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at2 remarks for context - quick renders with context

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at2 remarks for context - quick renders with context

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don't have sketchup, so i cannot edit files, however lumion let me place as is

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Reduced file size for web viewing

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Good luck for the last working week.

Remember that the PDF submission is Tuesday 29th of September at 8pm.

You must do a pre-recording of your presentation (for practice and backup purposes) and have this uploaded Tuesday evening as well. It can be a little later than the poster submission. See the post on Cloud and Q/A discussion from yesterday morning.

I will do any last checks on the Padlet tomorrow for an updated mock up layouts/ posters. Please post them in A1 portrait format - not individual images. I will check about midday.

Extension requests must be in by the morning of Friday 25th of September. Please no last minute requests (for Yolanda's sanity).

Live Review kicks off at about 11am on Wednesday 30th of September, however students should be ready from 10am and have themselves ready and prepared. I will confirm details and the link in an email next week.

Please upload your final PDF presentations on the Padlet as well, however you will present via Screen Share through Zoom. Practice how to use Acrobat Full Screen, Zoom in and out, tile or scroll pages... You may reformat the 4-6 A1s into a side by side arrangement just for the live presentation, however the submission should have these panels set as single A1 panels.

Students are expected to attend  the entire presentation session on WEDNESDAY (not Tuesday as incorrectly said in the email), we have a guest (Matt Green from OMG Architects in Ocean Grove, so a local and knowledgeable person on Geelong). Students will be called up at random from a list I will have that morning for their review time, so you won't know this until it is your turn...

Good luck once again for the final 5 days...

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Thank you for presenting in Mock Up today.

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Thank you for presenting in Mock Up today.

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feedback below...

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Michael Sharman

Zhenqiang:> what is the front door? how is the entry announced?> segregated entries is poor design - it is not inclusive if you have one door for abled bodied persons and another door for disabled persons> wavy steel? why, how does that feature in to a cohesive design response.> town hall is bit low in the model, is this the right size> if the design concept is about sustainability, what in the project is developing that concept, how does that derive all the development....what do you mean by sustainability as it is a loaded word to begin with.> try to simplify what the concept is and adjust your design around that as the driving factor.> you need to loosen your ability to design as you are being driving by the CAD model too much... there needs to be more presentational presence in the drawing and graphic quality, but also in the layout and arrangement of drawings.> spelling> roof has no form factor, it is flat and unappealing.> cad model levels are incorrect, gallery heritage facade is too high

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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Thank you for presenting in Mock Up today.

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Thank you for presenting in Mock Up today.

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feedback link below...

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Michael Sharman

Ellie:> a number of similar points made to Kathryn about wayfinding and movement through the space> some the drawings, the sections in particular need some life to them...wider scope (adjacent context). plan drawings are running okay as line drawings.> the intro is great, but may need to reduce this down verbally so you can launch into the way the design comes about> very high ceilings and very thin sub-floor between, can the ceiling be expressed as part of the internal spatial experience...> enhance the industrial nature in the architecture, materials are one thing, but use to effect in any form-making on the design that is still unresolved. Consider the way you layer materials between industrial over the victorian to create depth and weight to the walls/ form.> text is too big, balance this in light of some of the posts I added

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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Thank you for presenting in Mock Up today.

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Thank you for presenting in Mock Up today.

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feedback below...

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Michael Sharman

Jack:> remove the student id> site contours necessary? a key site section would be better with the showing of topography> main plan needs some life...empty rooms in plan> plan drawing needs some weights in the wall, all the same lineweights> alignment of plans, use the capacity across the panels to have them aligned or stacked.> photoshop filters are not effective in the moment communication> clutter on some pages, you have 2 more you can use to spread out to.> develop the design narrative

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

# data[].attributes.attachment_link.description
Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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Thank you for presenting in Mock Up today.

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Thank you for presenting in Mock Up today.

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feedback link below...

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Michael Sharman

Lachlan:> not a fan of the yellow background, why is that there, can it simply be white?> need people and art, bit more expression of the context too (not just the library behind)> key plan your sections with a small thumbnail near by> text control!!! it can be simplified and managed better> show the art in plan> section cut A + B, overlay other image outputs from the render to add linework back in and elevate the communication> the section cuts will work great if you widen each one and trickle some of the adjacent context into the graphic either side.> get rid of the drop shadow - never ever use it again!> set the design narrative a bit more...you launched into... this is this drawing, and this is that drawing...> need a 3D view down the laneway to show the life of what it will bring more so than just a passage between street and park> grey and blue tones style is working, get rid of the yellow background, but you need to selective add some more colour and life to many of the drawings/ images...

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

# data[].attributes.attachment_link.description
Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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includes short notes on what I am working on at the moment/ currently missing

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Consistency + Structure in the layout, across all panels:

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Consistency + Structure in the layout, across all panels:

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• Maximum 2 fonts types (title and body).

• Maximum 3 font sizes (title, subtitle + body or title, body + caption).

• Use a Margin and Column structure to arrange information.

• Align structure across panels, even though they may be separated.

• Refrain for using in colour in the background – white works best!

• Use a panel schedule.

• Place the information in a logical order.

• Learn and adapt from others.

See the attached PDF for other visual advice around these points.

