This post will be edited and updated as course material is added. I'll post announcments as these updates occur.
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SYLLABUS
"compound" (n)
1. something made by the combination of two or more different things
2. a word that is formed from two or more identifiable words, for example, “blackbird,” “cookbook,” or “bullheaded”
3. an enclosed group of buildings for the segregation or restraint of a particular group of people
adj
1. made by the combination of two or more different things
2. used to describe a word that is made up of two or more words or word parts
3. used to describe a leaf that is divided into two or more parts (leaflets) attached to a single stalk.
v
1. vti to add together, or add one thing to another or others, to form a whole
2. vt to make something by the adding together of different parts
3. vt to make something more extreme or intense by adding something to it
BACKGROUND
A small group of lifetime friends are approaching retirement. Their children are grown and gone. Through a wish to simplify their domestic surroundings and strengthen the social bond between them, they wish to discard their individual family homes and join resources to create a collective living community.
CONCEPT
This studio will explore the meaningful arrangement and juxtaposition of spaces, forms, assemblies and materials, as they choreograph a reverberation of experience from personal to public, from the boudoir to the street. This course will also explore the nature of collaboration and community within the studio, requiring each individual's work to elegantly coexist within a greater whole. Successful inquiry will result in a coherent, meaningful, poetic architectonic proposal for an original community in a highly charged urban context.
TASK
The aggregate architectonic proposals will coalesce into a single extended 'house' for this extended 'family' of eight couples--and potentially their own extended biological families. The site of this proposal will include open space as well as existing structures, some of which must be preserved and appropriated/collaborated-with in the process of developing the project.
METHOD general:
Individual design assignments will support and be augmented by collective activities including teamwork on certain individual exercises, and group charrettes determining the direction of others. As for the individual assignments, there are enough single parts for each student to address in solitude; but each 'part' must be considered within the context of the others, so that the compound whole is greater than the sum of the parts. The group of friends--the 'clients'--are real people with real goals to this end. As such, they will be actively involved as advisors and critics.
specific:
• An initial exercise will focus on the building of collective spaces through collaboration and coexistence.
• A period of intense research and data-gathering will follow, characterized by
• analysis of the site
• investigation of the rituals of dwelling, from private to communal to public, leading to
• interviews with the clients, establishing individual nuances to these rituals.
• A collective design charrette will process this data into a single program and aggregate site diagram.
• Specific components will be parceled to individual students to develop for the remainder of the term.
• The development of these components will reflect the talent, intelligence, and craft of the individual student, while remaining always an integral part of a coherent whole.
THE TYPICAL WEEK:
• Mondays: pin-ups / critiques
• Wednesdays: desk-crits
• Fridays: films, field trips, intra-school activities ('last fridays') reading discussions
THE STANDARDS:
• You are expected to operate with all your faculties devoted to a meaningful, enriching, and enlightening process of thought, experimentation, discussion, discovery, and communication. This level of application calls for a practice of seeing through and beyond the surface nature of things, of voraciously researching every gap in knowledge and understanding, of fearlessly and playfully making proposals and performing experiments, of evaluating those proposals and experiments, and filtering the meaningful from the superfluous, of constructively helping your peers in this process, and of applying the highest degree of rigor and craft in constructing a clear and inevitable language of communication for your ideas and constructions.
• You are expected to complete all the assigned readings and to form a coherent critical understanding and judgment of them.
• You are expected to visit the site as often as you can--it should be your second home (after studio and before your bed).
• You are expected to keep a notebook / sketchbook within which you will record all process work, impressions, and any other miscellaneous musings, doodles, etc which may be of relevance to your current creative process.
• You are expected to compile the most meaningful or your studio work into a digital CD format (jpegs only!), turned in by the last day of the term.
