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College of Architecture
Texas Tech University
Mail Stop 42091
Lubbock, Texas 79409
Phone 806-742-3136
Email: architecture@ttu.edu

Instructor: Victoria McReynolds

Architecture Design Studio II


Course Coordination

Course Syllabus

Course References

Wiki Help

Student Handbook

University Catalog


Design Analysis

Design Synthesis 01

Design Synthesis 01 - site

Design Synthesis 02

Design Synthesis 02 - site

Crowe, Michael
Daschofsky, Abbey
Erbe, Alex
Garcia, Juan
Ince, Hunter
McBeth, Tyler
Mckay, Walter
Murillo, Luis
Parker, Megan
Ponce, Alberto
Whatcott, Georgia


Quality, Content, Clarity

As you move into the final stretch focus your energy on increasing quality, building content, and establishing clarity of your light shadow exhibition hall. Each drawing exercise is an opportunity to describe difference and continuity: difference of spatial relationships and lighting, continuity of architectural components or sensations that support your concept. Coordinate content in each of the four drawings to facilitate a better technic with atmosphere understanding of your exhibition spaces and concept components. Hieronymus Bosch's Garden of Earthly Delights is an excellent triptych example of sequencing from left to right of changing atmosphere with similar content. The three cross sections in particular offer an opportunity to work in sequence building continuity through circulating experience or changing in sun position. The sun position can very in angle and time between sections but needs to be consistent across one section. Correlate ideals of your latitude location to the selection of seasonal and diurnal light positions.

Cross sections are printed on clear film with trace layer charcoal atmosphere drawing. Longitudinal section is a digital composite drawing of technical information with watercolor based drawing printed on bond paper.

Monday (11/18)
Volumetric Model refined
(1) 36” width xY”, 1/8” longitudinal composite drawings
(3) 12” width xY”, 1/8” cross section drawings w/charcoal trace

--Victoria McReynolds 14:07, 17 November 2013 (CST)

Technic and Atmosphere

The strategy is one of seduction: to establish a certain credibility that we are dealing with architecture and to then open up a Pandora’s box of goodies. - Peter Cook, Drawing: the motive force of architecture

Composite drawings allow you as the author of space to describe both the technic and atmosphere of your project. Convey dimensional accuracy of assemblies and materiality through architectural drawing conventions of line spacing, type and weight. Your reality of scale and enclosure is understood in this technical information. Through atmosphere the space you created embodies an attitude. Tonality, texture, and saturation all contribute in communicating qualitative conditions occurring in your project.

Maintaining degrees of contrast is essential when layering information into the drawing. This requires more than just the basic binary of ON / OFF relationship such as black and white. Refer to Josef Albers Homage to the Square series as an excellent example of sustaining complexity among diverse conditions.

Begin with your technical section drawings. Print on clear film. Provide a watercolor paper base underlay and a trace paper overlay to work from. Create a light shadow wash of your exhibition spaces on watercolor paper. Create a light shadow charcoal drawing of your exhibition spaces on trace paper. Create digital files of both by scanning the drawing. Work with photoshop to mask out, crop or highlight areas. Work will Illustrator to refine contrast between lines, poché, masks of the technical section drawing and the images of the atmosphere drawing. Majority of your time should be spent in the craft of technical drawing, watercolor, and charcoal. Combining the work digitally is secondary and is used to establish balance and tune degrees of contrast among various conditions.

Friday (11/15)
Volumetric Model refined
(4) 4”x36” photo documentation of exhibition spaces
(1) 36”xY”, 1/8” longitudinal composite drawings
(3) 12”xY”, 1/8” cross section drawings

--Victoria McReynolds 10:23, 14 November 2013 (CST)

Photo Feedback

Analyze the photo documentation according to frame, content, consecutive sequence, and light variation. Incorporate critical observation learned through photo feedback as direction for refining the exhibition space within your project.

A successful exhibition image transports the viewer to the interior of the space. Do not allow extraneous content or excessive context distract from the light effect by dominating the image frame. Bleeding exhibition spaces are a result of underdeveloped exhibition edges (ambiguous vessel boundaries) and/or an incorrect camera position. Develop your envelopes and crop away image “noise”. Document light duration by holding constant the camera to exhibition space alignment while changing the light (sun) position. All exhibition spaces are to include a scale giving figure to provide an understanding of the exhibition space size. Refine the light performance in the space through threshold complexity, material variation, and behavior shaping. Tailor the thresholds to address light behavior identified in your sun polar chart diagrams. Tailor material variation and light/shadow behavior for qualitative spaces. Strengthen continuity across your project through repetition of architecture components.

