Monday, June 11, 2012

Feedback For EXP-2

Tai 


Key strength of the scheme: Clarity in the concept of what constitutes the monumental. The apparent impulse for perfection in everything: axo sketch of prisms, textures, and the demand of an “objecthood” in the finalized model. "Perfection is achieved, not when there is nothing left to add, but when there is nothing left to take away" (Antoine de Saint-Exupery). Indeed!


Most significant weakness of the scheme: Do take your 5 images more thoughtfully. Get the balance of the overall view including the larger environment, the final model itself and the interior space showing how it relates to the external environment. Better panel organization with concept + design development process should be attempted in EXP-3.


Evan


Key strength of the scheme: The thoughtful presentation of the design idea, concept formulation as represented in the prismatic aggregation, and the finalized monuments that were clearly inspired by the 2 architects' works yet totally onto your own projected formal characteristics. Thinking beyond the Box (Brief) in textures upload! Well done.


Most significant weakness of the scheme: Please exercise better graphic judgement in the layout of panels. The way they are is comprehensive but visually chaotic! The 2 final monuments, compared with your EXP1, are more composed and forceful formally. Think something beautiful and/or sublime in EXP3. Carry on.

Mengi

Key strength of the scheme: Ambitious built form (2 monuments) engaging with vast landscape and the scale of both seemed complimentary. The contrasting themes, for example: verticality and horizontality, static landform vs cantilevered built form; were well represented in this submission. 


Most significant weakness of the scheme: No interior views were captured! This is a serious drawback. Please carefully arrange your 5 captured images. Show a range of viewpoints to best representing your final environment in EXP3. 


Morgan


Key strength of the scheme: Dramatic application of texture on the monument for Mies. The “sculpted” land form with paved surface was considerate and well executed. Ambitious in general and the flawless 36 textures! 


Most significant weakness of the scheme: Must have views captured from the interior of the monuments looking out and/or into in-between spaces. Please do this in EXP3. The Koolhaas monument is less convincing and the form heavy and solid even classical to a degree, like the Greek temple! You need to challenge your own conception of “Architectural Form” in EXP3. Otherwise, well done.


Sam 


Key strength of the scheme: Beautiful prismatic aggregation in final forms. The textures were creative and sensitively drawn. The bare landform possessed painterly quality and the earlier panel organization was effective (wish you had done the same for submission images!!) 


Most significant weakness of the scheme: This could have been a D to HD work if you had done the texture application video and developed the details of interior space further! The "X-shape" motifs should be employed with more care and infused with intended effect instead of just repeating them everywhere!!  For example, the pavilion for meeting place: it doesn't help the overall scheme. You have great sense of form and beautiful hand sketches. Do try to excel in EXP3!


Lucia


Key strength of the scheme: Very thoughtful submission with well organized pages to demonstrate the design development process. The 2 monuments were distinctively different but they did share same architectonic elements. The scaling of the built form and landform were dramatic, impressive and memorable. Beautiful texture application was enhanced by the theatrical lighting effect. A very delightful submission indeed. 


Most significant weakness of the scheme: The Meeting Place. Its curve roof contradicts richly interpreted Miesian ideas and its scale as shown in the captured image undefined. This should be a jewel of the whole cluster instead of a modernized primitive hut!! Great progress and carry on!!


Bennet


Key strength of the scheme: The earlier design development was engaging and possessed potentiality. 


Most significant weakness of the scheme: The final prismatic form could have been a solid project if more details were developed. The submission didn’t demonstrate the way landform relating to built form. All of the captured images indicate that the monumental object is floating in the CryEngine environment instead of meaningful siting. This is a big drawback. Please spend more time mastering the gaming engine in EXP3.


Bazzi


Key strength of the scheme: Earlier panels of design development were promising and the series of axo modelling by Sketchup were creative in color application and in the prismatic formation. 


Most significant weakness of the scheme: Not enough development in the CryEngine environment and the final built form is devoid of texture application. The monument appears to be floating in the landscape. This could have been a solid CR submission!! Please pay attention to the marking criteria in EXP3.


