SCHOOL/DEPARTMENT: Architecture & Planning

COURSE OUTLINE: ARCHDES300 / Semester 1, 2017

1.0GENERAL COURSE INFORMATION

Course Code: / ARCHDES300
Course Title: / Design 5
Points Value: / 30 points
Prerequisites: / ARCHDES200 or 210
Restrictions: / ARCHDES310
Course Director: / Prof Andrew Barrie,Room 335, Building 421,
Course Co-ordinator: / Aprof Uwe Rieger, Room 544, Building 421, >
Teaching Staff: / Emma Morris with support from Ricky Tung OML

2.0CLASS CONTACT HOURS

Monday, Tuesday & Friday, 1pm – 5pm; Level 4 Design Studios,Building 421.

3.0COURSE PRESCRIPTION

The Collected: An introduction to a complex architectural thinking. Examines both conceptual and exceptional spaces and develops an understanding of the corresponding architectural systems.

Processing

Scanning Electron Microscope image of a fig, image by students 2016.

Students are encouraged to explore design opportunities through a process of parametric model making. The use of parametric tools allows for thenormal design process architects go through of optioneering, to be accelerated andexpanded. By creating a wide array of design options the intent is that students develop adeeper 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 lookat natural structures and geometry under a scanning electron microscope. Find a material, sampleor 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
4. Analogue models [work in small groups of 3-4]: / 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.
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.

Iteration diagram. Select two iterations from your matrix. Use these two to make further iterations. Work without a preconceived idea of the finished outcome.

4.0TEACHING AIMS

The aims of this course are to:

Design 5 presents an introduction to complexarchitectural 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 ortopographical.

5.0LEARNING OUTCOMES

General ARCHDES300 Course Outcomes

On successful completion of this course, students should be able to:

  • Theory: Show evidence ofengagement 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 Outcomes

This 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 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.

6.0COURSE 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 ArcMap
Week 4 / 27 March / Scripting week
Week 5 / 3 April / Index iterations
Week 6 / 10 April / Mid-semester crits
MID-SEMESTER BREAK
Week 7 / 1 May / Programmatic diagrams / Set Programme
Week 8 / 8 May / Integrate programme
Week 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. / Print out Final Models.
Week 11 / 29 May / Render & photoshop presentation drawings. Prepare animations.
Week 12 / 5 June / Final Presentation

7.0LEARNING RESOURCES

7.1Required 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.

Morphe, MRGD. By (author)Melike Altinisik

Hillier, Bill, Space is the Machine

Holland, John, Emergence: from chaos to order

Weinstock, Michael, the architecture of emergence. AD System City.

Alisa Andresek: Biothing.org

Mark Burry, Scripting Cultures

Mark Burry & Jane Burry, The New Mathematics of Architecture

Mark Burry, Between Surface and Substance. 2003 Architectural Design: Surface Consciousness Vol. 73

Philip Beesley & Sarah Bunnemason, On Growth and Form

Patrik 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

Tom Wiscombe:

Softkill:

Natural History - Herzog and de Meuron

Kelly, Kevin, Out of Control

Look through recent AD journals.

7.2Recommended or Supplementary Reading

Refer to bibliography, separate sheet to be emailed to students.

7.3Other Materials or Software

Online Software Tutorials:

Jose Sanchez,

Tutorial: image sampler -

Daniel Piker Vimeo

Data:

Koordinates.com

GIS Auckland University

ArcMap

Presentation:

7.4Use of Canvas

Not applicable

7.5 Other Assistance / Student Support Available

OML 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.

8.0INCLUSIVE 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.

9.0OTHER INFORMATION

During studio times I will be available for discussions via a sign up sheet. Previous work from this studio can be found at 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.

10.0ASSESSMENT

10.1Method of Assessment

100% coursework

All 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.

10.2Assessment Criteria

Detailed 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:

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 threedimensional 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.

10.3Academic 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.

10.4Attendance and Participation

Attendance 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.

10.5Output Requirements

A 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 designthrough 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.

11.0STUDENT FEEDBACK

Students will be asked to complete an evaluation of the courseat the end of the semester, usually on the morning of final presentation.

12.0UNIVERSITY 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 NOTICE
This 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.

1 | 8