Wednesday (11/13)
(4) site models: glued, sanded, prepped to paint
(1) 12”x26” C O M P L E T E base drawing technical layer

--Victoria McReynolds 09:18, 12 November 2013 (CST)

Volumetric Model + Demonstration

Monday (11/11)
(1) volumetric model: circulation, program, material variation, light and shadow performance
(4) 4"x36" exhibition space light demonstration: one strip per exhibition
(1) 12"x26" refined base drawing technical layer

--Victoria McReynolds 22:17, 10 November 2013 (CST)

System and Components

Complete your volumetric model investigating the thicken space dividing planes, and section opportunity. Refer to Monday’s (11/04) post of circulation and program needs. Model the elevator core open from floor to floor with opening in plane to indicate door dimension. Draw by hand an exploded axonometric organized separated elements according to architecture strategies of conveying your concept.

Friday (11/8)
(1) volumetric model: developed from foam model and Monday model
(1) 20"x20" exploded axonometric
(1) 12"x26" base drawing technical layer

--Victoria McReynolds 20:40, 6 November 2013 (CST)

Section Tailoring

Concept drives your light + shadow play throughout the exhibition hall. Determine a single project strategy of your three volumetric variations today from which you will continue to develop. Build on the successful complex solutions in this single project strategy as were resolved for previous studies in circulation, light+shadow effect, and light+shadow enclosure (aperture, threshold, and vessel).

Challenge your sectional boundaries. Create two models in sequence: first a foam model testing space dividing surfaces, then a volumetric model constructing the same spatial sequence. The foam model is to be used as an exercise in shaping walls, floors and ceiling thicknesses for all four exhibition spaces. Quickly test sectional and surface ideas sketched today during studio. Additional planar and linear material maybe included in the foam model. From your developed foam model create a volumetric model that includes the surfaces rather than the mass of the shaped foam mass from the previous model. The volumetric model is to include all circulation, program spaces (office, restrooms, etc) and light+shadow effect. Include various materials that support light+shadow behavior. Construct using both planar and/or tectonic elements as a system of support or enclosure. Both models are to have their own base and are to align with the site model as designed.

Identify three section cut planes that best convey the spatial variation. On three new layers create each sections with an accompanying floor plan. Pin these drawings over your base composite drawing. Include regulating lines between plan and section, poché cut material, locate all three section cut lines on each plan, and include information beyond the cut plane either with a light line if beyond or dashed line if hidden.

Wednesday (11/6)
(1) foam model: testing section sketch study, light+shadow, circulation, four exhibition spaces
(1) volumetric model: developed from foam model and Monday model
(3) section+plan drawing: 1/8" separate layers, pinned above composite base drawing and atmosphere layer

--Victoria McReynolds 18:11, 4 November 2013 (CST)

Volumetric Models

Construct one volumetric model for each composite drawing. Build the circulation diagramed in your composite drawing and construct surface enclosures for four exhibition spaces. Introduce light and shadow that supports your concept by considering materiality, aperture geometry, and threshold complexity. Document light behavior over a duration in each exhibition space. Pay attention to shaping shadow by adjusting the vessel geometry and volume. Draw a revised section and plan layer for your composite drawing. Refine the base technical drawing layer as discussed in studio.

Monday (11/4)
(3) volumetric models: developed from composite drawing
(3) 4"x36" photo documentation: portrait or landscape, demonstrate duration for all four exhibition spaces
(3) 12"x26" revised section and plan layer for Composite Drawings from volumetric models
(3) 12"x26" revised base technical layer for Composite Drawings: sun polar chart diagram, annotation, solar lines in section
studio project site models assembled

--Victoria McReynolds 23:32, 2 November 2013 (CDT)

Composite Drawing

Create a composite drawing integrating the three conditions investigated thus far: latitude, atmosphere, and concept.

1. Begin with the base site constraint in plan and section. Locate the sun polar chart in plan and season altitude observations in section. Diagram the solar territory of interest as it relates to your latitude selection. Print this information as a base technical drawing.
2. With trace overlay on the base drawing, draw by hand a revised circulation strategy situated in context. Articulate pathway, threshold and territory conditions as they relate to your concept. Either scan and place the analog drawing in illustrator to the base technical drawing or present above the base drawing.
3. Return to illustrator to complete the atmosphere description of your site and light behavior. Include a qualitative position of your project through text, seasonal sun paths, and background images. Print this upper most layer on clear acetate to pin above the technical and situated drawing(s).

Use this exercise of integration to strengthen correlation between sun angles, circulation, territories and light behavior and contextual events. Below are three rough examples of the various layers (technical, concept, atmosphere) that are to be pinned up together. Your composite drawings are to be better refined, include sun chart annotation, sun angles, and titles.