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ok, just some change for second floor , will be done son

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ok, just some change for second floor , will be done son

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Set the Panels as panels not a banner...

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Set the Panels as panels not a banner...

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Set each sheet as individual A1 portrait spreads for composition of your drawings.

If drawings cross between panels, then consider where the break line is in the drawing.

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sorry about that ,i am changing my model now cause i got some new ideas , i will upload at 3~4 pm 

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sorry about that ,i am changing my model now cause i got some new ideas , i will upload at 3~4 pm 

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Dont make the Moments too small on the panels. Aim to use 200x300mm as best you can (or bigger). All moments should roughly be the same size.

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A good graphic presentation meets the Ten-Foot test

(or 3m for us metric folk)

source: 101 Things I learned in Architecture School

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If you can't explain your ideas to your grandmother in terms she understands, you don't know your subject well enough...

source: 101 Things I learned in Architecture School

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Presentation considerations for A1 Panels

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Presentation considerations for A1 Panels

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The following are elements plucked from a 2018 lecture I gave on presenting AT02...

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Hi Lachlan, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Attended 11am session.

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Hi Lawrence, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Attended 11am session.

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Hi Manali, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Attended 11am session.

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Hi Riya, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Absent 11am session.

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Hi Emalga, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Absent 11am session.

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Hi Oneill, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Attended 11am session.

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Hi Ellie, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Attended 11am session.

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Hi Muhammad, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Absent 11am session.

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Hi Zhenqiang, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Attended 11am session.

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Hi Jack, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Attended 11am session.

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Hi Kevin, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Absent 11am session.

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Hi Ben, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Absent 11am session.

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Hi Jinming, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Absent 11am session.

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Hi Ida, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Attended 11am session.

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Hi Tori, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Absent 11am session.

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Hi Joseph, as a conclusion to Week 10 Studio and our last working session together, may I please ask that you update your Padlet column with a mock up presentation before you finalise the project for next week. Even if you didnt participate on the final session and are absent, please update where your project is at as I hope to do a review by Friday if possible.

Absent 11am session.

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Working across the day today, not just at the specific times of the studio's, you should develop (or already have in place) a mock presentation of your A1 panels.

From the brief:
Refinement + Mock up
Finalise your scheme and update or produce final drawings, presentation and model. These should evidence the value of the weekly tasks (as development) and their influence on the scheme. Try to ensure your intentions are evident in the collective submission of your design.

The mock presentation becomes a planning document to list and layout each drawing, image and graphic you need to develop for the finalisation of the project. It will give you the scope of work you have before you and also slowly develop to a sense of achievement as you complete drawings.

ADDED POINT: Be descriptive with the drawings or images that aren’t there yet. Don’t just say “Section”, try to describe the level of communication…

“Section cut from CAD model that runs through X space to capture external form and internal arrangement of the permanent gallery. Photoshopped with additions of light, material, people and artwork – using a style that I learnt from visualizingarchitecture.com. Context will be added in as a photo-montage backdrop”

Each student is to present their mock presentation (approx 3 mins) this afternoon. This with myself and Sok in a combined zoom session of both groups. Use the same link we meet for our studio at 2pm.

Before, in and around these presentations, keep working in the background. Look at the Yellow Studio A post and remember to come back to the Red Studio A post for AT03.

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Do we remember the place where our childhood passed?

The house in which we grew up.

The yard in which most of our happy childhood took place.

The yard where white linen was drying on clothesline between the houses.

Maybe this yard is gone now. But good memories of this place are always alive.

The architectural installation seeks to remind a human of the importance of the place where he was born and grew up, of his connection with this place. Rising up the stairs among the translucent fabrics swaying in the wind, repeating the images of our childhood, we remember our life full of events. Landscapes of native expanses open up in front of us: the Don steppes turning into green forests, the banks of the Don river spread throughout the region. The window, as a portal of the link of times, connects the soul and memories of a human with the place, which is evoking these memories

source: https://www.behance.net/gallery/80826177/Architecture-Installation-The-link-of-times

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The architectural installation seeks to remind a human of the importance of the place where he was born and grew up, of his connection with this place. Rising up the stairs among the translucent fabrics swaying in the wind, repeating the images of our childhood, we remember our life full of events. Landscapes of native expanses open up in front of us: the Don steppes turning into green forests, the banks of the Don river spread throughout the region. The window, as a portal of the link of times, connects the soul and memories of a human with the place, which is evoking these memories

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Architecture Installation The link of times

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Do we remember the place where our childhood passed? The house in which we grew up. The yard in which most of our happy childhood took place. The yard where white linen was drying on clothesline between the houses. Maybe this yard is gone now. But goo...

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Flamingo visitor center is an interesting phenomenon from the point of view of the approach to the design and shaping of architecture. This is a prime example, first of all, of architecture as a tool, and not as a design.

Yes, of course, icon building should be beautiful and recognizable, but in this case is important, first of all, to give the opportunity to watch a nature. This project acts as a connecting element between the reserve and the tourist, and visually invites the average person to interact: "sit down, relax, enjoy the views."

source: https://www.behance.net/gallery/101626711/FLAMINGO-VISITOR-CENTER

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Flamingo visitor center is an interesting phenomenon from the point of view of the approach to the design and shaping of architecture. This is a prime example, first of all, of architecture as a tool, and not as a design.

