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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 IV


Course Coordination

Course Syllabus

Course Schedule

Course Readings

Course References

Wiki Help

Student Handbook

University Catalog


White Sands Black Box

Exercise 1 - Performance

Exercise 2 - Codes

Exercise 3 - Structures


Bhatti, Daniel

Bickert, Cameron

Boutte, Kevin

Burch, Rachel

DeLoera, Juan

Delprincipe, Joey

Dozier, Tirrany

Espinet, Pedro

Kapple, Nick

Leavengood, Jay

Norris, Michael

Tsioumas, Dimitrios

Winter, Gabriel


Bay Model Due Friday @ 1:00pm

All bay models are due Friday, Nov. 30 at 1:00pm.

Have ALL White Sands Black Box project work pinned up and ready for discussion. It is critical for these remaining days that you integrate and develop the project in its entirety. Primary to the focus should be the 1/16" project section, 1/16" project plan and project model.

contents for review:
1/16" floor plan w/structural grid
1/16" section w/structural grid
1/16" or 3/64" project model

1/4" bay model

1/32" site plan
1/32" structural plan

concept diagram
concept model

site climate diagrams
site visit photos (strip + contact sheet)
site & park analysis diagrams
instrument documentation

--Victoria McReynolds 18:22, 29 November 2012 (UTC)

Code Compliance Diagrams

Occupancy, Access and Egress are three critical subjects architects must address for buildings to satisfy code requirements. Each of you will run through a quick code compliance exercise in order to provide documentation satisfying the life safety of your occupants. Reference the Studio Code Booklet to remind yourself of occupant load factors, egress constraints, accessible necessities, and fire requirements when completing your diagrams.

Construct two diagrams per floor which documents the Occupancy distribution and Egress flow across your project. Refer to the two diagrams below for Content and Tagging necessity. One diagram is to be placed on one landscape format 11x17, maintain the same plan scale for all diagrams, and provide a scale and title bar that labels your project "Arch3501 Fall2012 | McReynolds | (your name) | (diagram title)".

By Sunday @ noon, email me PDFs of your Code Compliance Diagrams so that I will review and we will discuss the next day (11/26). Name each PDF file accordingly, "Arch3501_F12_McReynolds_yourname_diagramtitle.PDF".

--Victoria McReynolds 19:21, 20 November 2012 (UTC)

Project Model

For Wednesday, construct a 3/64" project model that shows structure members, enclosure conditions and circulation. Do not include a site but instead model the building on the pier foundations system it will be relying on. Each pier is to modeled 60' deep from the minimum surface elevation. Use chipboard, museum board, basswood, and/or piano wire to best illustrate the different enclosure, structure and circulation types.

Continue to evolve your project plan with structure grid on trace over the recently printed 1/16" plan. Reference the studio code book to make sure your project meets circulation and minimum dimensional requirements, i.e. 2 exits for room with an occupancy of 50+ and a standard plumbing wall of 16" width. We will discuss your project model in relation to the floor plan.

--Victoria McReynolds 02:50, 13 November 2012 (UTC)

Project Review - 11/16

contents for review:
1/16" floor plan w/structural grid
1/16" section w/structural grid
3/64" project model

1/4" selected technical section
1/4" bay model

1/32" site plan
1/32" structural plan

concept diagram
concept model

site climate diagrams
site visit photos (strip + contact sheet)
site & park analysis diagrams
instrument documentation

  • content subject to change as outlined in project statement

--Victoria McReynolds 17:39, 7 November 2012 (UTC)

Program Development

The understanding of program must occur three fold: use, atmosphere and code. Each description of program offers constraints and opportunity in which to organize your theater project. Working from your 1/16" structure + circulation plan, develop a sketch organization and placement of program. Consistently reference the project program list, the studio code booklet, course textbooks, early studio program precedents, experimental dancers such as Trisha Brown, Pina Bausch, Batscheva Dance Company, La La La Human Steps's Amelia, and The Forsythe Company's One Flat Thing along with your notes from the discussion today.

For Wednesday:
1/16" sketch program plan
1/32" developed program plan

--Victoria McReynolds 03:25, 6 November 2012 (UTC)

Consolidated Concept

For Wednesday (10/31), single concept diagram and model are required.

