The Collected: An introduction to a complex architectural thinking. Examines both conceptual and exceptional spaces and develops an understanding of the corresponding architectural systems.
P r o c e s s i n g
Scanning Electron Microscope image of a fig, image by students 2016.
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Students are encouraged to explore design opportunities through a process of parametric model making. The use of parametric tools allows for the normal design process architects go through of optioneering, to be accelerated and expanded. By creating a wide array of design options the intent is that students develop a deeper understanding of their instincts as designers.
As students will be engaging with as yet unknown technologies in their future professional lives, this studio encourages students to take the initiative to teach themselves software, and to learn from each other in the studio, fostering adaptability and self-reliance.
Von Hochstetter’s Map Onehunga 1940s
Aim: To use Rhino, Grasshopper, and Maya software to model spaces and structures. The design work will resolve in a building on site.
Method:
The first part of this studio is dedicated to developing a design logic using modelling, creating a ‘library’ of components, an architectural language.
1. Revealing the invisible: The studio will look at natural structures and geometry under a scanning electron microscope. Find a material, sample or specimens. Observe and document using the SEM (scanning electron microscope). [Over summer the SEM machines were moved, and may not be available this semester]
2. Analysis of the sample: Look beyond the surface, beyond imitation of biological forms. Investigate inputs, outputs, exchanges with the environment, mechanisms & bio-chemical processes.
3. Site: Onehunga The water’s edge around Auckland’s harbours is an everchanging boundary. Analyse the site, look at traffic and transportation, geography, geology, ecology, climate, archaeology, mana whenua. Use digital skills to analyse, engage with, and sculpt the site.
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4. Analogue models [work in small groups of 3-4]:
Make a series of physical models to represent observations from the site analysis.
5. Digital models [work individually]:
Use Rhino, Grasshopper or Maya to visualise your models in three / four dimensions. Students are expected to up-skill independently using online tutorials, with the support of OML. This series of analogue and digital models will gradually create a design logic for your project. Keep pushing your models to discover variations and extremities, and record your process by taking many iterative screenshots. Are there any connections between microscopic, human, and building scale?
6. Index of iterations Computation has the ability to look at many options and variations quickly. Matrix the options, and establist criteria for the selection of one option over another. Self-critique your design work by comparing options.
Mid semester presentations will show the design logic and landscape integrated using drawings + models.
Results: The second part of the studio looks at ways to integrate your design logic with the complexities of site, programme, structure, materiality, etc.
7. Programme: Decide on a programme and prepare a programmatic diagram. Suggested programmes include research institutes which engage with technology.
8. Proposition: Develop your selected form into an architectural proposition. Look for opportunities to use parametric tools in designing a building. a) write a critical question which identifies the design problem, and a 200 word description of your project.b) Present your building using plans, sections, elevations, animations, 3D printed models.
Conclusion:9. Findings: Note the unexpected. What are your conclusions as to the design
process? Critique the method. What possibilities have been revealed, what further questions were unearthed? Can the architectural project be ‘a predictor and enabler of change’?
‘in the natural and biological world… the constant interaction of simple principles and causalities creates a never ending flow of subtle variations and complexities’ Juhani Pallassmaa.
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Iteration diagram. Select two iterations from your matrix. Use these two to make further iterations. Work without a preconceived idea of the finished outcome.
4.0 TEACHING AIMS
The aims of this course are to:Design 5 presents an introduction to complex architectural thinking. It examines both conceptual and exceptional spaces and develops an understanding of corresponding architectural methodologies and systems. Topics will explore the cutting edge of architecture, with an individual emphasis on the theoretical, contextual, architectonic, communicative, material, spatial, sociological or topographical.
5.0 LEARNING OUTCOMES
General ARCHDES300 Course OutcomesOn successful completion of this course, students should be able to: Theory: Show evidence of engagement with selected / prescribed areas of architectural theory and
knowledge. Further, to show evidence of the exploration of the possible influence of this upon the development of architectural propositions.
Architectonics: Demonstrate abilities to project, explore and develop the tectonic characteristics of the project through the creative engagement with material, structural or constructional propositions.
Programme: Show evidence of engagement with identified cultural, social and functional positions as they might inform speculative architectural propositions.
Performance: Show abilities to advance conceptual thinking through engagement with environmental and contextual conditions that could bear upon the project, and to examine the way in which the architecture may affect those same conditions in return.
Form and space: Demonstrate abilities to develop speculative three dimensional architectural form and space. Media: Display skill in the communication and development of design propositions through the considered use
of architectural media.
