This document discusses reviving and redeveloping the historic Grand Pacific Hotel in Suva, Fiji. The hotel opened in 1914 and was run like an ocean liner, with balconies and sea views. Over decades it became a famous tourist destination but closed in 1992. The student proposes bringing sacredness to their thesis project of redeveloping the hotel by incorporating Fijian cultural traditions, which are important to both locals and tourists. New construction will be carefully integrated with the heritage building to respect its history and importance to Fiji's identity and economy, which relies significantly on tourism focused on experiencing Fijian culture.
The document discusses the design process for a creative performance space called the HUB. It explores considerations for functionality, movement, precedent studies, and design solutions. The final proposal includes a stepped roof structure to echo movement, windbreakers for sound absorption, and defining spaces for different functions through arrangement.
The document discusses the design process for a creative performance space called the HUB. It explores considerations for functionality, movement, precedent studies, and design solutions. The final proposal includes a stepped roof structure to echo movement, windbreakers for sound absorption, and defining spaces for different functions through an organized framework.
Sophomore Year, Fall Semester Studio PortfolioMelissaCirulli
This is a portfolio documenting the seven projects I completed during my Fall Semester of my Second Year at Roger Williams University School of Art, Architecture, and Historic Preservation in Rhode Island.
This document provides an introduction to three-dimensional design. It discusses how 3D design concerns all the senses and how artists, designers, and architects organize forms in relationship to each other. Good 3D design is achieved through being passionate, visually sensitive, informed, open-minded, and inventive. The origins of modern design education are traced back to the influential Bauhaus school in Germany. Key aspects of 3D design covered include looking closely at forms, comparing similarities and differences, understanding how context shapes how objects are perceived, and creating site-specific works.
Interiority and exteriority are relative concepts that exist in relation to one another. When an interior space is created, an exterior space is automatically formed as well. The interior space aims to provide safety and identity, while the exterior space connects humans to nature without individual identity. Architecture can cleverly connect interiority and exteriority through thresholds, courtyards, and other techniques. This relationship can be experienced through in-between spaces, interpenetration of interior and exterior, intermingling of elements, and other means.
Artists and designers organize visual elements in relationships to create meaningful objects and experiences that engage multiple senses. Good design requires passion, visual sensitivity, knowledge, open-mindedness, and inventiveness. The Bauhaus school pioneered the approach of using specific exercises to encourage student discovery in design foundation programs. Design education focuses on developing observation, comparison, connection-finding, and context skills through hands-on projects to help students become informed thinkers.
This document discusses reviving and redeveloping the historic Grand Pacific Hotel in Suva, Fiji. The hotel opened in 1914 and was run like an ocean liner, with balconies and sea views. Over decades it became a famous tourist destination but closed in 1992. The student proposes bringing sacredness to their thesis project of redeveloping the hotel by incorporating Fijian cultural traditions, which are important to both locals and tourists. New construction will be carefully integrated with the heritage building to respect its history and importance to Fiji's identity and economy, which relies significantly on tourism focused on experiencing Fijian culture.
The document discusses the design process for a creative performance space called the HUB. It explores considerations for functionality, movement, precedent studies, and design solutions. The final proposal includes a stepped roof structure to echo movement, windbreakers for sound absorption, and defining spaces for different functions through arrangement.
The document discusses the design process for a creative performance space called the HUB. It explores considerations for functionality, movement, precedent studies, and design solutions. The final proposal includes a stepped roof structure to echo movement, windbreakers for sound absorption, and defining spaces for different functions through an organized framework.
Sophomore Year, Fall Semester Studio PortfolioMelissaCirulli
This is a portfolio documenting the seven projects I completed during my Fall Semester of my Second Year at Roger Williams University School of Art, Architecture, and Historic Preservation in Rhode Island.
This document provides an introduction to three-dimensional design. It discusses how 3D design concerns all the senses and how artists, designers, and architects organize forms in relationship to each other. Good 3D design is achieved through being passionate, visually sensitive, informed, open-minded, and inventive. The origins of modern design education are traced back to the influential Bauhaus school in Germany. Key aspects of 3D design covered include looking closely at forms, comparing similarities and differences, understanding how context shapes how objects are perceived, and creating site-specific works.
Interiority and exteriority are relative concepts that exist in relation to one another. When an interior space is created, an exterior space is automatically formed as well. The interior space aims to provide safety and identity, while the exterior space connects humans to nature without individual identity. Architecture can cleverly connect interiority and exteriority through thresholds, courtyards, and other techniques. This relationship can be experienced through in-between spaces, interpenetration of interior and exterior, intermingling of elements, and other means.
Artists and designers organize visual elements in relationships to create meaningful objects and experiences that engage multiple senses. Good design requires passion, visual sensitivity, knowledge, open-mindedness, and inventiveness. The Bauhaus school pioneered the approach of using specific exercises to encourage student discovery in design foundation programs. Design education focuses on developing observation, comparison, connection-finding, and context skills through hands-on projects to help students become informed thinkers.