Yes, of course, icon building should be beautiful and recognizable, but in this case is important, first of all, to give the opportunity to watch a nature. This project acts as a connecting element between the reserve and the tourist, and visually invites the average person to interact: "sit down, relax, enjoy the views."

Features of the project - its elaboration in detail, pedantry to where it is and how it "communicates" with a person. It is not just four walls and a roof. It is a human-oriented space that has character.

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Flamingo visitor center is an interesting phenomenon from the point of view of the approach to the design and shaping of architecture. This is a prime example, first of all, of architecture as a tool, and not as a design. It project also is rendered in ma...

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The concept is to move towards dynamism and create forms and structures that amplify sustainable yet thought provoking designs - the idea is to achieve complexity through layers and layers of simplicity.

source: https://www.behance.net/gallery/15675781/An-Architects-Manifesto

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source: https://www.archdaily.com/921760/how-to-write-an-architectural-manifesto

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Architecture lost itself in an identity crisis not long ago. The discipline wandered in self-reflection, reexamining how practitioners go about their work, how the built environment should appear, and why. Movements came and went. Promising paths dead-ended. Eventually, the profession gave up looking for ways out of its uncertainty, leaving us where we are today.

In premodern eras, new construction techniques, evolving opinions on art, and shifting societal beliefs drove styles. Advances were slow, but once established, became long-lived norms. The Gothic period lasted four centuries, the Renaissance three. From the nineteenth century on, though, more than a hundred aesthetic and philosophical movements lived quickly and died. As historian Charles Jencks notes, there were "a plurality of live architectural traditions" even during the International Style's forty-year hegemonic heyday.

The century of robust mini-debates on form and function, meaning and intent, petered out ten years ago. Evidence that contemporary theory and practice are threads of new architectural thought is scarce. Arcade magazine published a surveyof architectonic declarations and mapped thirty modern movements from 1900 to 1960, and eighty more between 1960 and 2010. At 2015, they found only two.

For reasons unknown, the formation of new isms dwindled-but certainly, not because architecture has found itself. One possibility could be fear. Taking a public stand against the status quo comes with risks of ridicule and professional harm. In extreme cases, even physical danger. In 1957, Mao Zedong's appealed to China's intelligentsia for a constructive philosophical debate. He said, "Letting a hundred flowers blossom and a hundred schools of thought contend is the policy for promoting progress in the arts and the sciences and a flourishing socialist culture in our land." It turned out to be a ploy to flush out dissenters. Many took the bait and were reeled in. The other possibility for the scarcity of new thinking is that architects don't give a damn. I prefer to think that architects have ideas but don't know how to toss them into the flows of current (albeit limited) discourse. No matter why, though, the result is that the dominant architectural style today is a nondescript banality underpinned by minimal debate.

There are, of course, exceptions, and it is through them that we find a way out of the woods. I present herewith a means of reinvigorating the profession's search for self.

When, in 2008, Patrik Schumacher of Zaha Hadid Architects penned a treatise proclaiming "Contemporary avant-garde architecture is addressing the demand for an increased level of articulated complexity," and that "Parametricism is the great new style after modernism," and further stating, "Postmodernism and Deconstructivism have been transitional episodes,"he was following a well-trod path to artistic innovation: the manifesto.Note the similarity between Schumacher's rhetoric and Walter Gropius' 1965 assertion about the International Style:
A breach has been made with the past, which allows us to envisage a new aspect of architecture corresponding to the technical civilization of the age we live in; the morphology of dead styles has been destroyed.
Schumacher claimed to have found a demand for "articulated complexity" and answered the call to action. He beckoned others to join him. Gropius saw civilization growing more technical, prompting him also to respond. We heeded the wants of our age, each man effectively said, and-Eureka!-found a better way. Both demanded Out with the old and in with the new. Both telegraphed Revolt! by channeling Karl Marx and Friedrich Engles' 1848 call for a "revolutionary movement against the existing...order of things." Gropius and Schumacher might well have written, Working architects of all countries, unite!

By definition, the avant-garde is new. Surprise ensues when radical ideas burst on the scene, bringing confusion and questions. In art as in politics, answers are often provided via declarations called manifestos. Unique strategies cannot be judged without context, so pronouncements generally provide a preamble, complaint, and a list of tenets. Reduced to writing, if a premise resonates, it has a chance of becoming a movement à la Neoclassicism, Modernism, Metabolism, Postmodernism, Deconstructivism. A Whateverism never codified goes nowhere.

The dearth of contemporary architectural movements indicates the profession is no longer questioning itself-and that's a problem. The built environment has no end of problems in need of theories on how to respond, paramount being the existential threat of climate change.

Architecture's first declaration of intent was arguably Vitruvius' Ten Books on Architecture,written in 27 BC. But the idea of a publishing sets of core beliefs didn't reach its stride until The Communist Manifesto. That slim pamphlet became the template for numerous public proclamations, many incorporating a version of, "It is high time that [ADHERENTS' NAME] should openly, in the face of the whole world, publish their views, their aims, their tendencies."The introductions of Futurism, Cubism, Vorticism, Constructivism, Dada and Surrealism, De Stijl, and the Bauhaus owe much to Marx and Engel.