EVALUATION CRITERIA
Coursework (see above) 75%
Studio Participation and Attendance 25%
All coursework will be evaluated based on the following general criteria:
Clarity 1/3
Completion 1/3
Creativity/Content 1/3
All work must be completed on time. Any work completed late will be marked down accordingly. On days where work is expected to be pinned-up, work must be pinned-up by the beginning of studio or it will be considered late. Work deemed incomplete will not be discussed during individual or group reviews and critiques.
Any absence will negatively affect your grade and accumulation of 2 or more unexcused absences (medical reasons only) will be considered grounds for an 'X' (no basis for grade). See the PSU Department of Architecture "Grading Standards of Architecture Studio Classes" in the Student Handbook for additional clarifications on grading criteria.
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CALENDAR
weeks 1-2 (2 apr - 16 apr): student research
week 3 (16 apr - 23 apr): client interviews, students write the program
weeks 4-5 (23 apr - 30 apr): site plans/diagrams generated
wednesday, 02 may: MID-TERM CHARRETTE
weeks 6-10 (07 may - 06 june): individual parts developed.
wednesday, 06 june: FINAL PRESENTATION
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ASSIGNMENT 01 (introduction to collaboration)
ASSIGNED: Monday, 02 April
DUE: Friday, 06 April
TO DO:
Look at the studio ceiling directly over your head.
You--as a studio group--are to manipulate the ceiling plane to form 6 "rooms" within the overall plan of the studio space.
First: what do these rooms pertain to? is it a simulation of a domestic situation? (e.g. "living room", "bedroom", etc.) a work situation? a small city? As a group, you must decide on the metaphor, and work within it.
Second: How are the rooms allocated? Because the total quantity of rooms (6) is not divisible by the number of students (16), there will be some natural overlap from one student to another. In other words, your desk will most likely have to share a 'room' with another. What relationship exists between your metaphor (domestic, work, gallery, city, mall, etc.) and the actual studio space you work in? There must be some relationship. it cannot be accidental. You may move desks to strengthen this relationship, but be fair, and don't block access. Make sure the entire studio space is utilized.
Third, You will need to work collectively to achieve this result. Start off by brainstorming ideas for the metaphor. Then, a number of tasks can be allocated:
• Existing ceiling grid plan (drafting)
• Multiple schemes of room allocation. (sketching, drafting)
• Material acquisition
• Construction
• Clean-up
• Etc.
I will leave the allocation of tasks up to you. But if someone is NOT pulling their weight, snitches are encouraged.
Any material is allowed, as long as it conforms to the rules below.
RULES:
• The manipulation of the ceiling plane must take place between 6'-8" above the floor, and 8'-0" (existing ceiling height) above the floor. Nothing lower. Ever.
• Your material must hang from the ceiling above, not be supported from below.
• In attaching your material, you must not penetrate or otherwise cut, damage, or weaken any existing materials or elements. You must use friction, or clamps. Be aware of the weight of the material you are hanging.
• If you break it, you buy it.
• These rooms are to remain for the entire quarter, so make sure the materials are robust enough to survive.
• These rooms must be removable at the end of the quarter. Make no permanent marks or alterations to the existing ceiling. You will be expected to put everything back to normal condition at the end of the quarter.
• Do NOT block:
o fire sprinkler heads
o smoke detectors
o exit signs
o lights (within reason)
o access from any desk to the elevator or stairs
• You may remove a ceiling tile, but if you do, make sure it is stored safely for replacement at the end of the term.
• have fun.
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ASSIGNMENT 02 (modeling the site)
THE CONCEPT
The physical research and representation of the site and its immediate vicinity.
THE WORK
You will collaborate with your studio-mates to construct 1 site model for use and reference for the entire quarter.
Due Mon., 30 April:
• EXTENT: entire block bordered by n Mississippi, n Knott, n Albina, and n Russell, plus a minimum of 100' into each neighboring block on all sides.
• SCALE: 1/16" = 1'-0"
• MATERIAL: (exquisitely, precisely crafted) chipboard for existing. buildings, sidewalks and streets. Sides and base to be of sturdy material, such as wood, plywood, or MDF.