8"x8" concept diagram, digitally created
10"x10" concept model, plaster and mixed medium

--Victoria McReynolds 04:32, 31 October 2012 (UTC)

Three Weeks

Outline for White Sands Black Box project development

10/29: single concept
10/31: system and circulation / model & section
11/2: system and circulation / model & section

11/5: structure and program / section, plan & axonometric
11/7: structure and program / section, plan & axonometric
11/9: structure and program / section, plan & axonometric

11/12: technical & program specifics / details
11/14: technical & program specifics / details
11/16: technical & program specifics / details

Required for Mid-Term grade

1. Upload all of the mid-term required content listed below to your wiki page by Sunday night.
2. Arrive Monday for studio prepared to work on your project. Have all of your presented work pinned up available to reference in studio.
3. I will outline the remaining three weeks and you will consolidate your concept, develop massing + circulation strategies.

Enjoy this breather.

--Victoria McReynolds 13:27, 27 October 2012 (UTC)

Mid-Term Project Review

Content Requirements for Wednesday, Oct 24:
(subject to change)


Site Visit Photos - contact sheet(s)
Site Visit Photostrip - 36"x5"
Site Climate Diagrams - 17"x11", 8"x8"
Park & Site Analysis Diagrams - 17"x11"


Instrument Site Photos - contact sheet(s)
Instrument Site Photos - 36"x5"
Instrument Raw Data - varies
Instrument Datasheet - 8.5"x11"
Modulated Field Model Images - 17"x11"


Composite Diagrams - 17"x11"
On Site analysis Typical, Atypical, Detached - 11"x8.5"


3 concept diagrams - 8"x8"
3 concept site models @ 1/32" - 10"x10"xh
3 concept sequence sections @ 1/16" - length varies x11"

--Victoria McReynolds 22:50, 20 October 2012 (UTC)

Concept Development

White Sand National Monument undulating dune-scape is the product of gypsum selenite, wind and gravity over time. This landscape epitomizes what Stan Allen describes as Field Condition, an aggregate of different forces that starts with the small component to realize variations in the whole. To establish continuity between site, program and structure you will utilize this approach of starting with the module, or component, to realize a conceptual ordering system. The ordering system should respond to a relationship of forces that deal with site (topography, wind, water), operate at multiple scales (program, site, park), address structural systems (span, axial orientation) and inform performance (typical, atypical and detached).

Each concept will be explored through two dimensional diagrams, three dimensional models and plaster applied model. Refine and develop the concept as you transfer it from one medium type to the other. For Monday, provide six concept diagram, six corresponding singular model and six applied plaster models.

--Victoria McReynolds 22:45, 20 October 2012 (UTC)

Modulated Field Models

Each instrument recorded differently site complexities of the gypsum dunes. If elevation topography lines allow us to visualize the slope change of a landscape, what is the topography landscape of your instrument data?

With your raw instrument data as a source, each of you will construct Modulated Field Models in order to visualize the tested medium and the corresponding forces acting in relation to the tested medium. Each raw data sets will make up on digital data field model with the model identifying both the constant and variable datas.

Approach the Modulated Field Models in two parts; the constant as the grid and the variable as the point data. Working within a cartesian grid, allocate the horizontal plane as a unit of physical measurement, such as inches or feet, and the vertical plane as a unit of time. The hight / or thickness of your Modulated Field Model corresponds to the length of time you collected data. When plotting the variable, tag a corresponding point in your raw data that will be assigned a value and vector. The value of the data point is a level of intensity as it relates to your medium reading. The vector corresponds the the orientation of your device in relation to N,S,E,W and slope conditions.

For Friday:
one digital Modulated Field Model per data set

--Victoria McReynolds 18:06, 26 September 2012 (UTC)

Site Climate Diagramming

For Friday:
Construct a series of climate visuals for use during our site visit next week. We will apply the U.S. Department of Energy weather data gathered at Holloman Air Force Base a few miles East from our site. Utilizing the Climate Consultant Software by UCLA Energy Design Tools, import the Holloman weather data to extract the following content.

8"x8": Temperature > avg. body, avg. room, ground temp., dry bulb low, high and average per month, read clockwise from top
8"x8": Humidity > dial, from 0 to 100, counter clockwise, average reading per month, include monthly rain fall data
11"x17": Wind panel > provide avg. for month, mph as opacity in elevation as it relates to N, 12 month diagram strips total
11"x17": Site diagram > sun path chart, circulation and aerial of site, use print out as reference, scale roughly 1"=3 or 4 miles

Locate the site polar sun path chart from University of Oregon website, Solar Radiation Monitoring Laboratory.