Arcade magazine found more than a hundred architectural manifestos published over the last one hundred years. Some of them reduced their argument to a single page or poster. Others were long-form texts. Among the more notable are Frank Lloyd Wright's The Art and Craft of the Machine in 1901, Ornament and Crime (Adolf Loos, 1913), Towards a New Architecture (Le Corbusier, 1965), The Death and Life of Great American Cities (Jane Jacobs, 1961), Complexity and Contradictions in Architecture (Robert Venturi, 1966), and Operating Manual for Spaceship Earth(Buckminster Fuller, 1968).

Mies van der Rohe wrote a manifesto. So did Philip Johnson, Louis Kahn, Paolo Soleri, Christopher Alexander, Rob Krier, Renzo Piano with Richard Rogers, Kisho Kurokawa, Aldo Rossi, Daniel Libeskind, Rem Koolhaas, Coop Himmelblau, Steven Holl, and Bjarke Ingels. Reader, if you're an architect, are you on the list? If not, why not? Conventional wisdom assumes lucid thinking behind the largest and most permanent of humankind's built works. One would like to believe that architects' decisions on aesthetics and art, function and form, economy and sustainability are the result of well-considered and defensible rationales. At the least, designs should be based on opinions that can be coherently stated.

Looking around at today's built environment suggests it ain't so. I'd venture asking most contemporary architects to name their theory, describe their design philosophy, or recite what principles motivate their work would yield befuddled answers or blank stares. I am not alone in this opinion. Few "in the contemporary profession [are] willing to take a stand, to mount a soapbox and exclaim a polemical notion," wrote Michael Holt and Marissa Looby in a 2011 Domusmagazine op-ed.The take-away is that today's architects have little to say about what they design and why.

Let's change that. Let us all write a manifesto. I'll go first, guided by the wisdom of Dr. Anna Tahinci, a professor and art history chair of the Museum of Fine Art Houston's Glassell School of Art who teaches a workshop entitled, Write Your Own Manifesto!, based on MFAH's 2015 exhibition, Violence and Precision: Artists' Manifestos.

The French poet Tristan Tzara wrote in his 1918 Dadaist manifesto,"To launch a manifesto, you have to want: A, B, & C, and fulminate against 1, 2, & 3." According to Dr. Tahinci, three steps are taken:
One: Designate an enemy and chronicle a fervent (and somewhat limited) history of persecution leading up the climactic moment of rupture.
For my manifesto, this will be easy. I find no end of problem buildings in Houston (my home town), including contemporary examples designed by God architects of our time. My issue isn't with their beauty, for many are pretty. Nor is my problem function, for, as far as I know, they work as intended. My criticism is the same I have with many contemporary buildings-they seem arbitrary and capricious, as if no guiding principle rooted them into existence. Even when there is stated rationale, it is often glib, or invisible in the work, or based on a theoretical position that time has invalidated.

Take, for instance, the architecture of Houston's museum district, populated with well-regarded buildings of brand name design firms. William Ward Watkin designed the Museum of Fine Art Houston's original Neoclassical building in 1924. Kenneth Franzheim added a small wing in 1952. Mies van der Rohe designed a free-spanning addition in 1958 and another International Style expansion in the late 60s, shortly before his death. Rafael Moneo produced a modernist building in 2000, and Steven Holl completed a new Glassell School of Art in 2018 that replaced a 1979 Brutalist building by Gene Aubry. Down the street from MFAH's campus is Venturi Scott Brown's children's museum, constructed in 1992.

I can't pick a fight with Watkin, who delivered a classical building at a time when Neoclassicism and museums were joined at the hip. Nor can I argue against Mies' 1958 example of universal space, given Modernism's at-the-time honorable promise that form following function would lead to an egalitarian society of light and air. By the time of his death, however, Mies should have known his version of the Industrial Age wasn't living up to his ideals. Instead of serving the common good, the International Style had sold out to Big Business, the antithesis of what should house a cultural institution.

Rafael Moneo's big box looks like a department store, so its meaninglessness is worth knocking. Steven Holl borrowed shapes from Isamu Noguchi's wonderful 1986 sculpture garden, which abuts the new Glassell School. Meaning received. Unfortunately, and despite Holl saying in his Five Minute Manifesto, "More than a mere ingredient in a building's conception, a SITE is both its Physical and Metaphysical Foundation,"the new Glassell's plaza does severe damage to Noguchi's work. What had been a destination, a secluded courtyard, an intimate sanctuary to contemplate art, is now an open passageway to somewhere else. The magic is gone.

Venturi Scott Brown's Children's Museum of Houston is the best of the bunch. It's a playful Postmodern period piece that riffs off Neoclassicism without also ripping it off. Although PoMo was flawed, I don't have it in my heart to ding the building. VSB was more faithful to the movement's goal of reconnecting architecture to its history than most Postmodern buildings, and much better than attempts to revive the movement as Neo-PoMo.