• DETAIL: Massing only--no decoration or fenestration required. leave a void at the entire site location for the insertion of individual models. base must be min. 4" thick. Accurately represent existing topography. paint optional, but only if base, streets and buildings are all of same NEUTRAL color. If portability is desired, you may consider a tall (30") base with casters.
As this is a collective project, it will be incumbent upon you to organize a reasonable and fair division of labor between you and your classmates--as well as to uphold an agreed-upon standard of quality and craftsmanship. Reports of substandard collaboration will be taken seriously, and WILL have a substantial influence on your final grade.
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ASSIGNMENT 03 (site research)
BACKGROUND
The parcel of land under your scrutiny for the next nine weeks exists in the middle of a diverse and rapidly changing physical, cultural, and urban milleu. As your assignment this quarter will focus on a community of activities and experiences, it is crucial to investigate the many layers of context within which such an intervention takes place.
ASSIGNED: Wednesday, 11 April
DUE: Monday, 16 April (PIN UP)
TO DO:
You are to form 4 teams of 3 students each, plus one team with 4 students.
Each team is to focus an intensive analysis of a particular set of circumstances surrounding the site. Once all the necessary data are gathered, Each team is to present its findings to the entire studio.
The official SITE of your eventual intervention is defined as the southern half of the block bordered by n. Mississippi, n. Knott, n Albina, and n. Russell but for the purposes of this exercise the SITE under scrutiny is to cover a larger, more-or-less rectangular zone ranging from n.e. Fremont st on the north, n.e. Williams ave on the east, n.e Tillamook st. on the south, and the Willamette river / n. Interstate blvd on the west (see attached map).
team 1: historical context: the past (3 students)
You are to research all areas of past occupation of this particular parcel of land, and compile a coherent and accurate set of historical documents for the elucidation of the rest of the studio. The aim is to provide a temporal continuum within which one may thoughtfully anticipate future trends. These documents must include the following:
• 1:100 maps in sequence. A minimum of 3, beginning with information prior to human habitation, and ending with the most previous condition prior to the present. These maps are to include natural information such as topography and foliage (abstracted), and all man-made information including all structures, pathways, streets, rail tracks, sidewalks, etc.
o these maps are to be identically rendered, in a drafted, color-coded, figure-ground representation, in order to most easily facilitate a comparison of each time period represented.
• historical photographs/drawings. compile as many perceptual images as possible to accompany each map segment.
team 2: typological context: the precedent (4 students)
You are to research and present 4 existing works of architecture which--typologically--represent a similar size, scale, program, and (perceived) architectural significance as our current line of investigation. These works may be as old as the antiquities, and a recent as yesterday, but they must be built.
PARAMETERS:
• size/scale: more-or-less 20,000 sq. foot in footprint. no. stories: (?)
• program: housing for 5-8 'families'. Look for unconventional housing typologies, such as co-housing projects, traditional extended-family compounds (e.g. china, yemen), live/work facilities, certain institutions which incorporate housing /dwelling. Also, look for accessory programs, such as shops, offices, schools.
• arch. significance: you get the idea, but look at some projects by alvaro siza, arne jacobsen, among others.
PRESENTATION (each project):
• minimum of 4 photographs
• plan: figure-ground site plan
• plan(s) / section (s): color-coded diagram(s) showing division of uses within the project
• significant moment: some image which illustrates the importance or uniqueness of this particular project.
team 3: architectonic context: the kit of parts (3 students)
You are to research, define, and identify the most common and influential architectonic features found in the neighborhood. This 'kit of parts' must be defined by you, and must only include physical aspects of existing man-made and/or natural structures in the surrounding blocks. Start out by distinguishing individual building-types, and giving them names. (e.g. the 'slab', 'the bungalow', etc.) Then identify one or two distinguishing features of these building types (for example, 'the porch', 'the solid box', 'the window-wall'...etc.). Then identify the 4 most prevalent materials in this vicinity. These documents must include the following:
• 1:100 site map, color-coded by 'part' and material.
