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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 Schedule

Course References

Wiki Help

Student Handbook

University Catalog


Phase 01

Phase 02

Phase 03


Ayodele, Ayotunde
Bahlman, Ryan
Cormier, William
Daniel, Ashleigh
Heckel, Ayse
Marcum, Destiny
Nguyen, Emily
Riascos, Paula
Rivera, Alberto
Urbina, Sotero
Williams, Marissa


Final Project Minimum Requirements

project title
written narrative

selected light cube models
light diagram model
light language model
light composite drawing
light motion photos

circulation+event models
post mid-proj circulation+event model
post mid-proj volume model

project site location, 8"x8"
project plan, 1/8"
project cross sections, 1/8"
project interior perspective
project exterior perspective
project diagrams
project light performance images

project model, 1/4"
final project model, 1/8"

--Victoria McReynolds 12:13, 20 November 2014 (CST)

Interior and Exterior Perspectives

Identify an interior perspective view that demonstrates both a compelling space and light effect. This may be a circulation path, a restroom space, washroom or transition between, either way the subject of the perspective is to be an interior space. Construct the image from a combination of 1/4" model photograph of the light performance, the controlled lines and section of your digital model, and the treatment of masks and tones to define water, from structure, from sky. Pay particular attention to contrast and saturation levels that demonstrate the technical accuracy of your project while providing an understanding of the atmosphere.

Select an exterior perspective that builds suspense and interest of your project as it may relate to the water, land, or both. This could be a perspective along the path approaching your project or a perspective from the water viewing the project connection to land. Include a site photo as the background for the exterior perspective, combine the digital accuracy of the line, and the light effects of the 1/8" model. Change the site photo to be monochromatic so as not to dominate the composition, build up nuance of the water, project, and light through layers, contrast control, and saturation.

Refer to Cedric Price's Potteries Thinkbelt project drawings at the MoMA online collection, and Lewis Tsurumaki Lewis interior perspective section of interior spaces.

Wednesday (11/19)
Interior Perspective, 11x17
Exterior Perspective, 11x17
1/4" Complete Project Model
1/8" Project plan and cross sections, digital print

--Victoria McReynolds ( vmcreyno ) 17:48, 17 November 2014 (CST)

Light - Circulation - Structure

Study light performance, circulation, and structure of your restroom strategy at the 1/4" scale. Include three project sections in series and identifying the five datums: water, circulation, sight, roof, horizon. Define all spaces, such as washrooms, restrooms, and lockers for example.

Relocate the shared common table to the center of studio, adjust your desks to the perimeter, pin your work closer to your desk on two panels.

Wednesday (11/12)
Project Model @ 1/4" scale
(3) Project Sections @ 1/4" scale

--Victoria McReynolds 01:28, 11 November 2014 (CST)

Phase 03 - mid project documentation

Photograph and upload work presented during mid-project review to your wiki page. Provide two photographs of each circulation model (one with site, one without site) and two photographs of the volumetric model. Include project title.

Create a write up of your project review that summarizes review comments, reflects on the content (or absence of content) that initiated the comments, and projects forward how you might develop your work to incorporate the feedback provided.

Friday (11/6)
Mid-project Write up
Mid-project Wiki posting

--Victoria McReynolds 14:38, 6 November 2014 (CST)

Mid-project Review Content

(1) Light Diagram Model
(1) Light Composite Drawing: 30"x30", clear film lines, trace atmosphere, bond images and volume
(1) Light Language Model: multiple vessels, repeat diagram

(3) Circulation + Program models: 1/8", chipboard circulation, piano wire, defining program
(3) Circulation + Program sketches: plan and section

(1) Site Plan @ 1/16", 36"x12"
(3) Site Sections @ 1/16", 36"xY"
(1) Site Model w/column grid @ 1/8", 36"x12", cardboard

--Victoria McReynolds 15:32, 4 November 2014 (CST)

Circulation + Program

Create three circulation + program study models that test concept organization strategies of transitioning people from land to water. Identify the five horizontal datums to respond to: water-land, land-sky, circulation, roof, and eye sight. The only fixed datums are water-land and land-sky. Test various options for aligning circulation, playing with sight lines, and positioning roof lines when introducing stratas. 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. Incorporate project constraints as design opportunities to introduce concept variation, such as distance between water and land, and orientation to the sun. Further reinforce your concept by articulating the relationship between circulation, program and datums. What is revealed during the arrival alignment between water and land? Does one circulate through the program space or into a program space? Ultimately how does circulation support the larger understanding of your concept as one moves through the project.