This document discusses various design basics and elements that interior designers consider when planning spaces. It covers building structure, functional planning, spatial relationships, lighting, color, texture, and other factors. It then discusses basic design principles like line, form, space, balance, and harmony. Specific elements of design are outlined like point, line, planes, and three-dimensional forms. Concepts involving size, scale, proportion, harmony and contrast are also defined. The goal is to weave all these elements together to create a cohesive whole that is pleasing to human perception.
Course ObjectiveExplore architectural space and form in various.docxmarilucorr
Course Objective:
Explore architectural space and form in various cultures.
15 page paper is due May 4, 2018. The 15 pages should not include cover sheet or citations. Double space, 12 point and number each page. You may choose at two cultures to compare/contrast. You may explore only one. Whatever you do, please use several or one philosophy of architecture. Delve into how a culture define space
Your final research paper is to analyze the importance of architectural space, exploring how at least two cultures express space and the importance of architectural space. I read the wonderful discussions that you all wrote about urban space. Now let us narrow our vision to our immediate space and how we react to space. Try to keep the paper to no more than 15 pages including citations.
OVERALL: Minimum of 15.
Introduction. Identify explain how one culture experience space. Compare to another chore to emphasize. Then tell me how you feel about it. The give summary.
187 | SSpace
soft architecture. Sensors that trigger the opening and closing of doors
and windows, the movement of walls, and even the lowering and raising
of floors and ceilings produce the personalized spaces that characterize
soft architecture. Theatrical stages have had this capability for some
time, and thus have a lot to teach the designer seeking to produce soft
architecture.
Traditional Japanese architecture is an early version of soft architecture.
The ability to change the use and “feel” of a space by simply moving a rice
paper screen and rearranging the mats on the floor is a manual, low-tech
version of soft architecture. A more recent manifestation of softness was
attempted with the Centre Georges Pompidou in Paris (1977) (Figure 93).
It was to have an interior in which many walls and floors were movable.
Unfortunately that degree of flexibility was unjustified. Consequently the
building was renovated in 2000 to increase its capacity and efficiency by
“hardening” it.
In soft architecture each force applied to it creates content that has
form, as “water poured into a vase has form” (Ezra Pound). The water-
generated Blur building by Herzog and Meuron poetically illustrates the
new frontier of soft or reflexive architecture. The term now refers to any
architecture that is not finite or fixed.
See also: Blur • Responsive architecture • Flexibility
Figure 93 Pompidou
Center
Space
The classical questions include: is space real, or is it some kind of
mental construct, or an artifact of our ways of perceiving and thinking?
— Oxford Dictionary of Philosophy
If architecture can be understood as the construction of boundaries in
space, this space must be understood as commonsense space, a space
that possesses meaning and speaks to us long before the architect
goes to work. — Karsten Harries
The ethereal thing about architecture is this thing called “space.” Space, as
a central design concern for architects, has the interesting quality of.
The relationships between the elements and their orientation in the figure provide information about the building's form. Spaces in the figure correlate to connections in the material study. The organization differentially combines horizontal and vertical elements. The building sits both under and above ground on the site. Its most important formal elements are horizontal protuberances connecting to a vertical vortex center. The center chasm opens to the sky, while a rock climbing wall traverses interior sectors. The wall punctures the building at an open meeting area for a recreation center. The puncture becomes an area for small-scale bouldering and exposure to the outdoors. Interior walls have many windows, while the exterior skin has only a few large glass walls resembling a stretching hole
This document summarizes Libby Weiler's portfolio from 2007-2011 during her studies in the Fay Jones School of Architecture. It includes 3-D design projects focusing on contradicting beauty standards and hand drawings. Later projects include architectural designs for a banker's retreat with public and private spaces, a reading room connecting individuals to spaces through materials, and an interfaith mausoleum with complex geometries. Other works include a computer-generated butterfly made of typography, color studies, and a game table incorporating woodworking principles. Photography was also used as inspiration and a relaxing hobby throughout her studies.
This document provides an overview of the Hidden ARTifacts exhibit that will showcase the artistic process of 14 architect artists. It will include their art labels bound into a book along with essays from architects and critics. The exhibit will also host educational events about architecture. The goal is to not only showcase the art but also fund the creation of a permanent peer learning space for architects after the exhibit closes. The exhibit is hosted by Building Bridges Art Exchange and was curated by Jenda Michl and Marisa Caichiolo.
Quincy has pursued architecture since childhood due to an interest in structures and design. Their portfolio demonstrates skills in various areas related to architecture including painting, drawing, model making, material studies, construction techniques, heritage revival, and sensorial design. Key projects include a foldable origami chair exploring materials, a personal den using honeycomb geometry, and a fish market applying sensorial design concepts.
Quincy has been interested in art, architecture, and design since childhood. They enjoyed sketching, painting, and observing different building styles. In high school, they decided to study architecture, which combines their creative interests with practical skills. Quincy has gained expertise in design, construction techniques, materials, software like AutoCAD and SketchUp, and has participated in campus development projects. Their portfolio demonstrates strong drawing, modeling, and technical skills gained through studio-based and hands-on learning.