Specific Topic OutcomesThis studio topic will engage the general course outcomes in the following ways: Theory: Look through the reading list, find an aspect of computational theory of interest, and communicate this
idea through your design development. Understand that your work is a continuum of architectural history and theory. Or, find an architectural precedent, find the architectural drawings and analyse the drawings.
Architectonics: Demonstrate how the structure and material selected is integrated with building form, architectural spaces or construction techniques.
Programme: Demonstrate how programme is connected to the parametric model, and integrated into the architectural structure and form.
Performance: Demonstrate environmental performance and ecological connectivity between the internal and external conditions of your building, ie how has the internal performance of the space been influenced by the conditions which surround it. Show an articulation or variation of skin and façade. Where appropriate, find levels of optimization and efficiency using software.
Form and space: Demonstrate the use of modeling (physical and digital) to discover interesting architectural moments, both internal and external, and resolve your work into a convincing building solution. How has the
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integration of large scale and small scale internal spaces been resolved into a coherent form? Resolve the interaction of building and participants, in the presentation of functional and integrated internal spaces.
Media: Demonstrate proficiency with software, thinking through drawing (scripting is a drawing tool) and making. What are the limitations and what are the strengths you find in the design software? Demonstrate a variety of media both handmade, digital and hybrids of each. Edit your work to present the strongest moments in your work, utilizing clear and communicative drawing, rendering and modelling techniques.
6.0 COURSE STRUCTURE AND CONTENT
Week Date Topic Required reading (or other).
Week 1 6 March First meeting. Confirm SEM dates.Collect Precedents
Present precedents on an A3, find architectural drawings.
Week 2 13 March Week of analogue models & sketches.Present analogue models
Join OML workshops.
Week 3 20 March Site Visit, Site Analysis ArcMapWeek 4 27 March Scripting weekWeek 5 3 April Index iterationsWeek 6 10 April Mid-semester crits
MID-SEMESTER BREAK
Week 7 1 May Programmatic diagrams Set ProgrammeWeek 8 8 May Integrate programmeWeek 9 15 May Resolution of structure, construction,
circulation, materiality, lighting, articulation of skin, facade and thermal issues.
Meet with Structural engineer
Week 10 22 May Draft printouts of 2 dimensional orthographic drawings: Plans, Sections & Elevations.
7.1 Required Reading Select from: Stewart Brand, How Buildings Learn, what happens after they’re built Achim Menges, Computational Design Thinking Achim Menges, Material Computation, Achim Menges, Lecture at Bartlett. http://vimeo.com/52697757http://www.achimmenges.net/?p=4411Morphe, MRGD. By (author) Melike AltinisikHillier, Bill, Space is the MachineHolland, John, Emergence: from chaos to orderWeinstock, Michael, the architecture of emergence. AD System City.Alisa Andresek: Biothing.orgMark Burry, Scripting CulturesMark Burry & Jane Burry, The New Mathematics of Architecture
Mark Burry, Between Surface and Substance. 2003 Architectural Design: Surface Consciousness Vol. 73Philip Beesley & Sarah Bunnemason, On Growth and FormPatrik Schumacher, Style as Research Programme, 2008 (online)Aranda/Lasch, Pamphlet Architecture 27: Tooling Sanford Kwinter: essay on Lindy Roy, …nature as ‘a design engine’.Sanford Kwinter, Far from Equilibrium, 2007 + Sanford Kwinter lecture on youtube http://www.youtube.com/watch?v=mf-hQxfaSGkTom Wiscombe: http://www.tomwiscombe.com/Softkill: http://protohouse.tumblr.com/Natural History - Herzog and de MeuronKelly, Kevin, Out of Controlhttp://www.ted.com/talks/kevin_kelly_on_how_technology_evolves.htmlhttp://www.brianmassumi.com/textes/Sensing%20the%20Virtual.pdfLook through recent AD journals.
7.2 Recommended or Supplementary Reading Refer to bibliography, separate sheet to be emailed to students.
7.3 Other Materials or SoftwareOnline Software Tutorials:Jose Sanchez, http://www.plethora-project.com/education/2012/02/05/rhino-grasshopper/http://digitaltoolbox.info/http://woojsung.com/http://www.grasshopper3d.comhttp://www.grasshopper3d.com/video/hyperbolic-surface-buckling?xg_source=activityTutorial: image sampler - http://www.exlab.org/2012/07/cast/http://www.exlab.org/wp-content/uploads/2011/09/T2.0V02-Perforated-Curvature.pdfDaniel Piker Vimeohttps://vimeo.com/user798992/videosData: Koordinates.comGIS Auckland UniversityArcMapPresentation:https://issuu.com/bartlettarchucl/stacks/9e12e194ae8e4ca195884c0ccb6d8d73
7.4 Use of Canvas Not applicable
7.5 Other Assistance / Student Support AvailableOML Lab on level 4 is available for students to ask questions both inside and outside of studio times. There will be a series of workshops to rapidly upskill students.