I, therefore, declare Pritzker Prize winner Rafael Moneo, and AIA Gold Medal winners Mies van der Rohe and Steven Holl enemies of my state of mind.
Two: List demands and declarations in response to wrongdoings.
For me, there is no more pressing need than for architecture to reassert itself as "the great book of humanity," as Victor Hugo urged. I call for re-establishing buildings as houses of societal metanarratives. I yearn for architecture as gentle influencers that nudge, shape, and reinforce positive behaviors. I want a Persuasive Architecture,not voiceless aesthetic gestures, inconsiderate form-making, and unintelligible architectural gymnastics. I ask that architects take on the anthropogenic calamities of war, poverty, hunger, preventable disease and death, intolerance, illiteracy, and climate change.
Three: Antagonize a group and pit "us" against "them" in an aggressive call for action.
Marx and Engels wrote, "A spectre is haunting Europe - the spectre of communism." Them were the capitalists (the bourgeoisie); us was the public (the proletariat).

Dr. Tahinci encourages manifesto authors to employ this same we-speak and make us-against-them demands for action. Don't be shy. Over-the-top isn't over the top in manifesto writing. Outrage and anger are not out of place, either. Quirky and crazed is not only acceptable; it's preferable. Shock has value, so make generous use of exclamation points in your writing. Feel free also to scream in ALL CAPS.

Other tricks of the trade include listing your demands, bold typography, the use of storytelling with a dose of drama, even theatrics. Do (almost) anything to get attention and command an audience. One art student reportedly presented his "man"-ifesto in the nude with beliefs and opinions written on his skin.Yes, he received an A for the assignment.

To that I offer a more modest polemic:
PERSUASIVE-ism Architects of the world, WAKE UP! Humanity's greatest problems are anthropogenic, not architectural CAST OFF THE YOKE OF MEANINGLESSNESS! As civilization faces a human-made END OF TIME, Beautiful boxes have become IRRELEVANT. And form for form's sake is IRRESPONSIBLE. They who reproduce Classicism belong to ANOTHER TIME. They who promulgate the International Style have LOST THEIR WAY. They who reintroduce Postmodernism will MISS THE POINT. Buildings are OPPORTUNITIES to CHANGE THE WORLD! A NEW architecture IS NEEDED-an architecture of CHANGE AGENT. We REJECT architecture as fashion statements and me-too knockoffs. We REJECT buildings as illiterate objects. We REJECT buildings as empty sculptural gestures. We DEMAND built environments overtly address critical issues. We DEMAND architecture that positively influences what people do. RESTORE ARCHITECTURE TO THE GREAT BOOK OF HUMANITY!
That's it; that's my soapbox, my criticism of contemporary architecture with suggestions for a new direction. In poster form, my rant looks like this:

Yeah, admittedly, PERSUASIVE- ism needs work-but hey, how's your manifesto coming along?

Architecture's historical progression-from a thought to a theory, to a movement, to a manifesto, to an accepted style-has stalled. We can restart evolution, but only if architects put their thinking caps back on, force themselves to decide on what they believe, and publish their thoughts in direct and straightforward terms. There are numerous go-byes to guide us out of the forest.

"We are on the extreme promontory of the centuries!" wrote Filippo Tommaso Marinetti in The Futurist Manifesto (1909). "What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday." Naum Gabo and Antoine Pevsner declared in the Basic Principles of Constructivism (1920), "We are no longer content with the static elements of form in plastic art. We demand the inclusion of time as a new element and assert that real movement must be employed in plastic art, in order to make possible the use of kinetic rhythms in a way that is not merely illusionistic."

Dr. Tahinci encourages architects to publish their opinions, motives, intentions, and meaningful and assertive concepts. That's a superb recipe for food for thought, and since architecture is hungry for ideas, an excellent idea for a competition.
ANNOUNCING THE COMMON EDGE ARCHITECTURAL MANIFESTOS CONTEST!
Write or draw what you feel and email what you think to CEManifesto@gmail.com. Attach a Microsoft Word file of 150 words or less if submitting as prose, or a poster in JPEG format 1,280 pixels wide by 1,656 pixels tall. Common Edge will publish the best manifestos online. You never know, your viewpoint might go viral.

Let a hundred manifesti bloom.
Suggested Reading

The Communist Manifesto (1848), by Karl Marx and Friedrich Engles Programs and Manifestoes on 20th-Century Architecture (1975), by Ulrich Conrads

Manifesto: A Century of Isms (2001), by Mary Ann Caws

Theories and Manifestoes of Contemporary Architecture (2006), by Charles Jencks and Karl Kropf

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Architecture lost itself in an identity crisis not long ago. The discipline wandered in self-reflection, reexamining how practitioners go about their work, how the built environment should appear, and why. Movements came and went. Promising paths dead-ended. Eventually, the profession gave up looking for ways out of its uncertainty, leaving us where we are today.

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In the spirit of completing this design project, develop a design statement (max 100 words) that verbalises the intent and concept of your design.

It should be short and succienct. Elevate the language in terms of a manifesto to your design's intent.

It does need to merely describe the architecture and what you did, but talk more highly of the goals and what the design got out of the project. It must speak to the why.

You can compliment the design statement with a short introductory description of the project in general (50 words).

Furthermore, develop a title for the project that announces it as a piece of architecture. Go beyond just calling it Geelong Gallery and think about how your concept plays at the title.

Aim to write a draft design statement and title today and include as part of your mock up presentation.

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Week 10 _ Studio A (for after AT02 presentation)

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Week 10 _ Studio A (for after AT02 presentation)

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Look back on this following AT02 for your completion of AT03...