Friday (11/1)
(3) 12"x26" Composite Drawings: technical, atmosphere, concept
studio project site models assembled
revise/complete circulation+program models as necessary

--Victoria McReynolds 17:38, 30 October 2013 (CDT)

Circulation Strategy

circulation does not just happen between spaces, circulation occurs through spaces.

Create three axonometric diagrams identifying various circulation strategies to move people through your exhibition hall. One of the three axonometric diagram drawings it to test your project 01 horizontal circulation vertically. Extend ideas of circulation from the site context at both the road and water levels. Each circulation strategy is to include vertical and horizontal pathways (i.e. elevator, stairs, etc.). Apply an accent color with different opacities indicating different speeds of movement to surfaces and defined territories. Include in the axonometric diagram a plan diagram of circulation. Axonometric diagrams can either be completed digitally or by hand, whichever produces the more refined and faster results.

Build three circulation+program models directly investigating your three axonometric diagrams. One of the three circulation+program models is to test your project 01 horizontal circulation vertically. Model circulation pathways using planar material and program territories with piano wire defining the limits. Recall that circulation occurs into and/or through program spaces and that program spaces can vary in vertical height. No pancake models.

Wednesday morning have all three drawings pinned up and all three models organized along the common studio south wall surface. We will start studio promptly by reviewing previous work and progress grades.

Wednesday (10/30)
(3) Circulation Axonometric diagrams: identify various speeds
(3) Circulation + Program models: cardboard or chipboard, piano wire, text defining program

--Victoria McReynolds 19:33, 28 October 2013 (CDT)

Orchestrating Speeds

Build three circulation+program models that tailor speeds of people with light/shadow movement through your exhibition hall. Cadence of steps are shorter than the stride one takes along ramps which differs from the vertical shot in an elevator. Each construction to connect vertical spaces becomes an opportunity in orchestrating a larger experience. Allow one experience within a space to play off of another space of experience. Demand that your circulation transcend code constraints to become a tool in unfolding the experience of your light/shadow exhibition hall.

Same techniques and building material are to be used to complete your circulation+program model as outlined in Project 01.
Reference wiki post September 30 as a reminder.

--Victoria McReynolds 13:00, 25 October 2013 (CDT)

Shaping Shadow

Adjust your selected latitude based on our studio discussion today. Identify and diagram components on your sun polar chart that illustrate the role season change will contribute in your project.

Build four new models testing the shape of shadow by adjusting the vessel geometry in relation to aperture and threshold. Consider both the daily and seasonal behavior of darkness. Is there continuity to the diurnal tide of shadows? How does perpetual darkness play a role in your spaces? How does shadow shift the speed someone takes circulating through a space?

At minimum one light shadow model is to evolve the aperture | threshold | vessel equation introduced in your design project 01. Consider craft of assembly, incorporate various materials to test results, incorporate COMPLEX thresholds (thresholds with length, overlap, direction, thickness, orientation, variation). Photo documentation of light shadow models are to test daily light change (just after sunrise, noon, just after sunset).

Friday (10/25)
design synthesis project 02 - site model assemble
(1) 8.5"x11" sun polar chart with component diagram
(1) 3"x5" minimum sundial diagram
(4) shadow shaping aperture threshold study models: either 1/4" or 1/8", size constraints of project size
(4) daily duration light documentation: just after sunrise, noon, just after sunset

--Victoria McReynolds 21:52, 23 October 2013 (CDT)

Location + Duration

Select a latitude between zero and seventy two degrees in the Northern Hemisphere from which you will apply the sun path to your project. Create a copy of the corresponding latitude sun dial diagram located in the back of the book, Sun, Wind, and Light. Create a sun path polar chart of your selected latitude using the University of Oregon SRML website. The sun dial diagram is to be used to study a specific time of a day in a year by adjusting your model position in relation to the sun. The sun path polar chart is used to determine the sun's azimuth and altitude for any day of the year.

Seasonal duration of the sun is to be tested studying the light behavior within four new study models. Continuing your concept, evolve your aperture and threshold relationship based on realizations made from mid-semester reviews. Build four separate models that study the aperture - threshold relationship as it would fall on your project 02 site. Use the sectional site constraints of 15' elevation change, 25' width and solid north face, to work within. Light study models are either 1/4" or 1/8" scale. Document the season duration of the sun with three photos; winter solstice, equinox, and summer solstice. Organize the three photos horizontally on a 4"x12" page size.

Wednesday (10/23)
design synthesis project 02 - site model parts
(1) 8.5"x11" sun polar chart
(1) sundial diagram
(4) aperture threshold study models: either 1/4" or 1/8", size constraints of project size
(4) season duration light documentation: winter solstice, equinox, and summer solstice

--Victoria McReynolds 14:37, 22 October 2013 (CDT)

Design Synthesis Project 01 Documentation

As a reminder for Monday (10/21), post to your wiki page work presented for the mid-semester review. Photograph your project model with and without the site context taking overall images from various locations. Retain high resolution at 300 dpi 18" width for end of the semester work submission. Post lower resolution files to your wiki page.