Quincy has been interested in art, architecture, and design since childhood. They enjoyed sketching, painting, and observing different building structures. In high school, they decided to study architecture, which combines their creative interests with practical skills. Quincy has gained expertise in design, construction techniques, materials, software like AutoCAD and SketchUp, and has participated in campus development projects. Their portfolio demonstrates strong drawing, modeling, and creative problem-solving abilities gained through architectural coursework and hands-on projects.
The document provides an overview of selected works by the author, including architecture projects and writings. It discusses key ideas in the author's approach to architecture, seeing it as a kind of spatial poetry that combines theory and reality through careful design. The author aims to empty themselves into each mark and considers the process of designing to be like writing.
This document is Luke Morris's portfolio from his undergraduate studies at Clemson University from 2010 to 2012. It contains summaries and documentation of various architectural projects he completed during his freshman, sophomore, and junior years. The portfolio is organized by semester and year and includes floor plans, sections, sketches, and descriptions of projects focusing on topics like a coffee shop design, studies of urban space in Genoa, Italy, sustainable design of a tunnel, and conceptual designs exploring the use of curved beams and light. The introductory statement provides context for the portfolio and its aim to showcase Luke Morris's architectural style and strengths.
Architect Carlos Mourão interview - 4 Ark Magazineluciana
The document discusses an interview with Carlos Mourão Pereira, an architect who became blind at age 36 but continued his career in architecture. It describes how he adapted his working methods to rely more on touch, sound, and memory rather than vision. Pereira emphasizes using models, tactile drawings, and verbal descriptions to communicate design ideas. He also discusses conducting sensory visits with students to heighten their empirical observation skills. While some aspects like communicating color would be challenging without vision, Pereira believes every aspect of architecture can be communicated through the other senses with the right approaches.
The author became interested in architecture as a child through imaginative play with building blocks. Architecture appealed to him because it requires continuous learning across many disciplines in order to design spaces that meet people's needs. The author sees architecture as a form of art and design that can communicate with and benefit people. However, there is often a gap between ideal designs and real-world constraints. The author aims to use architecture to provide enlightening spaces that stimulate curiosity and encourage new ways of thinking and communication between people. He designs buildings that reflect their environments and react to how people use and interact within spaces, allowing flexibility so people can enjoy their lives and activities.
Here are some key points about open and closed form according to Oskar Hansen's theory:
- Open form is about interaction and relationships between elements. The goal is to provide a background and context for other elements/actions, not to dominate.
- Closed form is self-contained and focused on its own form/identity. The goal is to stand out as an individual object rather than interact with its surroundings.
- In open form, you "win" by making the situation better for other players/elements. The game/composition is more important than any individual element.
- In closed form, elements compete with each other for prominence. Winning means standing out as the dominant element rather than contributing to
The document discusses various types of rhythm and perspective in architecture. It defines rhythm as a patterned repetition or alteration of formal elements that creates organized movement. Types of rhythm include flowing, progressive, and alternating rhythms. Flowing rhythm mimics natural curves and undulations. Progressive rhythm involves changing elements in a sequence. Alternating rhythm switches between two components. The document also explains different perspectives like linear perspective with one, two, or three vanishing points, as well as transparency in architecture being both literal and phenomenal. Renaissance innovations in perspective influenced theatrical set design to create realistic depth illusions.
Maud Fuller is attracted to interior design because of her artistic background from her parents and her interest in various creative pursuits like photography, sculpture, and crafts. She enjoys using her imagination and skills to design interior spaces that balance function and aesthetics to suit clients' needs and identities. Every project brings new challenges and opportunities to learn. Maud strives to keep an open and curious approach while respecting constraints. Her education and work experience have allowed her to gain skills in spatial design, materials, and understanding clients.
The document summarizes four reaction papers written by Muatasimah Billah analyzing various articles on architecture theory. The papers discuss concepts such as individualism in architecture, organic unity, architecture as an expression of desire, the importance of senses in architectural experience, critical regionalism, and developing architecture with a sense of place. Overall, the reaction papers analyzed key ideas from the source articles and expressed agreement with perspectives that architecture should reflect individuality, integrate with nature, create places for desire, engage multiple senses, and connect to local culture and context.
The document provides an overview of a lecture on architectural theory. It begins by defining architecture and its role in satisfying human needs functionally, aesthetically, and psychologically. It then introduces various functional aspects of architecture like site, structure, skin, circulation, and services. Finally, it discusses the formal vocabulary of architecture and introduces Gestalt ideas of visual perception, including figure-ground principles and Gestalt laws of organization.
This document discusses various design basics and elements that interior designers consider when planning spaces. It covers building structure, functional planning, spatial relationships, lighting, color, texture, and other factors. It then discusses basic design principles like line, form, space, balance, and harmony. Specific elements of design are outlined like point, line, planes, and three-dimensional forms. Concepts involving size, scale, proportion, harmony and contrast are also defined. The goal is to weave all these elements together to create a cohesive whole that is pleasing to human perception.
Course ObjectiveExplore architectural space and form in various.docxmarilucorr
Course Objective:
Explore architectural space and form in various cultures.
