50X-Ratio massing, drastically increases the scale factor relationship between one end-user and configured assemblage together with all form-performance connotations and findings from previous analytical stages. The use of human body proportions should establish a process for estimating the extents of an architectural assemblage that fits to the use of fifty or more human bodies. Beyond questioning obvious changes on corresponding magnitudes; new performative, organizational and programmatic implications may appear when dealing with a larger set of persons —individually and collectively.
Typology and program should be defined by the student, keeping in mind what constraints would add on to the fitness criteria. Within the premise of a complexity driven elegance, this argumentative or descriptive[3] second massing assemblage should reflect the student’s ability to make use of evaluated principles for generating and controlling formal aesthetic qualities which accommodate and produce a variety of practical, environmental and affective architectural conditions.
[3].Schumacher, Patrick. Arguing for Elegance. AD Elegance. Academy Press (March 23, 2007)
Showing posts with label *Assignment Brief. Show all posts
Showing posts with label *Assignment Brief. Show all posts
Tuesday, November 4, 2008
Thursday, October 2, 2008
Assignment 3: PERFORMANCE ANALYSIS
Seeking to challenge some of the formal conventions of building envelope and supporting systems—skin/surface/structure and the complexity of boundary definers, tectonic values and circulation-based form organization; our next stage will be the performance analysis of built form.
Students may make (not limited to) use of computational fluid dynamics, surface tolerance studies and lighting simulation as analytical tools to explore some of their proposed material conventions. This exploration should lead students to a better understanding of various conditions in which the architectural assemblage can relate to its intended performance and how can form be optimally adapted to its environment and end user. Carefully diagram each stage.
Students may make (not limited to) use of computational fluid dynamics, surface tolerance studies and lighting simulation as analytical tools to explore some of their proposed material conventions. This exploration should lead students to a better understanding of various conditions in which the architectural assemblage can relate to its intended performance and how can form be optimally adapted to its environment and end user. Carefully diagram each stage.
Saturday, September 13, 2008
Assignment 02:X-RATIO MASSING
"A mass is enveloped in its surface, a surface which is divided up according to the directing and generating lines of the mass; and this gives the mass its individuality".-Le Corbusier[2].
What have we learned from the morphological analysis and how could we apply this knowledge in a variety of situations? By now, we will concentrate in a specific case: form and performance related to scale. If mass is defined by the amount of matter in an object, how can form—shape, appearance and configuration— accommodate mass magnitude? Would form and performance have a linear relationship when different scales are incorporated?
X-Ratio, our scale factor, will be one human body. Each student will develop an architectural assemblage related to the proportions of a person. While the absence of a specific program will allow a degree of detachment from frequently applied dimension standards; the use of human body proportions should establish a process for estimating the extents of the assemblage's corresponding magnitudes (length, width, height, location and direction).
Typology should be defined by the student, keeping in mind what constraints would add on to the fitness criteria. This first massing assemblage should adapt some of the material and organizational characteristics explored in our first assignment; this time, embracing architectural functions that meet a variety of performance demands, ranging from building construction implications to physical patterns that engage specific spatial and environmental conditions.
X-Ratio, our scale factor, will be one human body. Each student will develop an architectural assemblage related to the proportions of a person. While the absence of a specific program will allow a degree of detachment from frequently applied dimension standards; the use of human body proportions should establish a process for estimating the extents of the assemblage's corresponding magnitudes (length, width, height, location and direction).
Typology should be defined by the student, keeping in mind what constraints would add on to the fitness criteria. This first massing assemblage should adapt some of the material and organizational characteristics explored in our first assignment; this time, embracing architectural functions that meet a variety of performance demands, ranging from building construction implications to physical patterns that engage specific spatial and environmental conditions.
[2].Le Corbusier. Towards a New Architecture. London: John Rodker, 1931.
Sunday, September 7, 2008
Assignment 01:MORPHOLOGICAL ANALYSIS (2)
Stage2:Analog to Digital
Students should calculate and accurately recreate the physical characteristics of the object, using NURBS operations in Rhino. To avoid literal associations, each student should focus on one or two points of the analysis that could lead to a distinctive aesthetic language linked to performance. The main output of this stage, a series of three-dimensional digital diagrams, should emphasize the student’s understanding of the reference object’s morphology.
Provide renderings, in both wireframe and flat shaded surface modes.
Students should calculate and accurately recreate the physical characteristics of the object, using NURBS operations in Rhino. To avoid literal associations, each student should focus on one or two points of the analysis that could lead to a distinctive aesthetic language linked to performance. The main output of this stage, a series of three-dimensional digital diagrams, should emphasize the student’s understanding of the reference object’s morphology.
Provide renderings, in both wireframe and flat shaded surface modes.
Tuesday, September 2, 2008
Assignment 01:MORPHOLOGICAL ANALYSIS
Phase1:Documentation
The term morphology comes from classical Greek (morphe) and means the study of shape or form. It is concerned with the structure and arrangement of parts of an object, and how these conform (i.e. fit together) to create a whole or Gestalt[1]. The morphological analysis will seek to demonstrate the student’s critical, strategic and analytical thinking and how is this applied to describe the logic of form and its function.
Within this first assignment, we will study the form of physical objects and its relation with performance. Starting from direct observation, documented with photographs and hand drawings, students will proceed to diagram essential features of their selected reference object.
Students may analyze (not limited to):
-Scale and Proportions: How is the shape of the object related to its size?
-Componentry: What elements/parts constitute the object? How are these joined/put together?
-Aesthetic Correspondence: Is the appearance of the object defined by its exterior-interior relationship?
-Kinetic Qualities: How is the shape of the object related to motion? Is this mainly a static or moving object?
-Tectonic Value: Is there consistency in the configuration of the object? Is there a structural purpose for it?
-and more…
Team up into groups of 3. Gather information specific to the physical characteristics of the studied object. Each student should provide very brief written commentary that would help to better explain the area of research.
[1]. From Modeling Complex Socio-Technical Systems using Morphological Analysis. Swedish Morphological Society, 2003-2008.
The term morphology comes from classical Greek (morphe) and means the study of shape or form. It is concerned with the structure and arrangement of parts of an object, and how these conform (i.e. fit together) to create a whole or Gestalt[1]. The morphological analysis will seek to demonstrate the student’s critical, strategic and analytical thinking and how is this applied to describe the logic of form and its function.
Within this first assignment, we will study the form of physical objects and its relation with performance. Starting from direct observation, documented with photographs and hand drawings, students will proceed to diagram essential features of their selected reference object.
Students may analyze (not limited to):
-Scale and Proportions: How is the shape of the object related to its size?
-Componentry: What elements/parts constitute the object? How are these joined/put together?
-Aesthetic Correspondence: Is the appearance of the object defined by its exterior-interior relationship?
-Kinetic Qualities: How is the shape of the object related to motion? Is this mainly a static or moving object?
-Tectonic Value: Is there consistency in the configuration of the object? Is there a structural purpose for it?
-and more…
Team up into groups of 3. Gather information specific to the physical characteristics of the studied object. Each student should provide very brief written commentary that would help to better explain the area of research.
[1]. From Modeling Complex Socio-Technical Systems using Morphological Analysis. Swedish Morphological Society, 2003-2008.
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