From the brief:
Reflection
With each of the Thinking Activities completed, review each one and reflect (max. 100-word statement or annotations) on its influence and contribution to your design programme. Improve or enhance the visual capacity or previous activities to align with your design.

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Following the discussion and messages conveyed from the Q/A session (please go back and look at it - time was spent discussing past projects!) and from the start of the Studio A, the AIM next week is to develop a complete Mock Up of your presentation...

Draft A1 panels (4-6).

Every drawing/ image placed (draft or refined), at scale and the intended size.

Layout considered and stylized.

Aim to have AS MUCH completed as possible. The more you work at it this week, the more you can refine and value-add to the design in the final week.

HAVE A BIG WEEK!

Next week, expect to see the time spent on you presenting this mock up presentation with a guest to test the project. Around those presentations work, work, work...we need all of you to not just get there, but do well with the project.

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Ida, thank you discussing your work today. Please see the link for the recording on our studio discussion of your work.

I have full faith in you to have a big week to catch up!

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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Joesph, thank you discussing your work today. Please see the link for the recording on our studio discussion of your work.

Really work at the presentation and content development!

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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Lachlan, thank you discussing your work today. Please see the link for the recording on our studio discussion of your work.

You are well placed to really push the presentation and quality of drawing/ image and render...go for it!

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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Manali, thank you discussing your work today. Please see the link for the recording on our studio discussion of your work.

There is a bit to catch up on and my suggestion is to approach the design from another angle and try to draw/ sketch/ render the moments as an isolated view of the design and what you want to get out of the architecture...

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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Ellie, thank you discussing your work today. Please see the link for the recording on our studio discussion of your work.

The design is coming along, however you need to focus on what you need to get out of the presentation.

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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Oneill, thank you discussing your work today. Please see the link for the recording on our studio discussion of your work.

You are well placed with design at this point but need to focus on the presentation capacity.

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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Jack, thank you discussing your work today. Please see the link for the recording on our studio discussion of your work.

The bare-bones is there, but work at the presentation quality and graphic development...

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Video Conferencing, Web Conferencing, Webinars, Screen Sharing

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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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There are many Panel Presentation examples. The key is to look at them for layout and style influence - do not get caught up in the high end of the content...

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second panel...

source:
https://archinect.com/news/gallery/74318284/8/winners-of-australia-s-the-lodge-on-the-lake-competition

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first panel...subtle hand drawing over the renders...

source:
https://archinect.com/news/gallery/74318284/7/winners-of-australia-s-the-lodge-on-the-lake-competition

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source:
http://dom-cottag.ru/pages/course-design/individualnyy-zhiloy-dom-primery-rabot-2015g/individualnyy-zhiloy-dom-klauzura-2015g/

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source:
https://www.plataformaarquitectura.cl/cl/624252/megacolegio-jardin-educativo-ana-diaz-equipamiento-educacional-a-escala-urbana-en-medellin

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source:
https://donnie.latestgood.com/p/MTI1MjU3MDUxOTY2Mzc1NDI=

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source:
https://www.woodworkingnetwork.com/events-contests/event-coverage/modular-clt-building-wins-student-2016-timber-city-competition

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"I prefer drawing to talking. Drawing is faster, and leaves less room for lies."

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In accordance with the art. 13 section 1 and 2 of the European Parliament and Council Regulation 2016/679 of the 27th April, 2016 on the protection of natural persons, with regard to the processing of personal data and on the free movement of such data, and repealing Directive 95/46/EC (General Data Protection Regulation), hereafter RODO, I hereby inform that:

1. EVERMOTION S.C., 8 Przędzalniana Str., 15-688 Białystok, Poland is the Administrator of your Personal Data (APD)

2. Data Protection Inspector can be reached through e-mail: iod@evermotion.org

3. Your personal data are to be processed on the basis of art. 6 section 1 letter a, b and f of RODO in order to:
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9. You have the right to lodge a complaint to the Personal Data Protection Office when in your opinion the data processing violates the regulations of General Data Protection Regulation of the 27 April, 2016 (RODO).

10. Your data will be automatically processed, including the form of profiling.
11. You are obligated to forward above mentioned information to your representative, especially if you appointed this person in the agreement as the contact person or as the representative for the agreement execution.

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Illustrating an Architectural Section In Photoshop

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In accordance with the art. 13 section 1 and 2 of the European Parliament and Council Regulation 2016/679 of the 27th April, 2016 on the protection of natural persons, with regard to the processing of personal data and on the free movement of such data, and repealing Directive 95/46/EC (General Data Protection Regulation), hereafter RODO, I hereby inform that: 1.