15 page paper is due May 4, 2018. The 15 pages should not include cover sheet or citations. Double space, 12 point and number each page. You may choose at two cultures to compare/contrast. You may explore only one. Whatever you do, please use several or one philosophy of architecture. Delve into how a culture define space
Your final research paper is to analyze the importance of architectural space, exploring how at least two cultures express space and the importance of architectural space. I read the wonderful discussions that you all wrote about urban space. Now let us narrow our vision to our immediate space and how we react to space. Try to keep the paper to no more than 15 pages including citations.
OVERALL: Minimum of 15.
Introduction. Identify explain how one culture experience space. Compare to another chore to emphasize. Then tell me how you feel about it. The give summary.
187 | SSpace
soft architecture. Sensors that trigger the opening and closing of doors
and windows, the movement of walls, and even the lowering and raising
of floors and ceilings produce the personalized spaces that characterize
soft architecture. Theatrical stages have had this capability for some
time, and thus have a lot to teach the designer seeking to produce soft
architecture.
Traditional Japanese architecture is an early version of soft architecture.
The ability to change the use and “feel” of a space by simply moving a rice
paper screen and rearranging the mats on the floor is a manual, low-tech
version of soft architecture. A more recent manifestation of softness was
attempted with the Centre Georges Pompidou in Paris (1977) (Figure 93).
It was to have an interior in which many walls and floors were movable.
Unfortunately that degree of flexibility was unjustified. Consequently the
building was renovated in 2000 to increase its capacity and efficiency by
“hardening” it.
In soft architecture each force applied to it creates content that has
form, as “water poured into a vase has form” (Ezra Pound). The water-
generated Blur building by Herzog and Meuron poetically illustrates the
new frontier of soft or reflexive architecture. The term now refers to any
architecture that is not finite or fixed.
See also: Blur • Responsive architecture • Flexibility
Figure 93 Pompidou
Center
Space
The classical questions include: is space real, or is it some kind of
mental construct, or an artifact of our ways of perceiving and thinking?
— Oxford Dictionary of Philosophy
If architecture can be understood as the construction of boundaries in
space, this space must be understood as commonsense space, a space
that possesses meaning and speaks to us long before the architect
goes to work. — Karsten Harries
The ethereal thing about architecture is this thing called “space.” Space, as
a central design concern for architects, has the interesting quality of.
The relationships between the elements and their orientation in the figure provide information about the building's form. Spaces in the figure correlate to connections in the material study. The organization differentially combines horizontal and vertical elements. The building sits both under and above ground on the site. Its most important formal elements are horizontal protuberances connecting to a vertical vortex center. The center chasm opens to the sky, while a rock climbing wall traverses interior sectors. The wall punctures the building at an open meeting area for a recreation center. The puncture becomes an area for small-scale bouldering and exposure to the outdoors. Interior walls have many windows, while the exterior skin has only a few large glass walls resembling a stretching hole
This document summarizes Libby Weiler's portfolio from 2007-2011 during her studies in the Fay Jones School of Architecture. It includes 3-D design projects focusing on contradicting beauty standards and hand drawings. Later projects include architectural designs for a banker's retreat with public and private spaces, a reading room connecting individuals to spaces through materials, and an interfaith mausoleum with complex geometries. Other works include a computer-generated butterfly made of typography, color studies, and a game table incorporating woodworking principles. Photography was also used as inspiration and a relaxing hobby throughout her studies.
This document provides an overview of the Hidden ARTifacts exhibit that will showcase the artistic process of 14 architect artists. It will include their art labels bound into a book along with essays from architects and critics. The exhibit will also host educational events about architecture. The goal is to not only showcase the art but also fund the creation of a permanent peer learning space for architects after the exhibit closes. The exhibit is hosted by Building Bridges Art Exchange and was curated by Jenda Michl and Marisa Caichiolo.
Quincy has pursued architecture since childhood due to an interest in structures and design. Their portfolio demonstrates skills in various areas related to architecture including painting, drawing, model making, material studies, construction techniques, heritage revival, and sensorial design. Key projects include a foldable origami chair exploring materials, a personal den using honeycomb geometry, and a fish market applying sensorial design concepts.
Quincy has been interested in art, architecture, and design since childhood. They enjoyed sketching, painting, and observing different building styles. In high school, they decided to study architecture, which combines their creative interests with practical skills. Quincy has gained expertise in design, construction techniques, materials, software like AutoCAD and SketchUp, and has participated in campus development projects. Their portfolio demonstrates strong drawing, modeling, and technical skills gained through studio-based and hands-on learning.
Quincy has been interested in art, architecture, and design since childhood. They enjoyed sketching, painting, and observing different building structures. In high school, they decided to study architecture, which combines their creative interests with practical skills. Quincy has gained expertise in design, construction techniques, materials, software like AutoCAD and SketchUp, and has participated in campus development projects. Their portfolio demonstrates strong drawing, modeling, and creative problem-solving abilities gained through architectural coursework and hands-on projects.
The document provides an overview of selected works by the author, including architecture projects and writings. It discusses key ideas in the author's approach to architecture, seeing it as a kind of spatial poetry that combines theory and reality through careful design. The author aims to empty themselves into each mark and considers the process of designing to be like writing.