• photograph/drawing legend, identifying a single example of each 'part' as it occurs in its context, and showing 4 examples of each of the 4 materials, with a key reference to the map.
team 4: cultural context: activity/use (3 students)
You are to research the current activities which occur in the neighborhood, and compile a clear and meaningful set of documents which describe the current activities present in all locations. As your maps take shape, patterns will develop. These documents must include the following:
• list / legend of ongoing activity discovered through fieldwork. These activities are to be discovered, and must be defined as general, and on-going. More specifically, such things as 'living', 'making', 'relaxing', 'transacting', 'waiting', 'eating', etc.
• 1:100 map, color-coded to activity. Be sure to distinctly identify all 'mixed' activities, where they occur.
• 1:100 map, color-coded, showing only the 'mixed' activities, with an identifying legend of which activities take place within each parcel.
• 1:100 map, color-coded, showing only the 'living' activities, but making a distinction between single-dwelling, 2-4 dwellings, and 4+ per parcel. hint: if it looks like a house but has multiple mailboxes, it's more than a single-dwelling.
team 5: phenomenological context: active forces (3 students)
You are to research and present the 6 most significant forces that are acting on the specific site of the project, but shown in the context of the larger vicinity. Some of these forces may be generated by the surrounding vicinity; and some may occur on a larger scale. It is up to you to determine these 6 forces, but of critical importance are:
• sunlight / shadow
• wind / rain
• noise
• perceived safety
• perceived levels of privacy
Your documentation must include at least one plan / section diagram for each perceived force.
for everyone:
• While some research teams have strict presentation criteria to meet, others do not. At the very least, there must be a consistent and clear format that is established within each team.
• Each of you must bring back one STRONG IMPRESSION from the site--some sense you get from being there, that establishes it as a unique place. Bring 1 image to back this impression up, and be prepared to discuss it in class.
THIS MATERIAL WILL BE FOUND UNDER A SEPARATE POST CALLED 'RESEARCH MATERIAL'.
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A S S I G N M E N T 0 4: (t h e i n t e r v i e w)
BACKGROUND
Eight people have individual opinions as to how they want to live within a community. How does one determine the needs of a collective client? How can one ask questions which will provoke a useful response--one which can most easily be translated into a meaningful architecture?
ASSIGNED: Monday, 16 April
DUE: Step 1: Wednesday, 18 April
Step 2: Friday, 20 April
TO DO:
step 1
Each student is to compile a list of five (5) questions for the clients. These questions should address the following issues concerning their future desires living situation:
• quantitative (how much, how big?)
• qualitative (what should it be like?)
• personal (what are your values?)
step 2
These questions will be presented in studio, and will be collectively narrowed down to form a standard interview form of 20-30 questions.
You will be divided into four (4) new teams of four students each. Each team will be assigned one couple (or 'household') to direct this questionnaire. The interview format will most likely be by email, but is yet-to-be-determined. Time the interview to allow for a timely response and presentation of answers by the beginning of studio, on Friday, 20 April.
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A S S I G N M E N T 0 5: (t h e p r o g r a m)
BACKGROUND
How do you take a collection of wishes and requirements, and anticipate their conversion to physical spaces? The first step is to develop a list of all uses / activities, qualified by a set of modifiers.
ASSIGNED: Friday, 20 April
DUE: Monday, 23 April (PIN UP)
TO DO:
Within each interview team, you are to interpret your clients' responses to the questions asked, and develop a meaningful list.
The list must include (quantitative):
A space for each activity mentioned by the client, and a notation for its size (in square feet).
The list must be characterized by (qualitative):
• A graphic representation of the size of each space. Indicate this by representing each list-item as a box drawn to-scale, corresponding to its size in square-footage. The scale is to be: 1/8" = 1'-0.