--Victoria McReynolds 21:23, 19 October 2013 (CDT)

Exhibition Hall of Light and Shadow - Minimum Requirements

Due Printed, Modeled and Posted by 8:30am October 16

concept definition
statement of intent
(9) light box models
(3) light box study photos
(1) final light box study photos
program diagram variations
diagram transformation
12"x12" composite drawing
24"x18" 1/8" floor plan
24"x24" exploded axonometric
4"x36" project photo light effect
1/8" circulation + program model 1/8" project model w/site context

*concept definition from Oxford English Dictionary
additional sketches and process work

--Victoria McReynolds 17:42, 12 October 2013 (CDT)

For Friday

(1) 1/8" Project Model: demonstrating light effect with chipboard, basswood, and/or piano wire
(1) 24"x24" exploded axonometric: organized according to nouns
(1) 4"x36" photos documentation of light effect

--Victoria McReynolds 22:21, 10 October 2013 (CDT)

Test / Feedback / Refine

Test light effect. Let the result of testing aperture, threshold and vessel determine how to strengthen your design through performance. Establish continuity of concept across exhibition spaces, circulation and context. Engage constraints in “sophisticated play”, operate inclusively so all conditions supports rather than dilutes your concept.

Test concept clarity through exploded axonometric. Select two or three nouns that define architecture strategies you implemented across your project to convey your concept. Group like components which define the noun, utilize exploded orientation to define a relationship back to the whole.

Wednesday (10/9)
(1) 1/8" Project Model: demonstrating light effect with chipboard, basswood, and/or piano wire
(1) 24"x24" exploded axonometric: organized according to nouns
(4) project site bookends

--Victoria McReynolds 15:53, 7 October 2013 (CDT)

Concept through Effect

Finalize your circulation + program model and develop your floor plan based on studio discussion Friday. Strengthen the architectural language of conceptual strategies as it applies to circulation and ground plane for your model. Utilize the floor plan drawing to convey relationships of your exhibition hall, not the model of your exhibition hall. Apply the direction to your floor plan that is outline in the previous post.

Return to the light effect study. Integrate into your circulation strategy enclosures that demonstrate the light effect which drove your concept. Test the arrangement of aperture, threshold and vessel as previously diagramed. Base formal design decision on the resulting light effect of your exhibition hall. Incorporate materiality difference to achieve various light effects through accumulation or assembly technique.

Monday (10/7)
(1) 1/8" Project Model: demonstrating light effect with chipboard, basswood, and/or piano wire
(1) 1/8" Final Circulation + Program models: cardboard or chipboard, piano wire, text defining program
(1) 24"x18", 1/8" Floor Plan: with site context

--Victoria McReynolds 13:37, 5 October 2013 (CDT)

Circulation + Program

Develop two 1/8” diagrams (circulation + destination) in plan that graphically conveys your applied concept two dimensionally. Include conditions immediately outside your site boundary, such as the sidewalk and street. Utilize accent color to highlight key spatial moves. Apply variation in line weight, type to describe hierarchy of threshold, transition, and path.

Build one 1/8” circulation + program model based on your final circulation diagram demonstrating how one accessibly circulates through your exhibition hall. Consider slope constraints of your ramps as opportunity to convey your concept through circulation.

Draw one 1/8” floor plan of your exhibition hall taken at four feet off of the upper site elevation. Include site information and adjacent building context. Poché cut buildings and walls. Include basic edge information such as ramps, steps, and level changes.

Friday (10/2)
(2) 1/8" Diagram: Circulation (path, transitions, thresholds), Destination (primary, secondary, servant)
(1) 1/8" Circulation + Program models: cardboard or chipboard, piano wire, text defining program
(1) 24"x18", 1/8" Floor Plan: with site context

--Victoria McReynolds 13:41, 3 October 2013 (CDT)

Circulation + Program

Create three circulation + program study models that test concept organization strategies of transitioning people from one end of the site to the other. Account for all program space by creating a series of square program cards at 1/8” scale and calculate the necessary ramp length to connect seven vertical feet. Reference project document for program square footage and ADA guide for ramp constraints. Use these base guides to visualize circulation + program arrangement as well as sequencing on the site while. Incorporate project constraints as design opportunities to introduce concept variation, such as an irregular site boundary or the fact that there is a longer ramp length than there is along the site length. Further reinforce your concept by articulating the relationship between circulation, program and ground plane. Does one circulate through the program space? How might shaping the ground plane support the concept? Is the circulation integrated or apart from the ground plane? Ultimately how do these moves support the larger understanding of concept as one moves through the project.