Vicky


Key strength of the scheme: The earlier design development possessed great potentiality and the concept panels were well organized. The final built form is dynamic and ambitious. 


Most significant weakness of the scheme: There was no application of texture onto the final model. The built objects appear to be floating in the Cry-environment. This is an enormous drawback for EXP2 submission. Please make sure to always develop your EXP3 in CryEngine environment week by week. If you don’t do so, a lot of the great works along the design develoipment process will be lost!! (Additional comment that will help your EXP-3: learn to differentiate "just a cluster of shapes" from a strong set of composed forms that articulate your understanding of the Brief, the key architectural idea and your design strategy, and as always, the inter-relations between the landform and the built form.)


Jackie


Key strength of the scheme: Beautiful vision of the monumental cluster that was anchored in and suspended from landform. 36 textures were delightfully musical and the application of them elegant. The panels documenting the design development process were rigorously presented. 


Most significant weakness of the scheme: Not enough articulation in the relationship between the 2 Forms: land + built. If the suspension was the theme, then the captured images needed to show that. The 2 images showing the very thin “stick” carrying the whole weight of the monumental cluster are not convincing enough! Otherwise, well done.


Michael


Key strength of the scheme: A great progress from EXP-1. The 2 monuments were well textured especially the one for Koolhaas. More rigor in the earlier design development compared with EXP-1. 


Most significant weakness of the scheme: Both of the monuments remain undefined formally. Try to get to a level of composition where “there is nothing left to take away”: tightly organized into one coherent built form. The meeting place is weak in terms of “between-ness”. Its curve arches are too crude. The entire project appears to be floating in the environment and is in need of careful and time consuming manoeuvring in the CryEngine  environment. Please make sure you do that in EXP3.


Molly


Key strength of the scheme: Strong panels of design development with axo prismatic formation. Effective texture application in the Landscape panel. 


Most significant weakness of the scheme: Confusing organization of the submission and explanatory captions. Regardless of your efforts, the captured images didn’t show the relationship between the 2 monuments, the landform and the build form, and the meeting place with the landform + the monuments. Please be clear in everything you do. Allow yourself time for thinking!! Good progress otherwise.


Renda


Key strength of the scheme: Ambition in the scale and the formation of the monuments. The Sketchup prismatic modelling were clearly represented.


Most significant weakness of the scheme: The scale of the monuments is incompatible with the landform. In some captured images, the built forms appeared to be floating in the environment. This is a big drawback. Please enhance your skill in representing EXP3 using gaming engine. The overall formal composition remains unresolved and lacking a sense of organization. To do so, you need to edit your prismatic formation for a few times before getting the final model.


Christine


Key strength of the scheme: Well balanced scale between the landform and the built forms. The dark landscape contrasts the white monuments in a dramatic way. The beautiful captured images in general and particularly the Texture Applied panel.


Most significant weakness of the scheme: This can be a D to HD submission if the micro-environment had been created by detailed development, meaning that if you would make some part of the platform or vertical form habitable by showing stairs, sheltered space and so on. Great progress and please push forward!!


Laura


Key strength of the scheme: Textures had been applied effectively as shown in the captured images. The contrasting long platform with the vertical and pressing monumental volume was dramatic. Solid earlier design development as demonstrated in the panels.


Most significant weakness of the scheme: It is not clear that there are two distinctive monuments in one prismatic formation. The red color is not enough. Some detailed development would have greatly enhanced this submission. Otherwise, good job.


Kieran


Key strength of the scheme: Highly effective texture application. The panels showing the design development of axo prisms were well organized and promising. The earlier version of the landscape expressed surreal painterly quality.


Most significant weakness of the scheme: In the final submission, the captions weren’t clear enough to describe your concept, design ideas and the 2 clients. The scale of the landform seemed incompatible with your built forms. Although the individual monument looked effective, some level of details should have been developed. Otherwise, good job.


Lorrain

Key strength of the scheme:
Rigorous design development as evidential in the concept panels. The intention to intersect built form with the landform was ambitious.



Most significant weakness of the scheme: The form of the monument needs further editing. For example, the connection to meeting place: a series of repetitious frames; is well intended but architecturally it lacks formal imagination. Always pay attention to each element you want to apply onto a cluster of forms. Otherwise, well done.