• Adjacency. Loosely arrange the boxes adjacent to others as you see fit. (e.g.: if an 'en-suite' bathroom is requested, arrange this space adjacent to its corresponding bedroom.) But remember, this is not a plan--just a meaningful list of spaces.
• Outdoor connection. Graphically represent the degree of outdoor connection required by each space.
• Public vs shared use. There will be some gray-area here, so entertain all possiblities. If it is a single space that may be shared by all in the community, keep it separate from the others.
• Use color-coding, or similarly clear graphic description to illustrate the above criteria.
Because there are four of you, there is the possibility for four separate programs. There can be a single program as well, ONLY AS LONG AS IT IS THE RESULT OF UNANIMOUS AGREEMENT from the team. Differences of opinion can create different, alternate programs. Bring all alternates, developed to the same level of graphic acumen and color-coding to studio for pin up and discussion on Monday, 23 April.
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A S S I G N M E N T 0 6: (t h e d i a g r a m)
BACKGROUND
A crucial element of responsible design is the conversion of quantities into qualities. How does one take a list of conditions criteria and desires, and shape these into a meaningful idea? How is this idea made physically manifest with form, space, and material?
ASSIGNED: Monday, 23 April
DUE: Wednesday, 02 May (MID-TERM PIN UP / CHARRETTE)
TO DO:
From the individual program lists, your teams will develop a series of diagrammatic 2-and 3-dimensional site strategies. Each of these strategies will be derived from a single strong idea, and will incorporate three major elements:
1. Plan
2. Massing
3. Materiality
Over the next 10 days each team is to produce two (2) alternate site strategies.
To get to this point, you are to proceed thusly:
Week of 23-27 April:
• Each team prints out, and distributes its program sheet to all students, such that everyone has a complete program list.
• Each individual member of the team creates an initial, independent diagram. Crucial elements of this diagram are:
o A concept. Choose one condition/requirement provided by the site research, OR an intelligent reading of the clients' collective desires, and make this the idea that drives all planning decisions. Before you draw a single line, explain this concept in a short written paragraph (maximum of 5 sentences).
o Plan(s) at 1/16" = 1'-0" scale. This drawing must show basic indications of interior and exterior space at all proposed levels, blocked out within the site and labeled / coded per household and activity. Do not worry about doors, windows, or finessed geometry. This is only one step more sophisticated than a bubble diagram. It must clearly respond to the concept you have articulated.
o Sections at 1/16" = 1-0" scale. Cut these through the site in both directions (north-south AND east-west). Show an intention of building heights, levels, and scale relative to outdoor spaces. Shape/contour is not required yet.
o Massing / materiality proposal: From the 'kit of parts' database, choose one precedent for building shape and one for a single material, which you deem most appropriate for your strategy.
Due Wednesday, 25 April:
• Concept paragraph to be read out loud to studio, and turned in.
• Plan and section (sketch version) for desk crit.
Due Friday, 27 April: (for pin-up, by team)
• Plan and section (final version)
• Massing / materiality proposal.
Your instructor will moderate each team pin-up, and help to choose / develop two (2) schemes from these four. Individual schemes may be chosen, or aspects of individual schemes may be grafted to develop new hybrid schemes. The main priority is to generate a diversity of approach, aiming for a broad catalogue of possibilities to be presented the following Wednesday.
Due 02 May:
• Each team presents two (2) agreed-upon, developed site strategies.
• Each strategy is to meet the 'deliverables' requirements for 23 April, plus:
o A diagrammatic 'massing model', to fit into the site model. Basic shapes are all that is required at this point, but make sure it is well-crafted, accurate, and to-scale.
o Hard-line versions of the site plans and sections, clearly labeled / color-coded by activity and household.
o A name, corresponding to the concept driving the design.
• There is ample opportunity for labor division, but you must ensure a continuity of craft and visual communication between each alternate strategy.
These alternates represent a catalogue of possibilities, not competing proposals. The goal of the mid-term charrette will be to extract the strengths of each alternate, and combine them to form a single scheme which will be the basis for all subsequent design development.
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