Circulation + program study models are to test, define, and shape, circulation, and program to convey your concept. Craft of your program wire territories will provide further clarity of spatial hierarchy and boundaries.

Friday (10/31)
(3) Circulation + Program models: 1/8", chipboard circulation, piano wire, defining program
Complete base model

--Victoria McReynolds 17:58, 29 October 2014 (CDT)

Context + Orientation

Identify a site boundary of 575' x 190' rectangle limit that places the water edge center and the long side perpendicular to the shore edge. Pay particular attention to slope position and natural light orientation. Create a site plan at 1/16" scale consisting just of the topography lines, water edge, sun path diagram, north arrow, and graphic scale. Extend the topography lines to define the lake bottom by drawing in elevation lines, each line indicating one foot elevation change. At the same 1/16" scale, draw a series of longitudinal section cuts through the site. Include elevation markers and water datum on the section drawings. Build a 1/8" physical model of the site with a column grid located in the territory of the water. Complete Light Composite Drawing.

Wednesday we will meet on-site 8:30am at the parking lot of Dunbar Lake. Have your camera, sketch book, and site drawing to make notes.

Wednesday (10/29)
(1) Site Plan @ 1/16", 36"x12"
(3) Site Sections @ 1/16", 36"xY"
(1) Site Model w/column grid @ 1/8", 36"x12", cardboard
Complete Light Composite Drawing

--Victoria McReynolds 17:41, 27 October 2014 (CDT)

Light Drawing + Language

Monday (10/27)
(1) Light Diagram Model
(1) Light Composite Drawing: 30"x30", clear film lines, trace atmosphere, bond images and volume
(1) Light Language Model: multiple vessels, repeat diagram

--Victoria McReynolds 17:04, 25 October 2014 (CDT)

Light Diagram

Trim and shape the vessel according to the aperture/threshold/light path diagram. Iterate your light model to create a lean geometry between vessel and opening(s). Create a light atmosphere sketch demonstrating light and shadow tension. Compliment the sketch with a descriptive word that identifies the light performance. Chose a title that embodies a charge and avoids a neutral condition. Develop a light language model that includes more than one vessel light effect.

Friday (10/24)
(1) Light Diagram
(1) Light Atmosphere Sketch
(1) Light Diagram Model
(1) Light Language Model
(1) Light Title

--Victoria McReynolds 18:32, 22 October 2014 (CDT)

Phase 03 - Light as Material Cubes

Atmosphere and Tension:

Introduce Light in Motion:

Light atmosphere:
Goal to identify a light condition that defines a quality of spatial tension between light and shadow based upon previous light tests and discoveries. Create a light/shadow graphite/charcoal sketch that demonstrates light effect. Made up of two layers: base layer on bond, top layer on trace.

Light in motion:
Light in motion traces the contours of boundaries that define space. Work from a single light source, motion is to mimic natural light path, passing time. Look for ways the changing path of light defines various boundaries within the space. Use light to trace volume changes within the vessel. Light motion is to be captured through as a video sequence. Images are taken as stills in video. Refine Light as Material cubes: Goal is to capture and demonstrate light according to their defined atmosphere.

For Monday (October 20):
(1) 12”x12” Light atmosphere sketch
(3) Light as Material models - hybrid relationships
(3)4”x36” - Photo-strip landscape format

Phase 03 - Light as Material

Three key features to consider when shaping light: Aperture, Threshold, Vessel. This investigation is to emphasize the study of light acting in a space, not as a pattern. 3 sets of 3 investigations that discover various ways light acts in space through simple planar moves.

For Friday (October 17): 4"x4"x4" cubes in 3 sets of 3 -
3 stretch & expand
3 thicken & compress
3 seventh plane

4"x12" photo strips of each investigation
Peter Zumthor's "Atmospheres" Reading discussion

Phase 02 - graphic scale

Include on each unconventional situation photo an architecture graphic scale that describes the dimension relationship between your figure and the profiles. Additionally, include an architecture graphic scale on the axonometric drawing.

Phase 02 - presentation prep

Always start from the most exciting informative aspect of your project idea, in this case the unconventional situation. Structure your presentation to describe the ideas that organized the concluding space, for example the unconventional situation still, the diagram, and the four situations which expand upon the original still. Describe the organization which determined the architecture language of the various enclosures. Consider the following questions when preparing for your review on Monday:

1. What is your situation?
2. How does the original diagram describe various boundaries?
3. How are these various boundaries realized in the situation model through enclosures, frames, thresholds, and/or edges?
4. What are the exciting moments (situations) within your model?
5. How do these moments relate to the original situation space?
6. How does the entrance, sequence, and conclusion of the spaces ultimately describe the project title and narrative?