Circulation + program study models are to demonstrate testing of the ground plane, circulation, and program to convey your concept. Craft of your program wire territories will provide further clarity of spatial hierarchy and boundaries. Document program location and square footage size directly on the study models. Also identify path of circulation, dash circulation path if it passes through a program space.

Wednesday (10/2)
(3) Circulation + Program models: cardboard or chipboard, piano wire, text defining program
(1) Concept term and corresponding Oxford English Dictionary definition
Finished Site Models

--Victoria McReynolds 20:18, 30 September 2013 (CDT)

Pickup Refinement

Goal for Monday is completion and refinement.

Program Diagrams

Refine program diagrams to better convey variations across all program spaces while maintaining continuity of concept. Each program diagram is to demonstrate two variables of your aperture, threshold, vessel equation while maintaining constant the concept. Incorporate variations of line weights. Provide an accent color to diagram light components of aperture, threshold, and vessel.

Composite Drawing

Refine composite drawing articulation of concept model. Incorporate photo documentation of your model in natural sun light. Improve drawing relationship to images, increase information that is conveyed in each section / elevation.

Material Models

Complete wood and metal light models so that each model demonstrates your light concept effect. Consider the material texture and behavior while building each model. Intentionally address the assembly and accumulation of each material.

Site Models

Complete four sets of studio site mdf bookends with 3” bases. Each student is to have an individual cardboard center model.

Monday (9/30)
(1) 4" refined program diagram strip: 2 variations per diagram (aperture, threshold, vessel)
(1) 12"x12" refined composite drawing
(1) wood light concept model
(1) metal light concept model
(1) individual site center: cardboard w/3" base

(4) studio site model bookends: mdf w/3" base

--Victoria McReynolds 17:38, 27 September 2013 (CDT)

Program Diagram

Calculate a square footage of your concept model based upon your placement of Alice. Use this measurement as the base scenario from which to investigate various space needs of our project program. Revisit the program list and apply your concept strategy to the listed spaces each as an isolated section diagram. Section diagram includes the section of the most spatially informative cut through your model, appropriate line weights and accent color identifying the aperture, threshold, vessel. Place a silhouette of Alice in every section demonstrating similar scale across varying program. Retain your concept sequencing of aperture, threshold, vessel. Introduce variation of hierarchy among the components. Refer to MOS Architects PS1 project as an example of sustaining consistent sequencing of aperture, threshold, vessel while varying the hierarchy of components.

> purchase 1/8" scale people monochromatic (see Plastruct styrene figures, pg 81 in their catalog as reference, single color only)

Friday (9/27)
(1) 4" program diagram strip: length dependent upon section.
(1) site model made of three parts: 2 mdf bookends, 1 cardboard center, 4" base, refer to site drawing in studio

--Victoria McReynolds 18:26, 25 September 2013 (CDT)


Building from your concept and equation, construct a refined Light as Material model only using planar material of chipboard, museum board, or acrylic. From the planar model retain the same aperture, threshold, vessel equation and build two other models testing material enclosure. Construct two models, one of basswood linear elements and the other of metal piano wires. Build up a density of the linear elements to construct an enclosure which establishes a light balance supporting your concept.

Provide one single composite drawing selecting one of the three material models to clearly demonstrate the diagram of your concept. Provide similar information as previously required for Monday’s submission. In addition, include your concept equation (Aperture, Threshold, Vessel). Drawings are to include excellent line weight and line type application.

Wednesday (9/25)
(3) concept light models: planar, wood, metal
(1) composite drawing

--Victoria McReynolds 13:31, 24 September 2013 (CDT)


Identify a concept that defines a quality of spatial tension between light and shadow drawn out from your previous models. Select one or two words to conveys the atmosphere surrounding this light performance.

Build three exceptional concept models to demonstrate various light plays. Exterior form is to be a result of interior performance needs. Operate efficiently, strive to achieve the light performance through minimal amount of material and shapes. Basic components of Aperture, Threshold, and Vessel are to be present. Test extreme conditions verging on the limits of possibility. Test various material transparencies. All moves are to serve the purpose of demonstrating light and show as it supports your concept. Photo document each concept model.

Composite Drawing
Create three phenomenal composite drawing that bring together light performance photo documentation, section description, elevation analysis, and context positioning. Diagram aperture, threshold and vessel using accent color. Determine the vessel size by introducing Alice’s profile into the section drawing and photo montage. Allow her sizing to reinforce the conceptual experience. Section and elevation drawings are to be proportional to each other. The image below is for content and format reference only, your composite drawings will also have refined line weights, titling, and Alice.