Darren


Key strength of the scheme: Creative design development showing many highly plausible possibilities of prismatic formation. Beautiful texture sketches. The captured images of the in-between spaces. They were imposing and expressing the quality of the built form.


Most significant weakness of the scheme: Uneven development throughout the process and in the final submission. For example, there appears to be texture application onto the monuments in the earlier panels but not in the final submission!! Why? (Correction: You did apply textures onto your final model but they were overwhelmed by the strong overall white light. Make sure you've uploaded LEGIBLE images for EXP-3!!) Please be more patient with the process and exercise a level of control for the outcome! You can do better than this in EXP3.


Shanny


Key strength of the scheme: Strong sense of formal composition and the scale of the 2 monuments seemed effective. The airy blue glass passage was well imagined. The design development panels were clear and graphically comprehensive + effective. 


Most significant weakness of the scheme: In all of the captured images, there isn’t any evidence of an equally important landform. It has been treated as the background instead of the equal partner in EXP2. This is a big drawback. Otherwise, this submission could have received a higher Grade!! Need detailed development too to introduce human scale in the virtual environmnet.

Tuesday, May 15, 2012

EXP3 - The Bridge


Proun 1A: Bridge 1, by El (Eliezer Markovich) Lissitzky, 1919.


The Russian Constructivists in Perspective:



The Peak Competition, Hong Kong, by Zaha Hadid, 1982.


"ZAHA HADID AND SUPREMATISM," exhibition, Zürich, Switzerland, 2010.



What is a Bridge?


Bauen. Wohnen. Denken (Darmstadt in 1951), Martin Heidegger (1889-19760):


" To be sure, the bridge is a thing of its own kind; for it gathers the fourfold in such a way that it allows a site for it. But only something that is itself a location can make space for a site. The location is not already there before the bridge is. Before the bridge stands, there are of course many spots along the stream that can be occupied by something. One of them proves to be a location, and does so because of the bridge. Thus the bridge does not first come to a location to stand in it; rather, a location comes into existence only by virtue of the bridge. The bridge is a thing; it gathers the fourfold, but in such a way that it allows a site for the fourfold. By this site are determined the localities and ways by which a space is provided for."


Brücke und Tür (1909), Georg Simmel (1858-1918).
You can read this article from Theory, Culture, & Society, Vol. 11(1994): 5-10.


" The people who first built a path between two places performed one of the greatest human achievements. No matter how often they might have gone back and forth between the two and thus connected path into the surface of the earth that the places were objectively connected. The will to connection had become a shaping of things, still being dependent on its frequency or rarity. Path-building, one could say, is a specifically human achievement; the animal too continuously overcomes a separaion and often in the cleverest and most ingenious ways, but its beginning and end remain unconnected, it does not accomplish the miracle of the road: freezing movement into a solid structure that commences from it and in which it terminates."


Conclusion*


1. From the spatial aspect


a) a bridge allows a 360º view over the landscape; it draws the landscape into a circle on the horizontal plane;
b) it adds the vertical dimension to the landscape and breaks it into the upper and lower parts;
c) it can be observed as a bodily experienced part of the landscape – from afar, the vision prevails, but when the observer is moving on the bridge or under it, other senses participate in the aesthetic perception.


2. From the temporal aspect the bridge is not only an abstract and static spatial temporal image, but it is also dynamic and constantly changing in accordance with the geographical and climatic conditions of the given season. The movement and position of a body in space form an essential part in the emergence and transformation of the dynamic images of the bridge and the landscape – the bridge as a place is the part of the road that preconditions movement. The bridge is not merely a thing (Heidegger), nor a picture (Simmel), but an event (Heidegger).


3. From the metaphysical aspect the bridge is the symbol of man's being between the sky and the earth. The bridge is like the Tree of the World – its roots in the earth, its branches in the sky. Man's path is laid in the middle zone, between the sky and the earth, not simply on the earth. His separateness from the earth emphasises the perception of the threefold division of the world and makes it observable. Winter adds the experience of the horizonless landscape and allows the divine experience of infinity.