--Victoria McReynolds 17:34, 10 October 2014 (CDT)

Atmospheres Reading Questions

Answer the following questions and prepare a single page outline of the reading for next Friday's discussion (10/17).

1. What are the conditions Zumthor outlines as being critical when creating atmosphere?
2. How does Zumthor talk about the "Magic of the Real"?
3. What is a space/architecture you can recall where you experienced “magic of the real”? Define the place according to the conditions Zumthor outlines.

--Victoria McReynolds 17:17, 10 October 2014 (CDT)

Phase 02 - Content

Due: 10/10

Situation Still

Diagrams: rule set cross + longitudinal
Diagrams apart: frames, volumes, openings

Axonometric: composite drawing
Axonometric exploded: frames, volumes, openings

Situation Model
Photo Documentation

--Victoria McReynolds 23:02, 6 October 2014 (CDT)

Composite Axonometric

Combine line drawing, photography, cross section slices of your situation model to create the composite axonometric. Retain legibility of each condition through control of saturation, contrast, and line variation. Create four cross-sections (entry, situation slice, before, after) that include a photo of that moment taken from your physical model. Locate these cross sections within your axonometric drawing. Allow cross-section information to be legible through the continuous axonometric.

--Victoria McReynolds 22:58, 6 October 2014 (CDT)

Diagram Organization

Reflect, observe, and analyze the boundaries and space of your situation model. Diagram organization features such as constant and variables, repetition, reflection, rotation, and proportion. Revise the diagram to strengthen the correlation between spatial variation and boundary changes. The resulting diagram organization is to drive decisions of size, location, alignment and orientation as you continue to develop your situation model.

Friday (10/3)
(1) Diagram: longitudinal and cross section
(1) Situation Model: modified permanent model according to diagram and narrative

--Victoria McReynolds 19:36, 1 October 2014 (CDT)

Openings and Enclosure

Iterate your situation model with focus on boundary definition and entry size, proportion, and position. Continue to develop the model according to your narrative description. Refer to your diagrams to enforce continuity between openings and enclosure. Establish an orientation, identify balance, and establish rhythm through constant and variables. Utilize the axonometric as a means for describing the whole. Call attention to fames, boundaries, and openings with accent color of various opacities.

Wednesday (10/1)
(1) Situation Model: modified permanent model according to diagram and narrative
(1) Axonometric: 24"x24", volume, frames, openings

--Victoria McReynolds 21:38, 29 September 2014 (CDT)

Space by Boundaries

Transform your permanent model into a space defined as defined by your narrative. Introduce boundaries and openings of various size from the cross and longitudinal diagrams to suggest how the body would be defined by the limits and enabled by the openings. Provide a threshold of access for the body into the room either from above or the cross side. Retain the unconventional tension of the photo documentation through repetition, contrasts, and range of boundaries and openings. Draw a ghosted axonometric of your Unconventional Situation Model using line weights and types to convey depth. Highlight volume, frames, and openings of this space with a single accent color of various opacities: volumes as mask, frames and openings as lines.

Monday (9/29)
(1) Revised Narrative: 8" width
(1) Unconventional Situation Longitudinal Diagram: 8" height, analog + digital on vellum
(1) Unconventional Situation Model: modified permanent model according to diagram and narrative
(1) Axonometric: 24"x24", volume, frames, openings

--Victoria McReynolds 21:56, 27 September 2014 (CDT)

Alice at Intersections

Visualize the unconventional potential from your permanent space model through a series of photo documentation. Test your permanent model in various sizes and orientation as you project your body into new configurations. Pay particular attention to body details in order to merge shadow and shape into a single space. Generate three profile and three longitudinal studies. Identify the most successful unconventional relationship captured in your photographs.

The selected unconventional situation photograph is to become your driving concept for modifying the permanent model. It is necessary to fully visualize the concept in writing and diagram prior to manipulating the model. From the selected photograph create a title and answer three questions: 1) What is the atmosphere of the situation, 2) What happened to the body before and after the situation, 3) What is the boundary condition as materiality and enclosure type. Complement your written description with a concept diagram that visualizes the boundaries of the unconventional space. Identify implied thresholds, boundaries, include line weight variation to describe hierarchy of enclosure, describe condition occurring beyond the boundary, diagram consequences of physics and gravity limitations on the boundaries.

Document your temporary model by photographing the object and shadow variation. Select three photographs that show your model as an object, at least one is to capture the entire model, the other two are of your choosing. Document shadow variation by the changing shadow density in video format. Rotate the model slowly through various angles to demonstrate a changing frequency between light and darkness. Identify nine stills of the shadow sequence that holds constant one particular axis while letting two other axis vary as it changes the shadow depth and geometry.