H A T - T R I C K for Monday (9/23)
(3) concept light models
(3) 12"x12" composite drawings
Atmospheres Reading notes

--Victoria McReynolds 17:22, 20 September 2013 (CDT)

Light as Material

Light as matter is invisible. We cannot perceive light as it passes by unless it is trapped in dust, smoke, or water droplets. - Steven Holl. Parallax (New York: Princeton Architectural Press, 2000)

We begin our discussion of light as a relationship of three components: the aperture, threshold and vessel. Aperture defining the actual opening in material allowing the light to pass through. Threshold as defined by the material thickness light crosses along its path of travel. And Vessel describing the enclosure, room, or space in which the light is captured. You are responsible for creating nine spaces that capture and demonstrate the materiality of light. Light alone is invisible, yet in combination with material, space and duration light is transformative creating tension in a place previously mute.

Using chipboard / museum board to model three variations on the cube testing relationships of:

stretch & expand : enlarge interior volume, maximum six surfaces, only two surface shift, corresponding surfaces can change shape.
thicken & compress : compress interior volume, maximum six surfaces, maintain original cube form, thicken one plane.
seventh plane : attach additional plane to the cube, modify only one other surface, may be any type of material.

Begin with original cube form of 4”x4”x4”, work within the constraints of isolated studies, a single continuous aperture, and opaque materials except for the seventh plane. Photograph each model in three various positions: two of the entire cube, one of the interior. Provide a removable surface or plane in your model to have visual access to the model interior.

For Friday (9/20)
(3) stretch & expand light models
(3) thicken & compress light models
(3) seventh plane light models
(9) photostrip, 3 photos each
Atmospheres Reading notes

--Victoria McReynolds 00:17, 19 September 2013 (CDT)


This Friday, 9/20, we will review the ‘‘Atmospheres’’ reading in studio. Come prepared with notes to discuss and share your answers to the following three questions. Site pages with examples and references, select quotes that best convey ideas, and create a bullet point of your response to the following questions below.

Peter Zumthor, Atmospheres: Architectural Environments - Surrounding Objects (Berlin: Birkhäuser, 2006)

Question 1:
Define what the "magic of the real" is that Zumthor identifies and recall three spaces in which you experienced "magic of the real".

Question 2:
What are the nine components of Zumthor's Atmospheres? - identify and define.

Question 3:
Why is consideration of the "atmosphere" important in architecture?

--Victoria McReynolds 17:44, 16 September 2013 (CDT)

Document + Post


Photograph all analysis models in natural (sun) and artificial (studio) lighting. Select the 4 best frames of each model: 2 overall and 2 zoomed in, that convey the space, depth and material intricacy of your concept. Use lighting as a way to bring forward key parts of your concept model. Test the lamp to model and model to sun positions in order to observe shadow differences. Demonstrate DIFFERENCE in shadow conditions and atmosphere between natural and artificial documentation but maintaining SAME four views, camera position to model, in both natural and artificial lighting. Create photographs that are sharp, focused, intentionally lit and captivating. Provide eight excellent photographs of each concept model; four views duplicated, one set with natural (sun) lighting and the second set with artificial (studio) lighting.


Each of you now have an individual studio wiki page which you will use to submit and catalog your project work. By Wednesday (9/18) 8:30am have uploaded images of your final drawings and photographs of your concept models. Follow last semester 2502 Nicholas Watkins format of 400px left justified with sub title descriptions. Organize your work as it best supports your concept idea in a clearly logical procession, for example this could be chronological or relational.

Label each file: “Arch2501_VM_FL13_last name_first initial_ph01_001.jpg”

Upload each file: “Image: Arch2501_VM_FL13_last name_first initial_ph01_001.jpg | 400px | assignment title

For Wednesday (9/18)
4”xY” Final Concept Model Photostrip - 4 natural light, 4 artificial light
Post drawings and photos of Design Analysis work to Wikipage
Design Analysis Due

--Victoria McReynolds 17:32, 16 September 2013 (CDT)

Exploded Axonometric

Create an exploded axonometric that separates apart from the whole the actual architecture that defines your concept. Use this opportunity to provide clarity while describing depth. Two questions guide this exercise:

What are the components of the actual architecture that define your concept?
What is the orientation of the exploded components back to the architecture whole that supports hierarchy of your concept?

Additionally revisit drawings and develop models as considered necessary.
Monday, Sep. 16 we will hold informal reviews during studio hours.