--Victoria McReynolds 01:59, 13 September 2012 (UTC)

Instrument Development

For Monday, bring in a constructed component of your instrument which measures your selected medium. To supplement this instrument part, provide a plan, section and elevation drawing that describes the instrument in total. The drawings are to be on one large format paper (24" to 36" width) and can be completed by hand. Building materials can include pcv. Reference material, hardware, gears and parts on the McMaster-Carr website to give you an understanding of what is available for constructing your instrument.

--Victoria McReynolds 19:01, 8 September 2012 (UTC)


For Friday, revise your composite drawing based upon our notation reading discussion and the in-studio drawing critique. Reference notational examples as used by | Mia Fang-Liao and Diller & Scofidio Case No. 00-17163, image 20 of the essay | Pragmatics of the Diagram by Sulki Choi. Print and have your final composite drawing pinned up at the start of studio.

We will being the Instrument exercise at the start of studio Friday (9/7). Have modeling material such as chipboard, basswood and piano wire ready.

--Victoria McReynolds 11:48, 6 September 2012 (UTC)


In order to visualize the site as a performer, each of you will construct an instrument to frame and measure the land. Mediums, such as soil, sun, wind and sound, will provide the material resistance your instrument will engage. The instrument will be made up of two parts: the frame, and the measure. The frame must be attachable to a tripod, while the measure is to provide a gage for one of the mediums. Metal, wood and fabric will be the only materials of use. The Instrument collapse must be no longer than 4' in length and of size to carry.

For Friday (9/7):
3 models of the instrument set at 2"=1' scale

--Victoria McReynolds 16:43, 5 September 2012 (UTC)

Composite Diagram

Continue to develop the relationship between venue, event and now audience in your Composite Diagram. Utilize architectural drawing conventions of plan, section and perspective in relation to collaged images and construction lines to illustrate the resultant venue space during a performance. Reference the previous Composite Diagram post on 8/29 for further description and information.

For Wednesday (9/5):
12"x20": completed Composite Diagram

--Victoria McReynolds 16:48, 2 September 2012 (UTC)

Mapping the Unmappable

Review of Stan Allen's essay, "Mapping the Unmappable" will be discussed next Wednesday, September 5.

--Victoria McReynolds 00:02, 31 August 2012 (UTC)

Composite Diagram

Using as reference the base information diagrams on performance, individually construct a composite diagram of one performer and one venue. Reconstruct the event as you would imagine it to occur in the selected designated space. Apply information such as dimensional grid, time indicators, changes in light to facilitate an understanding of what is constant and what is changing. Work from the plan and section to provide depth of space and images to indicate nuances. Reference the post, | Reconnecting geometry of journey as a visual guide.

For Friday (8/31):
12"x20" composite diagram
6"x6" venue diagram in plan and section
6"x6" performer diagram in plan and section

--Victoria McReynolds 16:31, 29 August 2012 (UTC)


Consider two conditions for the question, what is performance?;

the Performer and the Venue

The Performer generates an event that alters the environment in which they engage. This alteration has a spatial impact which will be analyzed through architectural diagraming in plan and section. Specifically we will look at the three dancers: Trisha Brown, Pina Bausch, and Batscheva Dance Company to determine their range of motion and engagement with prop. Select a performance segment to analyze through drawing, diagram the space of travel and as a separate document, diagram the engagement with the prop. Be aware that a prop may be small, as a hand held object or larger, as a wall or column.

The Venue is a place that frames the event. Spatial conditions such as location, circulation and seating work in combination to describe levels of formality and frequency of use. By convention, black box theaters are informal and experimental. When diagramming look for changing elements, such as moving boundaries, adjustable seating, and uniform systems that allow for "plug-in" elements. Venues of investigation include: Wiley Theater by OMA/REX, Half Moon Theater by Broome Architects, and Millenium Theater by Chiasmus Partners.

As a team, gather drawings, text, images and video clips as they relate to either formally or informally to the performance. Individually, diagram a specific dance sequence for the performer or for the venue, focus on identifying the theater space in relation to the building and site. Utilize varying line weights to indicate programatic hierarchy or differences of movement.

For Wednesday (8/29):
11x17 diagrams: plan and section
8.5x11 or 11x17 prints: images + text

  • unless otherwise mentioned all work is to be pinned up by the start of studio.

--Victoria McReynolds 23:52, 27 August 2012 (UTC)