* See: A Winter Landscape with a Bridge, by Kaia Lehari, 2000.


Bridge City, Lausanne, 1988 (project), by Bernard Tschumi












Interface Flon Railway and Metro Station,  Lausanne, 1994-2001, by Bernard Tschumi













Back to the Russian Constructivists and Zaha Hadid




Malevich’s Tektonik 1977, London - United Kingdom
For the graduation project at the Architectural Association, Zaha Hadid explored the ‘mutation’ factor for the programme requirements of a hotel on the Hungerford Bridge over the Thames. The horizontal ‘tektonik’ conforms to and makes use of the apparantly random composition of Suprematist forms to meet the demands of the programme and the site.

The bridge links the nineteenth century side of the river with the South Bank, which is dominated by the Brutalist forms of a 1950’s arts complex. The fourteen levels of the building systematically adhere to the tektonik, turning all conceivable constraints into new possibilities for space.

The project has particular resonance with Hadid’s later projects. First, in the Great Utopia show at the Guggenheim, she was able to realize some of these tektoniks in concrete form, and second in the Habitable Bridge project, which considered the possibilities of a mixed-use development over the Thames.

- Zaha Hadid Architects press release


Habitable Bridge Project

Zaha Hadid Architects (do click on this to watch a video)

Saturday, April 7, 2012

EXP2 - Passages, Portbou 1994.

Passages is the name of the Memorial the Israeli artist Dani Karavan created in Portbou in honour of Walter Benjamin to mark the 50th anniversary of his death.


The Walter Benjamin Memorial in Portbou is a sculptural installation thoroughly integrated into the landscape. Karavan’s extraordinary sensitivity enables him to give the natural and urban spaces in which he works a life of their own. He knows how to capture their intrinsic historicity and set the elements in play so that historicity can flourish. Rather than the work incorporating the landscape, the landscape becomes the catalyst that activates the work. In Karavan’s intervention the cliffs of the Costa Brava and such archetypal natural Mediterranean elements as olive trees, stone and wind weave a story about their past as a place of exile and at the same time enact an exercise in contemporary memory.


The title chosen by Karavan, Passages, refers not only to Benjamin’s fateful passage from France to Portbou, but also to his unfinished last work, the Passagen-Werk or Arcades Project, which he began in 1927, a vast collection of writings on the life of 19th-century Paris and its arcades and reflections on the contemporary urban experience. In creating his memorial, Karavan adopted an approach akin to Benjamin’s own, connecting the traces of past pain, memory and exile with the possibility of a new and better future. In fact, the memorial incorporates a number of the thinker’s concepts most characteristic themselves: the philosophy of history, the necessity of experience, the idea of limit, the landscape as aura and the necessity of memory.


Text taken from:Walter Benjamin in Portbou.









Some of the images were taken by pär hedefält

EXP2 - The Space Between

What is Landform?

Superstudio, 1971.

Shell Petroleum Headquarters Rueil-Malmaison, France. Designed by Kathryn Gustafson, 1989-1991.

When we discuss the idea and the historiography of Landform, we are, regardless the ahistorical tendency of the abundant imaginary forms projected onto the "Land", confronting the notion of Artifice as "the art of the multiple diversifying reality"(1); and the notion of Artifact as "the glory of man (or human kind) brought forth by the builders"(2).


The Imaginary and the Real, the constant players of the ultimate "shaping" of Landform, should guide you through Exp 2.

(1)-Christine Buci-Glucksmann, 2000.
(2)-http://en.wikipedia.org/wiki/Tower_of_Babel


1- The Tower of Babel, the Imaginary;by Pieter Brueghel the Elder(1563).

2- Grand Canyon, the Real;


3- The Grand Canyon Skywalk, The Real mixed with the Imaginary;




4- Back To the Real;


The Dream of the Architectby Thomas Cole, 1840.


The Continuous Monument, An Architectural Model For Total Urbanisation,By Superstudio, 1969.


Built Form as Landform
Swimming Pool, Leça de Palmeira, Oporto, by Alvaro Siza (1966).