8.0 INCLUSIVE LEARNING
Students are urged to discuss privately any impairment-related requirements face-to-face and/or in written form with the course convenor/lecturer and/or tutor.
9.0 OTHER INFORMATION
During studio times I will be available for discussions via a sign up sheet. Previous work from this studio can be found at http://msemmamorris.blogspot.co.nz. Students are expected to attend the beginning of every session, and
sign up for a one on one discussion at least twice a week. It is not a prerequisite of this studio to know any software. However, once started, rapid up-skilling of software skills is vital.
10.0 ASSESSMENT
10.1 Method of Assessment100% courseworkAll student work is assessed by the named staff member(s) offering each course topic, who are appointed as examiners. Provisional grades are confirmed at an examiners’ review of the work of all students in that particular design course, in order to ensure parity of grading standards across course topics. All marks are indicative until confirmed in the Design Grading Moderation Review.
10.2 Assessment CriteriaDetailed information on assignment format and assessment criteria are provided below. The grading of work is based on the NICAI Grade Descriptors printed on the Faculty website: https://cdn.auckland.ac.nz/assets/creative/for/current-students/course-planning-enrolment/Planning-and-enrolment-assets/NICAI%20grade%20descriptors.pdf.
In addition to the criteria set out in the School handbook, assessment will be based on the following: Theory: Level of critical engagement with selected or prescribed areas of architectural theory and knowledge
and the consideration of its bearing upon the design process. Architectonics: Ambition of the design project and the quality of design development through the creative
engagement with material, structural and constructional issues. Programme: Quality of engagement with relevant cultural, social and functional issues to inform the pursuit of
cutting edge architectural propositions. Performance: Extent of design development through the consideration of environmental and contextual
conditions bearing upon the project. Form and Space: Quality of engagement with and development of speculative three dimensional architectural
form and space. Media: Quality and clarity of presentation, the extent of design development facilitated by, and the
consideration given to the architectural media utilised. Quality of engagement in studio – singularly, in group discussions and in formal crits. Attendance in studio and
for the duration of crit days is mandatory – students are expected to support and learn from their colleagues.
Specific topics will weight the factors presented above according their identified emphases.
10.3 Academic Integrity The University of Auckland will not tolerate cheating, or assisting others to cheat, and views cheating in coursework as a serious academic offence. The work that a student submits for grading must be the student’s own work, reflecting his or her learning. Where work from other sources is used, it must be properly acknowledged and referenced. This requirement also applies to sources on the world-wide web. A student’s assessed work may be reviewed against electronic source material using computerised detection mechanisms. Upon reasonable request, students may be required to provide an electronic version of their work for computerised review.
10.4 Attendance and ParticipationAttendance in class as well as engagement with course activities and readings supports academic success. Therefore it is strongly recommended that students make every effort to attend class and complete all the necessary in-class requirements.
10.5 Output RequirementsA high and rapid output of work is expected. Students are expected to produce work each week, as outlined in the timetable. Presentation work is expected to be at a high level. Overall the student is required to produce:
Evidence of iterative modelling both physical and digital. Visualise data in three dimensions and over time. Animation where appropriate.Interpret studies into 3D spaces using software. Evidence that student has pushed the design through multiple iterations. Produce 3D printed models. Produce orthographic: Site plan, Plan, Section, Elevations, at appropriate scale.Rendered drawings – external and internal. Present a resolved architectural proposition. Collect process drawings and photographs in an A3 book format.
11.0 STUDENT FEEDBACK
Students will be asked to complete an evaluation of the course at the end of the semester, usually on the morning of final presentation.
12.0 UNIVERSITY POLICIES AND GUIDELINES
This course is based on the university policies and guidelines. For further information, see the University and Faculty websites. On the Faculty website, the ‘Quick Reference Guide for New Students’ provides useful information on such things as key dates, where to go for help and advice, personal support and academic policies and procedures.
Students must note the following warning that applies to all material provided for this course. This includes printed material and electronic material, and material posted on Canvas. If you are not sure about the requirements, ask for clarification from the course coordinator.
COPYRIGHT WARNING NOTICEThis material is protected by copyright and has been copied by and solely for the educational purposes of the University under licence. You may not sell, alter or further reproduce or distribute any part of this course pack/material to any other person. Where provided to you in electronic format, you may only print from it for your own private study and research. Failure to comply with the terms of this warning may expose you to legal action for copyright infringement and/or disciplinary action by the University.