This document is Luke Morris's portfolio from his undergraduate studies at Clemson University from 2010 to 2012. It contains summaries and documentation of various architectural projects he completed during his freshman, sophomore, and junior years. The portfolio is organized by semester and year and includes floor plans, sections, sketches, and descriptions of projects focusing on topics like a coffee shop design, studies of urban space in Genoa, Italy, sustainable design of a tunnel, and conceptual designs exploring the use of curved beams and light. The introductory statement provides context for the portfolio and its aim to showcase Luke Morris's architectural style and strengths.
Architect Carlos Mourão interview - 4 Ark Magazineluciana
The document discusses an interview with Carlos Mourão Pereira, an architect who became blind at age 36 but continued his career in architecture. It describes how he adapted his working methods to rely more on touch, sound, and memory rather than vision. Pereira emphasizes using models, tactile drawings, and verbal descriptions to communicate design ideas. He also discusses conducting sensory visits with students to heighten their empirical observation skills. While some aspects like communicating color would be challenging without vision, Pereira believes every aspect of architecture can be communicated through the other senses with the right approaches.
The author became interested in architecture as a child through imaginative play with building blocks. Architecture appealed to him because it requires continuous learning across many disciplines in order to design spaces that meet people's needs. The author sees architecture as a form of art and design that can communicate with and benefit people. However, there is often a gap between ideal designs and real-world constraints. The author aims to use architecture to provide enlightening spaces that stimulate curiosity and encourage new ways of thinking and communication between people. He designs buildings that reflect their environments and react to how people use and interact within spaces, allowing flexibility so people can enjoy their lives and activities.
Here are some key points about open and closed form according to Oskar Hansen's theory:
- Open form is about interaction and relationships between elements. The goal is to provide a background and context for other elements/actions, not to dominate.
- Closed form is self-contained and focused on its own form/identity. The goal is to stand out as an individual object rather than interact with its surroundings.
- In open form, you "win" by making the situation better for other players/elements. The game/composition is more important than any individual element.
- In closed form, elements compete with each other for prominence. Winning means standing out as the dominant element rather than contributing to
The document discusses various types of rhythm and perspective in architecture. It defines rhythm as a patterned repetition or alteration of formal elements that creates organized movement. Types of rhythm include flowing, progressive, and alternating rhythms. Flowing rhythm mimics natural curves and undulations. Progressive rhythm involves changing elements in a sequence. Alternating rhythm switches between two components. The document also explains different perspectives like linear perspective with one, two, or three vanishing points, as well as transparency in architecture being both literal and phenomenal. Renaissance innovations in perspective influenced theatrical set design to create realistic depth illusions.
Maud Fuller is attracted to interior design because of her artistic background from her parents and her interest in various creative pursuits like photography, sculpture, and crafts. She enjoys using her imagination and skills to design interior spaces that balance function and aesthetics to suit clients' needs and identities. Every project brings new challenges and opportunities to learn. Maud strives to keep an open and curious approach while respecting constraints. Her education and work experience have allowed her to gain skills in spatial design, materials, and understanding clients.
The document summarizes four reaction papers written by Muatasimah Billah analyzing various articles on architecture theory. The papers discuss concepts such as individualism in architecture, organic unity, architecture as an expression of desire, the importance of senses in architectural experience, critical regionalism, and developing architecture with a sense of place. Overall, the reaction papers analyzed key ideas from the source articles and expressed agreement with perspectives that architecture should reflect individuality, integrate with nature, create places for desire, engage multiple senses, and connect to local culture and context.
The document provides an overview of a lecture on architectural theory. It begins by defining architecture and its role in satisfying human needs functionally, aesthetically, and psychologically. It then introduces various functional aspects of architecture like site, structure, skin, circulation, and services. Finally, it discusses the formal vocabulary of architecture and introduces Gestalt ideas of visual perception, including figure-ground principles and Gestalt laws of organization.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
Heart Touching Romantic Love Shayari In English with ImagesShort Good Quotes
Explore our beautiful collection of Romantic Love Shayari in English to express your love. These heartfelt shayaris are perfect for sharing with your loved one. Get the best words to show your love and care.
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
3. content.
WEEK 4 THRESHOLD
PROCESS JOURNAL
Recognising threshold precedents
Threshold diagram ideas and first draft spatial logic
WEEK 5 CIRCULATION
PROCESS JOURNAL
Recognising circulation spaces
Diagramming circulation precedents
Design 2.2 modelling circulation and your developed spatial log-
ic diagram
WEEK 6 PROPOSAL 2.0
PROCESS JOURNAL
Model curation and presentation
Preparing for discussion activity
DESIGN COMMUNICATION DOCUMENT
Final threshold experience spatial logic diagram
4. timestamp - 1:17
RECOGNISING THRESHOLD PRECEDENTS
WEEK 4 THRESHOLD
Zaha Hadid
In Zaha Hadid’s architecture, thresholds appear in a variety of spaces, including entrance foy-
ers, transition zones, connection points, and architectural features. These spaces act as points
of transition and connection within the building, separating the exterior and interior, public
and private realms, and various programmatic elements. Hadid’s designs create dynamic en-
vironments that invite exploration and engagement by combining distinct architectural ele-
ments, fluid spatial arrangements, and symbolic gestures, emphasizing architecture as a jour-
ney of movement and transformation.
