Studio Task Wednesday 02 June 2010

Dear Students

My email note to you noted that this week, I need you all to have

Floor plans and sections (including the outdoor courtyard). 1: 100
A working model 1: 200 or 1:100
2 Interior perspective vignettes showing the main sequence of spaces

These components should be as complete as possible as I will be unable to provide constructive feedback if substantial work is not produced. So please work hard this week and try to catch up.

Further to my email below, please note that the work on Wednesday should ideally demonstrate

the definition of architectonic elements - components
the siting of the building as a conscious act
developed dialogue between plans and sections
attention to light quality and experience
an attention to controlled light as opposed to unmediated light (through glass for instance) thereby also informing choice of material
attention to light conditions as they impact display, viewing and contemplation of art

Please pay attention to most or all of these ideas.

Prior to coming into studio 12 May

Please make a first visit to the site between today and Wednesday
Please also visit Art Gallery NSW, Anna Schwartz Gallery, Gallery Spaces in Customs House, and Museum of Contemporary Arts as a start
Bring to the studio 1:100 plan of the site you have selected
Bring to the studio the selected artist and narrative


Studio 12 May

We will meet for 2 hours and discuss your findings
At 4 pm you will return to the site as a group for detailed site analysis
The site analysis will consist of the following themes

* Geometry
* Volumetric analysis
* Street Frontage
* Light conditions
* Shadow conditions
* Servicing options
* Traffic
* Built character

Consult the images (By Bernard Whitcher) for the expected graphic quality of the site analysis

19 May


On 19th May we will have a quick but intense group presentation of site analysis and a discussion of opportunities and constraints and then carry on to do desk crits re developing the narrative and initial design ideas (tectonic ideas as well as spatial sequencing as well discussion of the play between living/working/trading/displaying).

Please select some precedents of Galleries (and other inspiring buildings/openings) and start to upload them onto your blog sites.

Notes; Submission ARCH1201 Project 2

Dear my lovely tute group

Saw some really interesting works in progress last Wed.

Hope you all are progressing well with Project 2

Please be there in the studio sharp 2 pm where we will draw up a roster of 'who goes when'.

Just to reiterate points made in the studio

1. Make sure that your presentation is up to the mark
2. All drawings are poches
3. Utilize the base of the model to site the building with some consideration rather than using it as a mere prop for the model
4. If the site is implied, then some images of the site should be presented
5. If the site is known, then it could be included as part of the model
6. Models must be well crafted!
7. The painting needs to be mounted
8. The narrative needs to be printed
9. Sheet sizes must be uniform
10. Drawings must be mounted with care
11. Drawings should be on opaque sheets because they are poches
12. Some analytical work re the process through which you derived the narrative could be graphically demonstrated
13. Light studies of the model could be included in the presentation
14. Make sure occupation is addressed (a verb, an activity)
15. Make sure there is connection between the occupation and the spatial composition (overt or covert)

See Anu's Project 2 blog posting from 2009

Hi my lovely tute group

Could you please browse through my last years posting to clarify some of the issues we discussed in Studio Week 6

http://anuradhachatterjee-arch1201-2009.blogspot.com/search?updated-min=2009-04-01T00%3A00%3A00-07%3A00&updated-max=2009-05-01T00%3A00%3A00-07%3A00&max-results=19

bestest

Anu

Pencil renderings

http://www.keithschmidt.com/Alamo_pencil_drawing.jpg
http://www.jubasaia.com/images/sciarc_picoblvdcommercialre.jpg
http://www.artassoc.com/gallery/d/1157-2/pencil-rendering-08.jpg

Sectional Model

Here are some inspirations for the sectional model









IMPORTANT

Please see the images of exemplary sectional models in the blog posting http://arch1201-2010.blogspot.com/2010/03/lecture-images-week-23-prof-xing-ruan.html

Parti

This is what the partis should look like in terms of technique and style - not content - as they deal with other aspects while you address parti as the essential organizational pattern, as well as a series of meaningful formal and geometrical relations

Try to uncover the three partis embedded/concealed in the Villas

Poche

Can Feliz
Chris Thorpe, ARCH1201 2009, FBE UNSW

Tempe à Pailla
Nick Brennan, ARCH1201 2009, FBE UNSW
Example of Student Work
Can Feliz Poche (Minimum standard)
Baroque Churches (Exemplary Standard)
Sudipto Ghosh in Poché Parisienne (2001)
H. Labrouste, project for the Laperoue mausoleum, 1829
Jacques Germain Soufflot
Johann Wilhelm Hittorf
Church of Solitude Project, New York, New York, Plan Gaetano Pesce
Church of Solitude Project, New York, New York, Longitudinal section Gaetano Pesce
Les Eschelles du Baroque Apartment Building, Paris, France, Plan study Ricardo Bofill

Dear students

On 10 March 2010 you will meet your tutors and peers in your studio, where you organize yourself into the groups that you have been allocated for the villas, and start to think of the sectional model, what is the best section, what materials are you going to use and so on. At an individual level, it is imperative that you bring to the studio following things so you get constructive feedback from your tutors.

1. Photocopies of plans, sections, elevations, images, and text pertaining to your allocated Villa that you should have started to grasp/read/ understand
   
2. Parti diagram sketches 1:200 (A few attempts) - Try to understand the way the building is organized as an abstract diagram
   
3. Poché renderings (A few attempts - Try different techniques of rendering and see which works best) 1:100 - Try to understand how distinct spaces inside a Villa might be created through the manipulation/thickening/and moulding of walls and ceilings so as to give the sense of a space that has been carved out of solid matter
   

Please utilize this time wisely. What this means is that please bring all required references and drawing equipment to the studio.

As I mentioned in the lecture that the pace of the studio is marked by the swift progression of projects so you need to make the best use of your studio time. I might add to this as the tutors review this through the day. But this enough to get you started straight away!

bestest

Anu