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In line with some resources for today, here are some helpful tips and tutorials for presentation and how to present...

https://www.firstinarchitecture.co.uk/how-to-prepare-for-your-architecture-crit/

https://www.firstinarchitecture.co.uk/architecture-presentation-board-tips/

Composition in Presentation Boards
https://www.youtube.com/watch?v=dqC5RBYW1HE

InDesign for your Architecture Presentation
https://www.youtube.com/watch?v=_kFyjywiveI

Guide to InDesign for your Architecture Presentation boards
https://www.youtube.com/watch?v=GIpJ9Fr-uvo

PREPARING the Crit...
https://www.archisoup.com/preparing-for-an-architecture-presentation

SURVIVING the Crit...
https://www.archisoup.com/how-to-survive-an-architecture-crit

7 ways to prepare...
http://portico.space/journal//architecture-crits-2-7-ways-to-prepare-for-crit-success

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Rendering and Post Production of Drawings - Section

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Rendering and Post Production of Drawings - Section

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Sooo many videos on this stuff!!! Each has a different style and different uses of tools, even following one will elevate your drawings to another level!

https://www.youtube.com/watch?v=UfocwurPQ_4

https://www.youtube.com/watch?v=Ye4bttMQrdM

https://www.youtube.com/watch?v=NqxX-PVGtSE

https://www.youtube.com/watch?v=QqEjoWROcTE

https://www.youtube.com/watch?v=_Z09VYuVCi4

https://www.thearchitecturalstudent.com/2012/06/section-rendering-sketchup-and.html

https://www.archisoup.com/photoshop-for-architects

https://visualizingarchitecture.com/tutorials/

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Lumion seems to be free for students: https://lumion.com/students.html

LumenRT is another software that might be useful to try. It is very similar and easy to use (from memory). You can access it for free by creating a Bentley STUDENTserver account (use these directions, but download LumenRT and not Microstation)

LumenRT also has tutorials in the LEARNserver...

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As suggested in the Week 9 Q/A, you should represent and include People and Context to your images/ drawings of the final design. Alongside these important inclusions - for this project specifically - include the ART on the walls and in the gallery spaces.

Use Art from the actual Geelong Gallery collection...

The strategy should be consider that if you place a person or artwork in one drawing view, then it should be consistently placed IN THE SAME LOCATION on other drawing views. If it is in plan in that location, then in your section and moment, the person or artwork should be in the exact same spot...

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The Gallery is home to a number of iconic Australian paintings including Eugène von Guérard's Aborigines met on the road to the diggings (1854), The Weatherboard Falls (1863) and View of Geelong (1856), Louis Buvelot's On the Woods Point Road (1872), Frederick McCubbin's A bush burial (1890) and Russell Drysdale's(1948).

The greatest strengths of the Gallery's permanent collection are colonial paintings, including a splendid array of early images of Geelong and its wider region such as John Skinner Prout's lithograph Geelong (1847), and Alexander Webb's Yarra Street, Geelong (1872); colonial metalwork including Edward Fischer's Geelong gold cup (1890); English painted porcelain from 1750 to 1850, Worcester, Buckingham Palace card tray (c. 1840-45); works on paper (19th century to the present); and modern and contemporary Australian paintings, sculpture and decorative arts including works by Fred Williams, Ann Thomson, Peter Booth, Juan Davila, Rosalie Gascoigne, Jan Senbergs and John Brack.

Since 2016 the Gallery has been the custodian of the outstanding Colin Holden Print Collection on behalf of the Colin Holden Charitable Trust.

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geelong gallery; geelong art gallery; collection; permanent collection; eugène von guérard; frederick mccubbin; russell drysdale; grace cossington smith; juan ford; polixeni papapetrou; arthur streeton; stanhope forbes; edward fischer;

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Geelong Gallery | Collection | Geelong Gallery

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The Gallery is home to a number of iconic Australian paintings including Eugène von Guérard's Aborigines met on the road to the diggings (1854), The Weatherboard Falls (1863) and View of Geelong (1856), Louis Buvelot's On the Woods Point Road (1872), Frederick McCubbin's A bush burial (1890) and Russell Drysdale's(1948).

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Each student to present their work to myself and the group to progress towards the completion of the project in 2 weeks...

Each discussion session is individually recorded and will be posted following the meeting this afternoon.

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Taking on feedback from open crit review I have revisited the subtle angles and triangular forms that were present in my model making and early studio activities. While minimal, these forms will then be referenced again on the facade of the building (in the process of creating these moments). Also included more deliberate 'zones' and path of movement

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Last week's studio a: experience and awareness

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Last week's studio a: experience and awareness

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A study of light, how it feels to move through and the materiality of the National Portrait Gallery, Canberra.

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The formal Studio A activity is a continuation from last week in the brief...however the goal this morning is to ask each you to present EVERYTHING your project to me in 3 minutes...

Ok, maybe not everything, but I want to see resolved drawings and near-presentation material. Aim to gather this upfront in the morning...

In line with the conclusion from last week, the hope is to respond and give some feedback to each of you on your work.

The goal is to have a full mock presentation next week - Week 10 - the week before submission.

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late scan in remarks to last class

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In the session today, I tried to say that I will choose my words carefully and not be too harsh on any one individual or project, however as I write this conclusive post I have to take the gloves off a little bit...

The projects (in general) are in a concerning state at Week 8. This is mostly compounded by the lack of update of progress to a number of students in the group rather than those in attendance today that did post or show their work for some discussion over.

I commend those that did show their work today and bravely admit they are behind. The problem I have with the absent projects today is that there is nothing to respond to and that scares me (as your tutor).

The message I leave Week 8 with is about each of you trying to find it within yourself to make significant advancement on your project over this week. I would like to try to spend the final 2-3 weeks of the project talking with you about the capacity of your presentation and production rather than still trying to figure out what the design is.

There is a belief that students always get there in the end, but the warnings need to be sounded now rather than not saying anything and hoping for the best.