Dongdaemun Design Plaza
This threshold has an interior environ-
ment seamlessly blends into the exterior
space, its a large hallway with different
paths which is intersected by it.
This threshold, is seamless and unique
expansive arch which creates a dramat-
ic entrance to the building itself. With
Zaha Hadid’s soft threshold concept. As
you orientate this threhold, it is a simple
pass through of a singular direction.
In this space, stairs are thresholds that
help connect two spaces that are on dif-
ferent levels. The arrival to this thresh-
old is interchangeable as it depends on
where you are orientated (from either
the upper or lower flower), then you pass
through by going up or down the stairs
to arrive at the landing of the other level.
timestamp - 0:41
timestamp - 2:12
5. Sou Fujimoto
House N - Outside/Inside
RECOGNISING THRESHOLD PRECEDENTS
timestamp - 1:17
In Fujimoto’s House on N, these spaces are considered thresholds because they serve as
transitional zones between the exterior and interior, allowing visitors to adjust gradually. They
represent liminality, in which people are in a state of transition. These thresholds elicit antic-
ipation and introspection by manipulating spatial, material, and sensory elements, adding
mystery and contemplation to the architectural experience.
timestamp - 0:41
timestamp - 2:12
From the living room to the outside, en-
compasses a semi-enclosed threshold that
provides a sense of shelter while maintain-
ing a connection to the surrounding land-
scape.
This threshold, observes the connection
of interior and exterior elements, such as
glimpses of the surrounding landscape or
the filtering of natural light through perfo-
rated
In this space, from the entry point of the
house to the inside, has a seamless thresh-
old of inside and outside. Because of the
large rectangular cuts made throughout
the building, it opens up the light and en-
vironment to create a gradual transition of
the inside and the outside.
6. THRESHOLD DIAGRAM IDEAS AND FIRST DRAFT SPATIAL LOGIC
Combinations
1- Motivation
define motivations for inhabitant transition through a threshold space
listed conditions:
Healing
Playing
Thinking
Storytelling
Remembering
Imagining
Making
Dancing
Breathing
Eating
Breathing/Thinking/Remembering
Playing/Dancing/Making
Quiet & Minimal movement
Breathing/Thinking/Remembering Playing/Dancing/Making
Loud & Maximal movement
*Both can be in an open space, indoors and/or outdoors.
When I was defining the motivations to inhabitant transition through a threshold space, I had a
reoccuring thought of both spaces can be both open. Closed or tight spaces feel more claus-
trophobic which creates a more negative feeling in a space (for how I see it).
7. For each itereation and combination made, to fully understand I created scenario-based spac-
es. In terms of how large of a space is needed, and the action being executed I wanted to
make sure that the space made is appropriate to the condition being done.
3 & 4 - Transition & Annotation
2 - Start & End
Breathing Playing
Remembering
Thinking
Making
Dancing
For the spaces I had in mind, I wanted it to be two open spaces where movement can be max-
imized. But for the starting conditions since they do not fully require maximum movement, I
wanted to create an open resting space so the conditions would be met.
Remembering --> Dancing
scenario: people watching a performance
setting: dance studio
-
> movement
-ar circulation
-natural light
9. Thinking --> Making
scenario:people watching a concert
setting: concert
OVERALL
I wanted to include both Hadid and Fujimoto as my precedents, as I think both can go hand
in hand and can create simple yet complex structures. For all my iterations, I wanted to incor-
porate the soft thresholds made by Hadid while creating and inside and outside experience
through Fujimoto’s technique of cutting out parts of the exterior to allow natural light and na-
ture into the structure.
10. RECOGNISING CIRCULATION SPACES
WEEK 5 CIRCULATION
Horizontal Vertical
Singular
Varied
UTS Blog5 Osaka , Japan
nini
layout .
↑
Sydney Royal Easter show visited
Nintendo world
*
Lusaka Japan
&
-
- level
-
> changes
--
> ↓
↓
&
-
*
- =
-
>
>
-
I
11. DIAGRAMMING CIRCULATION PRECEDENTS
Breathing --> Playing
Based on the thresholds made through the section diagrams I made in the previous module, I
selected the Breathing to Playing combination as it is very versatile in space. For the circulation
type, I noticed that it would be a singular and horizontal circulation, since while you can move
into the space in multiple ways, there is really only one direction.
12. DESIGN 2.2 MODELLING CIRCULATION AND YOUR DEVELOPED
SPATIAL LOGIC DIAGRAM
Choose a Verb
to bend
to expand
of waves
My ideas for the threshold consist of symmetry while having Zaha Hadid as part of my prece-
dents, with the soft thresholds. Additionally, from the previous assessment I want to reference
the ‘flutter’ concept I had that creates a fluid-like structure, similar to Hadid’s architecture, hence
why she is part of my precedents. So with the verbs, ‘to bend’, ‘to expand’, & ‘of waves I want to
first seperately identify how circulation happens within them then create different iterations to
further understand circulation and curate a final model as my threshold.
