Come prepared with responses (written and for discussion) to the following questions:  

•What are the different strategies of extracting or making the informe evident in this reading?

•Do you think that these strategies work better for art practice or for architecture? Why?

•Does architecture resist these ways of thinking or does occupation of buildings, for example, already make these ideas present?

 

1.  Read the theoretical texts and respond to the questions pose. Post a min 500 words on Padlet. Use appropriate referencing.
2. Complete  a minimum of 6x distinct frottage drawings. These can be presented as a series. Note the place-name, date and time. 

Drawing Materials: Experiment with a range of surface materials (paper) with differing weights and textures. Suggested but not limited to: print paper, tissue paper, water colour paper, trace paper, butter paper. Experiment with a broad range of transfer substances (media) Suggested but not limited to: graphite stick, pastel, charcoal, pencil, watercolour, chalk, conté. Post on Padlet.

3. Whilst completing the above, consider the following questions, in regards to your experience of architecture so far:

·    Who do you think you are as an architect? (Check out the ‘Architectural Political Map’ included on Paldet column ‘Other Resources’ to see where you may ‘fit’.)

·       Has this identify been influenced by 2020?

·       Past, present, (future) knowledge… What, outside of architecture, may influence you as an architect?

·       Do you feel influenced by the ‘humanities’ or the ‘science’ in your architectural thinking?

4. Use your thinking on these questions to pose to yourself a 'Design Research' question. Write your statement question and post on Padlet. This ‘questioning’ stage is the first part of Design Research. The frottage and drawing machine captures are the methods. Knowledge comes through repeating and reflecting upon the process.

Design Research Stages:

Question / Intentions. What is a “wicked problem” you could respond to?

Methods. Enquiry. Iteration. Critical reflection. Transparent, relevant and appropriate to   question. “ A reflective conversation” that unfolds through the process.

Process. Knowledge in… Iterative process. Adductive reasoning (without all knowledge of). Solution focused. Psychomotor (thinking by doing).

Product. Knowledge in… Tacit knowledge. Reversed process. Critical reflection. What does the production suggest / tell you ?

Dive deep. Enjoy the process. See you next week.
Lana

The gold tint captured in the top quarter of this frottage prompted a vision of low angle sunlight glinting off a village perched on the edge of an ocean cliff. From this distance, the buildings cluster to the very edge of the sheer cliff while the wind and ocean spray polish the exposed faces of the buildings. If I image the spaces up close, I see views between the buildings forms, looking out to the ocean, some narrow and steep, others wide and expose. The buildings would be hewn of the landscape and change colour with the progress of the sun, creating strong contrast of light and shade through the individual buildings and the townscape.

The darker shades of the charcoal and the trace paper act as positive and negative space. In this instance I distinguish the darker shades as potential structurally defined forms and the lighter shades as landscape elements. 
  

There is a corridor of linear horizontal patterns going up the page to form an open space or courtyard. At a larger scale even a river, which dives two forms on each side. The forms respond to this open space, they're not parallel with the river but more so share a fluid relationship of give and take where the form is molded or integrated within.  

The varying shades of grey dictate varying volumes from a site plan view. Lighter grey being a level below and the darker shades the higher levels. On the left side you could say that the form staggers back as it rises vertically, with the lower levels acting as open terraces looking onto the river. The leveling back allows to not overshadow or overpower the open space/river rather adapting to the natural environment and allow sun light. A light horizontal patch formed between lines intersect the river at the top of the page and connects both sides unifying the area as “one” while setting a potential boundary or proposing a new intervention.  

The natural pattern formed through the horizontal lines forms a zig zag pattern which can be a pedestrian path that guide you to different areas of a program.  

Although various architectural characters have been identified they appear integrated. I don’t feel a sense of confliction between various shades and forms and the wooden bench itself is a single object that functions as one and this can be reflected as an interconnected ecosystem.

cardboard). Here is a link to my Pinterest page that has heaps of examples of mono material models, grouped into 'solid', 'surface' and 'linear' material...
https://www.pinterest.com.au/lanavang/_saved

In Week 2 Studio we discussed your production of iterations and explored the concept of critical reflection. Week 1 and Week 2 required the production of at least 6 iterations via frottage and machine drawing.
From Week 3 you have to work      on 6 MODEL ITERATIONS.
1. Explore further the drawing you have produced. Use this design research process to explore something meaningful or of personal interest to you in some way: formal interest, conceptual interest, interest in colour, architectural influence and so forth. Once you identify something that interests you in the drawing, translate that into a 3D exploration. (If you still haven't produced your iterations, this is the moment to catch up!)

2. Select six from this series to explore further through modelling.
Start from the source drawing by drawing over to  'discover' the architecture in it. It may be a section, a plan, a perspective..or it could be more than one. Experiment with techniques in 2D and 3D, combine techniques in one drawing or one model. Remember: models are quick, they are for exploration not representation.
3. You will have to describe what your models could be in architectural terms;  what are the features of the forms you produced, what you spaces, atmospheres, qualities of space you imagine being available, and what aspect/aspects you would explore further. Remember what was discussed in the Q&A and seminar sessions about Critical Reflection.

Thereupon, you can evolve your own laps to reach your final design conclusion.

Biomimicry spiral provides an opportunity to learn about natural elements and bring new strategies to the table. It disrupts traditional thinking and creates a new level of curiosity. That is, how nature solves your challenges? With this method of thinking, you can brainstorm design solutions in fresh unconventional ways.
https://www.arch2o.com/biomimicry-enhances-architecture/

• Part of the studio session will be dedicated to making and  discussing your model and how you connect that to an architectural idea.
 • The following step is going back to sectional drawing. Explore your architectural form by producing/extracting sectional drawings ad plans from the model. Quickly draw the most relevant sectional drawings and a plan to explain your architectural form.

 You are going to make abstract drawing and models, but how do you know when you have made a ‘good one’?
 Design criteria for Module A are the formal spatial qualities of contrast / graduation &
 interpenetration / adjacency.
Enlivened space typically involves a journey through contrasting volumes and the way in which one space is relates to preceding and adjacent experiences. Given this, your drawings and models should experiment with providing a contrast of volumes and / or a subtle continuity where is a graduation of space. Secondly, and related to contrast / graduation, you should work to provide spaces that interpenetrate or can be viewed from a distance as an adjacent volume.