Friday (9/26)
(6) Unconventional Situations: 8"x8" of Permanent Model
(1) Selected Unconventional Situation Title: 8" width
(1) Selected Unconventional Situation Narrative: 8" width
(1) Selected Unconventional Situation Diagram: 8"x8" analog
(1) Selected Unconventional Situation Diagram: 8"x8" digital on vellum
(1) Shadow Variation Temporary Model: 36"x6", 9 stills, full bleed
(1) Temporary Model Documentation: 8.5"x11", 3 images

--Victoria McReynolds 00:05, 25 September 2014 (CDT)


Continue to develop the temporal and permanent models according to the studio discussion of demonstrated weight and strong core. Refine the permanent model that reveals the corridor from multiple angles, utilize the railing (support structure) as a means to further support the boundary profile. Refine the temporal model starting with the core datums organize through components, use full planes selectively, take advantage of various software for testing ideas quickly.

--Victoria McReynolds 18:13, 19 September 2014 (CDT)

Temporal + Permanent

The goal of this exercise is to visual space of your phase 01 action through the modeling of the temporary and permanent boundaries in which the action took place. Model the permanent form of your phase 01 action from an isolated cross-section profile of the enclosure from which you tested position and configuration. Model the temporary form as a composite of the body profile with device, sub and supra timeline diagrams. Each model is intended to transform the studied relation, i.e. room or motion, into a three dimensional assembly utilizing basic elements of frames, lines, and planes. The permanent boundary is constant and unchanging in comparison to the body boundary that is varying and irregular. Organize the temporary model according to major axis and datums that exist from your diagrams. Reveal volumes from the diagram action territory. Determine hierarchy within the model as it relates to the original action and body parts which generated the action through the use of refined craft and materiality. Organize the permanent model through the repetition of the single profile section (frame) over the length of 24". Space frames at even increments adjacent to another in order for the model to be legible as a corridor enclosure. Model material of the permanent boundary must be modifiable, i.e. chipboard or cardboard. Assemble frames in a method that allows for disassemble at a later time.

Friday (9/19)
(1) Profile Section: 8" width with dimension
(1) Permanent Model: 12" width x24" length
(1) Temporal Model: 8"x8"x24" roughly

--Victoria McReynolds 00:28, 18 September 2014 (CDT)

Phase 01 - Documentation

Post final work for phase 01 to your wiki page, reference Caitlyn Barhorst format for content and image organization. Any final work can be revised, for a possible ten additional points, based upon review comments. Refined work that is printed and pinned-up prior to 8:30am tomorrow, Wednesday (9/16), will be considered for additional credit.

--Victoria McReynolds 10:38, 16 September 2014 (CDT)

Final Plate

The composite of your final plate drawing is to demonstrate the atmosphere and the technic of your body in motion exploration. Combine and compare the sub and supra states of a single action range. Time and inches are the metric grid from which you will organize six still frames reading from left to right. Analyze through diagram the sub and supra body traces that flank the six still frames. Identify activated joints, lines of continuity, and territories of movement. Layer your device axonometrics into the composite drawing by extending connections to the still frames that occupy the center datum. Provide clarity through clutter by controlling contrast, line weights, and line types. Refer to composite drawing examples shared today in the all studio forum.

Friday (9/12)
(1) 24"x24" Final Plate: composite drawing

--Victoria McReynolds 21:46, 10 September 2014 (CDT)

Composite Components / Refinement

Continue with line weight, line type, and formatting refinements for your Device Analysis. Demonstrate your skill of lines by identifying various components of the device and the way it orders space around it. For example identify axis, edges, extensions, and intersections.

Create three figure silhouettes, one for each action, that includes your body and device. Include new measurements, limits, and proportion of the body at the same scale as your original silhouette diagram. Modify the page format only as necessary, attempt to retain one page dimension of 8".

Wednesday (9/10)
(1) 24"x12" Device Analysis: refined
(3) 8"xY" Silhouette Diagram + Device: point, line, measure body

--Victoria McReynolds 12:36, 8 September 2014 (CDT)


Construct an axonometric drawing series of your device isolated to the range of action. Draw all components of the device for example material thickness, ghosted surfaces, and structure. Capture the device in various angles to convey all surfaces and volumes defined by the device. Identify the range through construction lines and basic diagraming techniques of point, lines, and planes. Document connection moments, extensions, axis, datums, and intersections of your device in order to demonstration how the device orders space around it and relates to the body.