Overall, my intentions would be to explore models that promote uniform horizontal movement
that creates an indoor-outdoor experience with natural light passing through.
Transition = breathing --> playing
Circulation = uniform/singular --> horizontal
13. “of waves”
I used this basket weaving material to construct the iterations. I think this really captures how I
want to add the ‘flutter’ concept to my models. This also relates to how Zaha Hadid constructs
her buildings and even furniture. With that, I want to incorporate this to create a seamless tran-
sition for the threshold. For the three iterations, I did different types of waves (some stemming
from the ‘to curve/flow’ verbs) to capture a fluid/flutter effect where the waves curve up and
down in different styles.
The forms made is a really great visualization of how waves are, they can be consistent and
symmetrical or even be in a wide variety of different sizes and lengths. I think what could be
improved here is with a different material, that is a bit more flexible, I would be able to fully
capture the movement of waves. In terms of circulation, through the waves it somewhat tells
you the direction of the space or how you should move within the space, which is something I
want to add onto my final threshold model.
- ·
- &
& ·
-h
-
-
·
r
- ·
#
14. “to bend”
When I thought of the word ‘bend’ I took it literally, as in ‘the bending of joints in our body’ so
I wanted to capture that through clay. The first iteration is a reference to the bending of our
arms, the second one I thought of squats where you hinge at your hips, bend your knees and
sink, then in the last iteration I thought of our hand joints so think of it as two fingers bending
in opposite directions.
The forms made is a ‘literal’ visualization’ of the bending action, but after further experiment-
ing with it, while in a larger scale this would be very interesting structures, this did not fully
express the circulation I wanted to achieve at its true scale. But, in terms of the way circulation
can bend inside a space, that is what I want to achieve for my threshold model, maybe with a
different material the results would differ.
Denton
two
ben
po E
thre
eointe
a&
15. “to expand”
I had fun with this one since I incorporated the kirigami paper cutting technique. The technique
lets me cut into paper without separating the whole piece, but it creates this elastic illusion when
expanding it when cutting it in a pattern. This relates to Fujimoto’s concept of the indoor-outdoor
structure and how Fujimoto created the House N where there are multiple layers but it seamlessly
ties itself together. I think with the paper-cutting method I was able to capture the essence of that
while exploring how different patterns create different lighting to the structure.
The way the paper is able to expand through length and size by using the paper technique
helped me achieve really good circulation and provided great visualization of spaces and its
symmetry. I want to incorporate this with my threshold model, with reference to how Sou Fu-
jimoto achieved an inside and outside feel with his structure, I think the forms make reference
to that (ex. House of N).
↓
- ⑨ ⑨ ↳
/L
-
↓
& &
↓
&
I -
L
&
↑
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&
V
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16. For my next iterations, I wanted to combine two verbs together. ‘to expand’ and ‘of waves’ as
I believe these could go hand in hand in creating a simple yet complex exterior while having
good circulation within. I was recommended to experiment with ‘Mobius Strips’ as the shape
it make creates an interesting circulation. For this model, I experimented by combining two
different sized mobius strips together and it created an interesting shape while allowing dif-
ferent ways to pass through the different spaces made.
With this, I wanted to create my final model with reference to this one but having a less com-
plex shape to work with as I thought this would be very difficult to curate in 3D.
“to expand” + “of waves”
Albert Tibby Cottier Bridge
I wanted to incorporate how Hassell Studio
creates their curving circulations, just like the
Albert Tibby Cottier Bridge, the way that its
entry and exit points can be interchangeable,
I wanted to achieve that in my model. Taking
into consideration this circulation along side
with the verbs used and how it was formed.
I think that would be a great blend of ideas
put into one.
by Hassell Studio
-
>
↑ ⑳
-
-
&
&
17. WEEK 6 PROPOSAL 2.0
Precedent/concepts/ideas in mind:
Zaha Hadid
- Soft/curving threshold
Sou Fujimoto
- Inside/outside
Hassell Studio
- curving/interchangeable circulation
MODEL CURATION AND PRESENTATION
As a culmination of all the precedents, through the model I wanted to express an in-
terchangeable entry and exit point (Hassell Studio) while creating a soft and curving
threshold (Zaha Hadid), with that I used the rattan material to create a large circle then
created the twisting curved by glueing down specific areas. After the model was made,
I anotated the spaces and parts where light can pass through, so it would still feel like
you are outside even if you are inside (Sou Fujimoto). Analyzing the model, I also saw
symmetry in its structure and creating a singular horizontal circulation.
S
-
-
-
E
②
M
big
↑
18. After creating a physical model, so that I can under-
stand and manipulate how I wanted to create the
space. I went onto Rhino to produce the model in 3D.
I applied the inside-outside concept by cuting into
the exterior in a curve, and the overall shape of the
structure is in reference to Zaha Hadid’s curving and
soft threshold structures. With creating a symmetri-
cal inside-outside space, I felt like design-wise it was
too simple and I wanted to incorporate a design that
would wrap around the entire structure.