I cannot do the work for you. The best thing I can do is support and guide you, but that doesn't work when there is no engagement. This week will be telling in that I genuinely hope that students are able to advance their projects this week and we can have some refining moments of discussion about your architecture.

On top of this, I am open to receive feedback in return if there is something I can be doing more (or less) to help each of you be happy and confident in your design.

I was going to write some possibilities in this post on what you might be able to do to spark that advancement of the project...however I feel I have said enough of those in the feedback given to today's attendees - please look at EVERY BLUE post and reflect that into your own process.

To try to turn this moment around and put the gloves back on and provide a lighter moment to enjoy, I share this video

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Hi Lachlan, apologies of the belated posting of some of the feedback we discussed earlier today.

In picking up some of the themes from today's discussions, the plans are amicable at the current stage, but need to be proved more by working with the building in other manners...ie the section and 3D capacity.

I know you have an ArchiCAD model that is helping to derive and plan the spaces, but there is something in just trying to work with the section and the building profile or cut that may allow you to inform the digital model making.

Use the suggestion that I put in the Q/A this morning (albeit my comment was towards physical models)...work between both sketch and model. Take images as process of the 3D form, then draw over the top of them to find the next point of refinement, take that back into the digital environment to implement/ inject into the design. Try to go back and forth every 15 minutes, forcing yourself to test, add, remove, explore...

If you want to get something out of the project from the sketch you just made over the top and cant model that in in 15 minutes, then return back and rethink the approach...

I hope to see some other expressions of this project into next week, and like what I have said to others - focus on the important areas/ spaces that need resolve and move away from trying to design everything.

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Hi Lawrence, thank you for getting this up given the technical issues that you faced today.

In following on from what I was initially starting to say in the comment below, but then got distracted and wrapping up the session... the 3D understanding of  the project is a missing link with the appreciating the planning efforts you have engaged.

From an quick outside perspective, you have done some heavy thinking in the planning, but in doing this in CAD it is very definite and 'finished'. This is not to say that it works, but the lack of verticality up from the plan drawings is hard to appreciate the form, profile, section and massing of the building.

You need to test this plan in section, in 3D and in model. That is going to be true self-test of what you have planned...

I suggest you use a selective approach as well...pick the moments or key planes of section cut that you want to carry through to a stronger and more resolved resolution in the presentation. Start to put some of the lesser-important spaces to the side and focus on the key experience that we hope to gain from your design. Things that you can confidently build around in the design...

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Hi Ben, thank you for putting something up after the technical woes you were having earlier today. I can understand that you may have idea or motivation blocks at times - especially in this climate/ environment.

From reading what you wrote and seeing some of the drawings out of today and in the past there is some small threads there with the thinking. My advice (as a metaphor) is to really focus in on one of those threads and just pull at that.

You may benefit from the words I offered Brodric today to approach the whole project from a different angle and consider the 'moments' that you wish to achieve in the architecture, experience and spaces of the design. Think less of the pragmatics and see if something comes from your ability to draw freely from the point of view of being in the building...

Those six (or however many) could prompt thinking then on the reality of the project (in its plan, section and form understanding. Drive the project around the moments as the focus and let what needs less design to fall to the background (utility areas, uber-functional spaces, dead zones - but not too many dead zones).

Work with the qualities that make a space (light, material, proportion, function). If the first move is the green space through, then start with that - how do you want that to be experienced at eye level? Try to draw the plan or 3D from that as a sketch or moment.

I hope some of those words do help, but feel you need to put as much as you can this week in the project to break through the blocks and find 'threads' to follow towards a resolved project (sorry back to the metaphor again).

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Hi Ellie, thank you for giving me a brief update as to where you are at this week. I hope everything is working out and you are welcome to follow the reply that I provided back.

In terms of updating this week, I recall aspects of your project from last week so there is some comfort that you are developing the project. But in a general feedback sense and spirit of some of the discussion I had today in the Studio - the time is needed to know to progress the project quickly. Take some reflection from the words I conclude this week by at the start of the Padlet and the words I offer to others in the group, but I hope to see the next level of resolution in the project for next week.

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Hi Manali, thank you for your email earlier today, however in the spirit of some of the words I responded with, there is a concern with your project simply in that I do not know where it is at nor haven't seen it.

Are you able to please contact me or update your Padlet with progress of the project, please reflect and work to some of the suggestions on the activities and project development that was written for this week. Also, please take some time to read the Blue feedback comments given back to students from this and last week to see if there is anything in there to help guide you.

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Hi Riya, I hope you are well. I have to reach out to you as there a notable absence of work and engagement with this unit and project and need to check in with you.

Are you able to please contact me or update your Padlet with progress of the project, please reflect and work to some of the suggestions on the activities and project development that was written for this week. Also, please take some time to read the Blue feedback comments given back to students from this and last week to see if there is anything in there to help guide you.

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Hi Emalga, I hope you are well. I have to reach out to you as there a notable absence of work and engagement with this unit and project and need to check in with you.

Are you able to please contact me or update your Padlet with progress of the project, please reflect and work to some of the suggestions on the activities and project development that was written for this week. Also, please take some time to read the Blue feedback comments given back to students from this and last week to see if there is anything in there to help guide you.