Axonometric analysis is to be executed through line work only and can be completed digitally or analog. Demonstrate skill in line weight and line type by showing variations as they apply to your drawing. Black, greys, and white only.

Monday (9/08)
(1) 24"x12" Device Analysis: three sets of range studies, landscape format

--Victoria McReynolds 12:18, 5 September 2014 (CDT)


Refine your device with particular attention to craft, material connections, and context. Consider an essential scenario for the use of your appendage device to further refine the details according to that context. Work with inherent material properties to achieve efficiency of space and matter in your device. Model essential, not decorative components. Improve the craft of edges, connections, and seams when joining materials.

With completed appendage device, create the second set of Position Stills and Action Range. Repeat same body positions and configuration for your action that exist in your original set.

Generate a silhouette diagram as a means for base body measurement. Use the example below as a guide. Create a silhouette by photographing your body and isolating the profile in the same configuration as the Vitruvian Man. Measure distances between major body joints that are listed in the example below and include the number on the line. Apply similar diagraming techniques as point, line, and perimeter to your action range diagrams.

Wednesday (10/03)
(1) 11"x17" Position Still w/Device: same positions
(3) 8"x8" Action Range w/Device: tracking motion
(1) 8"x8" Silhouette Diagram: point, line, measure body
Appendage Device: refined, functioning
Reading: Points + Lines, by Stan Allen

--Victoria McReynolds 05:37, 30 August 2014 (CDT)

Refine, Range, and Alter

Refine Position Stills to improve the variety of action configuration and positions in your fixed room. Use your imagination to test limits of action possibilities. Fit as many possible positions and configurations of your action into the single 11"x17" image as possible maintaining the same camera position and frame.

Range is to be demonstrated from three different body configurations selected from your Position Stills. Identify three configurations to recreate in the controlled setting of the photo lab or studio space. Recording your action via video from a camera set on a tripod in the identified configuration. Repeat for each single configuration selected. Create one composite image that layers together the various single frames (steps) of your action to outline a range of motion. Refer to examples from today's forum discussion for final range documentation outcomes.

Alter the primary appendage(s) that are directly related to your action, for examples the action of eating is dependent upon hand or mouth body motion. Build a device that changes the nature of movement in the sub (restricting) or supra (enhancing) form you have thus explored and documented. Materials use are constrained to piano wire, chipboard, basswood, and paper. Device must function while connected to your body.

Friday (9/29)
(1) 11"x17" Position Still: refined and improved
(3) 8"x8" Action Range: tracking motion
Appendage Device: functioning

--Victoria McReynolds ( vmcreyno ) 21:33, 27 August 2014 (CDT)

Position + Configuration

To see new human common actions you will explore various positions and configurations within a single room in attempt to create the widest range possible. Set a camera on a tripod perpendicular to the room surface in order to capture the height of the action, for example the wall if the action is walking or the floor if the action is sleeping. The camera is to maintain the same frame while you document various positions and configurations. Incorporate lighting techniques to highlight attention to your action. Create one single image from the multiple documentations, similar to the photographic technique of multiple exposure. Reference this online tutorial as an example to create your Position Stills. Refine the final image with layer effects such as transparency and multiple. However, do not loose the boundary of the body when doing so. The goal is to demonstrate as many various positions and configurations possible from one single action in one single room.

Ayo - jumping, Ryan - eating, Will - dressing, Ashleigh - sleeping, Ayse - reading, Destiny - grabbing, Emily - eating, Paula - eating, Alberto - sitting, Steven - eating, Sotero - eating, Marissa - drawing, Luis - walking

Wednesday (9/27)
11"x17" Position Stills
8.5"x11" Contact Sheet

--Victoria McReynolds ( vmcreyno ) 09:46, 26 August 2014 (CDT)

Studio Start

Welcome to the start of new semester and to your new studio. Take ownership of this space as it is yours for the next fifteen weeks, so move in and get ready. Additionally start with a modest supply of modeling material, typically chipboard, glues, collection of basswood and straight piano wire (e.g. K&S Precious Metal Music Wire).

By the end of this week, Friday (8/29) 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.

Required studio text we will directly reference are listed below, refer to the course syllabus for other reference texts available at the our architecture library.

- Cook, Peter. The Motive Force of Architecture
- Diller, Elizabeth and Ricardo Scofidio. Flesh
- Lewis, Paul and Marc Tsurumaki. Situation Normal
- Lim, C.J. Devices, A Manual of Architecture + Spatial Machines
- Tschumi, Bernard. Architecture and Disjunction

--Victoria McReynolds 19:28, 25 August 2014 (CDT)