Shigeru Ban
Expo 2000 Japan Pavillion
Through research and looking at pre-
vious projects done throughout the
diploma, I came across Shigeru Ban
and the patterns he creates through
his sustainable architecture. For most
of his projects he incorporates a para-
metric design that creates a cage-like
structure that wraps around his build-
ings. I took inspiration from the Pa-
villion he made for Expo 2000 in Ha-
nover.
Wrapped around my model is a parametric curving-grid-like design that allows natural light
to pass through to create a interesting pattern. While it slightly diminishes the inside/outside
concept, I think it is still able to capture through its circulation.
MODEL CURATION AND PRESENTATION
With that completed, I started to collate and organize all the information done through mod-
elling and research based on the modules.
⑳
-
-- &
↓ ↳
7 &
↳
E
So
↑
-
>
19. PREPARING FOR DISCUSSION ACTIVITY
For the preparation for the discussion activity,
I grouped with Seoyeon, Muhammad & Kevin
for this. We decided on who takes the differ-
ent hats and then created a template to format
how our discussion flow would go.
For my part, since mine was about ‘feeling’ in-
side studio culture. It was based more on col-
lating all the information given by Muhammad
and Seoyeon to provide a neutral ground to
the discussion. Since, we all have different ex-
periences and feelings towards studio, its best
to find both the good and bad about it and find
what can be found positive even if the experi-
ence was essentially not good for the person.
Here we wanted to practice before the class, so we decided to go to
class about an hour eary. We refined and gave input to each other on
our delivery and tone to our discussin parts.
⑪
20. FINAL THRESHOLD EXPERIENCE SPATIAL LOGIC DIAGRAM
Threshold precedent
zaha hadid
Threshold precedent
sou fujimoto
D
s
drawing by erin tagarino
student id: 14510147
threshold spatial logic diagram
scale 1:50 (a3)
concept of fluidity, with dynamic form
and flowing lines. (curves & soft thresh
olds
blurs out the boundary of inside
& outside spaces.
Breathing Playing
nha itat Transition
A space in which the indoors and
outdoors flow seamlessly together,
and vice versa.
Playing
Breathing
threshold
movement
inside
outside
opposite of spaces, tight
and narrow
space
large, maximal movement
21. Circulation precedent
Hassel studio
Design precedent
shigeru ban
ingular ori ontal Circulation
complex geometry, parametric design
& structure.
caged architecture.
interchangeable entry and exit points.
curving circulation.
Movement Circulation
Air Circulation
Movement Circulation
“to expand” +
“of waves”
22. References
Anthony. (2002). Designing for Diversity: Implications for Architectural Education in the Twenty-first Century. Jour-
nal of Architectural Education (1984), 55(4), 257–267. https://doi.org/10.1162/104648802753657969Links to an ex-
ternal site.
Art21, (2013) Tools & strategies Richard Serra retrieved from https://art21.org/watch/extended-play/richard-ser-
ra-tools-strategies-short/Links to an external site.
Bhaskar. (2016). Curation : the power of selection in a world of excess. Piatkus.
Boettger. (2014). Threshold spaces : transitions in architecture : analysis and design tools. Birkhäuser. https://doi.
org/10.1515/9783038214007
Chaplin, & Stara, A. (Eds.). (2009). Curating architecture and the city. Routledge.
Choreographic Objects, (2017) 161220#2 – William Forsythe retrieved from
https://youtu.be/xmlyxtkyD9QLinks to an external site.
Deamer, P. (2020). ‘Design Pedagogy: The New Architectural Studio and Its Consequences’. Architecture_MPS
Dutton, Willenbrock, L. L., & Schon, D. (1989). The Design Studio: An Exploration of Its Traditions and Potential.
Journal of Architectural Education (1984), 43(1), 53–. https://doi.org/10.2307/1424986Links to an external site.
Hamer, S. (2020) Circulation or how people move through space retrieved from http://portico.space/journal//archi-
tectural-concepts-circulationLinks to an external site.
McLaughlan, & Chatterjee, I. (2020). What Works in the Architecture Studio? Five Strategies for Optimising Stu-
dent Learning. The International Journal of Art & Design Education, 39(3), 550–564. https://doi.org/10.1111/
jade.12303Links to an external site.
Smith (Ed.). (2021). Progressive studio pedagogy : examples from architecture and allied design fields. Routledge.
Spiller. (2014). Educating architects : how tomorrow’s practitioners will learn today (Clear, Ed.). Thames & Hudson.
23. Personally speaking, this assessment was really difficult for me to cu-
rate as I had a hard time making Ideas. While learning from the previ-
ous assessment and taking into account what needs to be improved,
I still had a similar mindest coming into this assessment similar to the
last.
But. as the weeks progressed I managed to pick myself back up and
come up with random ideas until it would make sense to me or it seems
like an interesting idea to push through with. I was able to curate an
interesting model while being able to develop my 3D modelling skills.
For the next assessment,I will take into consideration the difficulty I had
during this assessment to make leeway in terms of time needed. This
assessment made me set boundaries on what I should be focusing on
and what can and can’t be sacrifiec when producing quality projects.
Overall, while there could be imrpovements done, this assessment is
my stepping stone into being a better designer and person.