For Friday (9/13):
20”x20” Exploded Axonometric

--Victoria McReynolds 19:34, 11 September 2013 (CDT)

Design Analysis Minimum Requirements

Due Printed, Modeled and Posted by 8:30am Sep. 18

reconstructed floor plans with longitudinal + cross section
path + threshold diagram
place + servant diagram
components: base module / regulating / variations / proportion
reverse diagram: surfaces to mass to voids
exploded axonometric
characteristic diagram
concept diagram
process concept models (5)
final concept model

*collective precedent house research with bibliography, chicago manual of style
additional sketches and process work

--Victoria McReynolds 16:41, 9 September 2013 (CDT)

Reverse Design Diagrams

Generate a series of reverse design diagrams identifying surface, mass, to void relationships that support your concept. Draw each diagram in axonometric at the same scale and in the same orientation to further reinforce the translation between conditions. Distinguish hierarchy within each diagram as it may relate to materiality, position and size for example.

Construct one final concept model that works in tandem with your reverse design diagram series.

For Wednesday (9/11):
Final Concept Model
Reverse Design Diagrams

--Victoria McReynolds 16:37, 9 September 2013 (CDT)

Clarity, Degrees, and Revision

Degrees of Arrival
Having spent the last two weeks becoming intimately familiar with your house it is important now to identify strategies of approach or techniques your architect took when designing, i.e. arrival, entry, destination, and enclosure. It is equally important to ask yourself how does the arrangement, sequencing and organization support the larger conceptual idea. Draw further understanding of architecture components, arrangement, and operations by making comparisons with other precedent houses in this studio.

What may initially appear as a dumb bar building should be understood and graphically demonstrated to have various and subtle degrees of spatial and material strategies. For example, the arrival threshold may be staged differently through natural, built, enclosure and climate changes. Utilize the in studio exercise of making larger comparisons to refine the articulation of your diagrams.

Concept Clarity
Create two new concept models that are iterations of your most successful of three concept models reviewed today in studio. Those of you who did not have three models today are required to have a total of five models on Monday. Pay particular attention to strengthening internal relationships, establish complexity within the diagram, refine craft, utilize with reservation tracing lines.

Drawing Revision
I have left comments on drawings today about the most obvious changes that need to be made. Use this weekend to complete and revisit reconstruction drawings and diagrams. In general many drawings still require construction lines, line weight adjustment, and diagram refinement.

For Monday (9/9)
(2) Concept Models
Revised Reconstruction Drawings
Revised Diagrams

--Victoria McReynolds 16:26, 6 September 2013 (CDT)

Draw / Model

2D/3D registration - Continue exercises started in studio today of identifying your key building diagram. Illustrate the building diagram through three methods; characteristic diagram, concept diagram and concept models.

> Characteristic diagram isolates space defining moments in the building by drawing the built conditions
> Concept diagram directly conveys building idea using pure geometries
> Concept model addresses the spatial relationships identified in the concept diagram.

Construct three concept models that test surface, frame and mass enclosures. Maintain proportional relationships illustrated in your concept diagram. Concept models are to be without a base, treat each model as a satellite condition.

Revise Task 02 - Reconstruction. Hinge and slide section drawings in relation to the floor plan, include section cut lines and background construction lines to align space defining elements.

For Friday (9/6), PRINT AND PIN UP BY 8:30 AM:
(1) Characteristic Diagram, sketch
(1) Concept Diagram, sketch
(3) Concept Models

--Victoria McReynolds 17:23, 4 September 2013 (CDT)

Task 04, Read + Revise

Revise reconstruction drawings and Path + Transition, Place + Servant diagrams based on studio conversation of drawing conventions and mark-ups. Consider all comments made and apply to your plan, cross section, longitudinal section, and diagrams as appropriate. Significant content was included in the drawings but do not let the lack of line craft and drawing convention muddy your work. Revise and improve.

Read Le Corbusier's Regulating Lines chapter in Towards A New Architecture.

Task 04 - Components of Architecture Diagram the four conditions of Base Module, Regulating Pattern, Variations, and Proportioning System for analysis of task 03. Diagram Base Module is to identify the primary constant geometry that is a defining character within your house; consider the basic geometries of squares, rectangles, circles and triangles. Diagram Regulating Pattern is to illustrate the matrix in which the modules are organized. Diagram Variations demonstrates the geometric, volumetric or spatial exception within the house that provides an alternative characteristic. Diagram Proportioning System is to analyze the position, placement, and size of the geometry variations identified within the module as well as the whole of the house. Refer to the example diagrams below of the Kimball Art Museum as reference. Diagram Task 03 for the ground plan and one section, either cross or longitudinal. All diagrams from Task 03 + 04 are to be at the same scale.

Utilize this time to revise, complete and acquire any content missing during the first week. See previous posts for requirements.

