into it and investing into the experience of the user.
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development section
Working trough sections was extremely important and at the same time challenging on this site. There was a series of ideas like trees growing trough buildings, buildings having curved walls or people mainly using only roofs of the buildings. But slowly it emerget into something more realistic.
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development models Making experiments with actual clay was helpful at the beginning of the project, but it became more difficult when I tried to make a precised shape. Then I had to use softwear to figure out persised sizes and shapes that are possible to be achieved on the sloped site.
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-trough plans and section for analysing limitations and dimensions of the site
development routs Routs were crucial for the atmosphere of my festival.
-trough diagrams to create interesting views and moments
-trough sketches, to check if two dimensional diagrams and plans can exist in three dimensions
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final outcome The path trough the forest is bringing the visitor to a series of spaces: two workshops for clay making, a plants and pots shop, a clay masks salon, a restaurant with clay pot cooking classes and large outside dining area, a bar with cocktail making workshops, a garden, two large workshop spaces and place for those who give master classes to stay.
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diagrams
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2.6 INTEGRATED DESIGN TECHNOLOGY
Rammed earth is a popular material in Australia where insulation is not needed but in Canada the insulation in the rammed earth wall is being used. UK climate is closer to Canadian, that is why my structure has insulation.
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structure
Cylindrical form is the most convenient for rammed earth, in this case walls don’t need any reinforcement.
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WORKSHOP 1 site reading
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At the workshop we were asked to sketch an elevation of any building on campus. Old Library and Architecture school were impressive because of the amount of glazing.
The Claremont Tower and the Claremont Bridge are special because of the proportions and the style.
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While visiting sites for the projects, I found it useful to find ‘moments’. To listen to the sounds and try to feel what atmosphere each of them have and put all these pieces together.
WORKSHOP 2 diagramming
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The diagramming tutorial was very helpful with analysing the circulation of the design, Circulation diagram that was one of the most important aspects of my project.
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In the projects site analysis was portrayed the most clearly via diagrams.
Diagrams are also working very well when trying to represent key aspects of the design.
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WORKSHOP 3 detailing
This workshop was very useful to analyse if the idea is possible to be realised or not. This diagrams are showings detail of round window opening in a curved wall.
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During projects, detailed drawings were often changing the design. It would sometimes change thickness of the ceiling or the walls.
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WORKSHOP 4 structure
The structure workshop led my design. During the workshop we realised that some shapes are impossible to be made with rammed earth. It was also very informative with the way the building stands up on the sloped site.
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Trough research I came to the conclusion that the most convenient shape of the rammed earth building is a cylinder, it gave directions to my design and gave more ideas to develop it further.
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architectural technology
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about architecture
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dissertation studies
Ah We is b mas the er in to c to c to u in J stru the que daw dus es r des duc vast nel for gold he m tho soc be fi nes cine nih he h mas to t und seem
Krasz Piran Katsu Late S Tadao
He Rises at Dawn: László Krasznahorkai
A hungarian author born in the 1950’s. He has spent time in Western Asia. Chapter 13 from Seiobo There Below. The text is based on ‘Ito Ryosuke of the Kanze school, the noh master mask maker.’ We felt this text represented Japanese philosophy, the understanding that life is hardship and struggle, as a farmer in proto -Japan he works from dawn until dusk, does he live to carve the mask? Or carve these noh masks to live, he seems to carve the wood as a farmer tills the soil, he does not seem to understand the deeper meanings behind his only purpose, in Japan, art, film and architecture emobdy this vast existential struggle against the simplicity and purposlessness of existence, the noh mask maker does not bother himself with these deeper questions, his life is a solitary dream, silent and bathing in the dawn of each morn as he awakens, working unto the twilight of dusk. Our drawings are poetic reactions to the text, our sketches represent the noh mask makers infinite enigma, he has no desire for the end goal, or greatness, only the process of producing the mask, what a wonderful thing to be lost in such a vast solitary dream! To chisel, blow and chisel. To be as Colonel Aureliano Buendia, to craft fish of gold, only to sell them for gold coins, he exists in an infinite cycle of creating fish from gold to sell for gold, and the more fish he sold the more fish he must make. The broken pencil is the broken cycle, even though he has made a mistake, he has carved too deep an eye socket, he continues,without knowing whether the mask can be fixed. When we dream upon this text, we thought of the flatness of a Hokusai print, or the stillness of the frames of Ozu’s cinema. What troubled us about the text is its solitude, and nihilism, the mask maker has no ‘double’ as Freud would say, he has no spiritual purpose, he does not put emotion into the mask, nor does he create the masks for any purpose other than to terrify. Where western art is an attempt to grasp a deeper understanding of spirituality and existence, the mask maker seems to only exist to “chisel, blow, carve and just chisel.” Krasznahorkai, L. and Mulzet, O. (2015). Seiobo there below. London: Tuskar Rock Press, pp.147-164. Piranesi, G. (1745). Imaginary Prisons. [Print]. Katsushika, H. (1832). Fine Wind, Clear Morning. [Ukiyo-e woodblock print]. Late Spring. (1949). [film] Directed by O. Yasujirō. Japan: Shochiku. Tadao Ando, [Sketch].
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dissertation studies
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feedback reflection P2.3 AT HOME IN THE CITY
-context As the tutor suggested, I added elements to the master plan p.36. -programme & brief “What happens when all the students leave?” Question is answered p.49. “Open up the building more” I explained the way I use the material to make the building more welcoming p.47. - critical thinking & rigour “Stuck in a dilemma...” Reading my feedback I’ve realised that I probably didn’t have enough detail in my presentation, so the tutor was left with unclear vision of my project. I added more explanation in the portfolio p.37-49, p.52-58. -function & environment Circulation. Added more detail proving my idea same pages as ‘critical thinking and rigour’.
-atmosphere & experience “Brick could leave a feeling of coldness in the bedrooms.” I agree, changed the brick to the sponge painted wall p.64 - 66. -section My model can be opened and used as a sectional model p.50. -process work Presented p.43-46.
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feedback reflection
P2.5 EXPLORING EXPERIENCE P2.6 INTEGRATED DESIGN TECHNOLOGY
-context/programme It says it’s a good response and a nice idea. But the tick is still on ‘average’, so I did not know how to improve my work to make it better developed. -function & environment In between spaces. I made drawings of the in between spaces p.115 - 122. -atmosphere & experience Atmosphere sections & perspectives to show ‘in between’ spaces. Made more sectional drawings and more perspective drawings p.93, p.105 - 106, p.109 122. -structure Some units fully glazed, but varies in others. I agree, changed it in my sections p.109-114. -material Added new drawings for this section p.125 - 128.
Added a more precedence studies p.93-94. After advise from the tutors, removed a grid that was covering the garden on my plans p.107 -108.