For Wednesday (9/4), PRINT AND PIN UP BY 8:30 AM:
Base Module: plan + section
Regulating Patterns: plan + section
Variation: plan + section
Proportion System: plan + section
Read Regulating Lines
Revise Diagrams and Plans

--Victoria McReynolds 16:57, 30 August 2013 (CDT)

Reconstruct + Diagram

Remember specificity, not generalization.

Task 02 - Reconstruction : Plan, Longitudinal section, Cross section
Reconstruct the architectural drawings using Autocad for drafting and Illustrator for line weights, types and tones. Do not merely duplicate your researched drawing, instead reconstruct the drawings asking yourself how can you more clearly communicate enclosures, built-ins, floor and ceiling conditions. Include graphic scale, north arrow, title and room notations. Apply drawing conventions of pochéd walls and dash conditions overhead or behind. Format on a single 20”x20” page the reconstruction drawings in relation to each other. Included very light regulating lines as background content to identify continuity between drawings. Plans are to be drawn roughly at the 4’ cut plane with section cut lines. Sections include cut material and any spatial variation occurring beyond the cut plane.

Task 03 - Diagrams for each plan: Path + Transition, Place + Servant
Diagram is a generative tool : learn something new
Diagram extracts specific conditions : isolation of particular information
Diagram is an explanatory tool : reveals internal relationships
> Path + Transition
Utilize single line for path and perpendicular line for transition. Introduce various line weights and spacing to indicate degrees hierarchy (primary, secondary, tertiary). Apply various line types indicating differences of circulation types, ranging from direct (hallway) to implied movement (open plan).
> Place + Servant
Identify place by outlining areas of gathering and/or destinations. Introduce various line types to indicate the degree to which place is enclosed. Identify hierarchy of public to private place with line weights. All servant spaces are to be masked out.

All diagrams are to be organized vertically on an 8” wide by “x” tall page. Arrange circulation diagrams above Place diagrams. If you have multiple floors group the diagrams (i.e. circulation diagrams for all floors are to be grouped at the top of the page above all of the space diagrams at the bottom of the page). Use only one accent color. Variations on transparency and opacity is acceptable.

For Friday (8/30), printed and pinned up by 8:30 AM:

20"x20" reconstructed drawings: plan(s), longitudinal section, cross section
8"xY" diagrams: path + transition, place + servant
Revised or Developed Research as needed

--Victoria McReynolds 16:32, 28 August 2013 (CDT)

Design Analysis - Task 01

Gather, source and format information. As you begin Task 01 on your precedent house it is critical you identify and internalize the content researched. Gather as much information on your precedent house as outlined in the Design Analysis that is to be shared collectively within your group. Source your gathered information by creating a bibliography list organize together on one 8.5x11 portrait size page according to The Chicago Manual of Style. Format all line drawings on 11x17 landscape with a title, graphic scale and north arrow (if applicable). Images, sketches and text are to be organized on 8.5x11 portrait size paper. Wednesday, be prepared to collectively present your house project.

For pin up at the start of studio, Wednesday (8/28):

Text: 8.5x11 portrait, information as outlined in Design Analysis
Photos, models, sketches: b&w or color, 8.5x11 portrait
Drawings: b&w, 11x17 landscape, title, graphic scale, and if applicable north arrow
Bibliography: 8.5x11 portrait, Chicago Manual of Style

--Victoria McReynolds 13:53, 26 August 2013 (CDT)

House Studies

4: Eames House (CSH No.8), Charles and Ray Eames > Crowe / McBeth / Ponce

6: Glenburn House, Sean Godsell > Doshovskyy / Ince / Whatcott

9: Bye (Wall) House, John Hejduk > Erbe / Perez / Vardaman

16: Neugebauer House, Richard Meier > Huante / Mckay / Parker / White

17: Farnsworth House, Mies van der Rohe > Garcia / Murillo / Rogers / Shook

For the next four weeks this is your house. Learn the building inside and out, walk through its sequence of spaces, visualize yourself returning daily to this house, internalize the organizational logic and understand conceptual, theoretical or philosophical strategies.

Desk Necessities

Move in and get ready. Make sure to have the minimum architecture tools as listed on page 2 of the Course Syllabus. Additionally start with a modest supply of modeling material, typically one standard sheet of cardboard, chipboard, glues, collection of basswood and straight piano wire (e.g. K&S Precious Metal Music Wire).

Each person is required to have an desk clamp lamp by end of this week, Friday (8/30). Purchase or acquire a desk clamp/clip lamp with an incandescent bulb and a minimum arm reach of 28" to provide close positionable task lighting (e.g. Staples, Ikea, McMaster-Carr, Jieldé or Artemide). This is useful during drawing, modeling and photography exercises and will provide a means of controlling the light levels of your workspace.

--Victoria McReynolds 13:13, 26 August 2013 (CDT)