Sunday, 15 September 2013

>>>Phase 1 [P1]: Defining a field of investigation/ Exploration of phenomena

Haacke, Hans, Condensation Cube – sculpture: Plexiglass and water (1963-65) [1]

“(...) One should actually surround oneself with all kinds of phenomena and constructions in which universal laws become visible. Why do I suggest this? Because then we can produce, whenever we like, the phenomenon, which conveys a bodily experience of the correspondence between the inner and the outer world. (...)”
Hugo Kükelhaus [2]

Acting as protection, all through history climate has been essential to architecture, defining its basic form. However, not only does architecture act as protection, but also as an interface between the human being and the environment. In this context covering is to be understood as a noun referring to an interstitial and operational layer between constantly changing environmental conditions – i.e. as a performative, relational and affective element.

Focusing on one individually selected meteorological phenomenon from the list:

[rain] [wind] [sunshine] [thunder] [snow] [frost] [fog] 

in [P1] the relations between conditions and effects, the material and the immaterial, are to be explored, recorded and documented in notations and mappings – unravelling how the appearance of space is affected through these relationships.

“(...) Notations go beyond the visual to engage the invisible aspects of architecture. This includes the phenomenological effects of light, shadow, and transparency; sound, smell or temperature, but also– and perhaps more significantly– program, event, and social space. Notations are not pictures or icons. They do not so much describe or represent individual objects, as they specify internal structure and relationships among the parts. Inasmuch as the use of notation signals a shift away from the object and toward the syntactic, it might open up the possibility of a rigorous, yet non-reductive abstraction. The use of notation marks a shift from demarcated object to extended field.(…)”
Stan Allen [3]

“(…) As a creative practice, mapping precipitates its most productive effects through the finding that is also a founding; its agency 
lies in neither reproduction nor imposition but rather in uncovering realities previously unseen or unimagined, even across
 seemingly exhausted grounds. Thus, mapping unfolds potential; it re-makes territory over and over again, each time with
 new and diverse consequences. Not all maps accomplish this, however; some simply reproduce what is already known. These 
are more ‘tracings' than maps, delineating patterns but revealing nothing new. (…)”

James Corner [4]

The selected phenomenon is to be investigated and methodologically questioned in order to reveal its tangible and intangible specificities. In this context, the covering is to be understood as a membrane, envelope or cladding – a zoom into a potentially larger, more complex structure.

The un-covered relations body><covering><environment and materiality<>phenomena<>effects will be discussed and parameters for further explorations will be defined.

Announcing intentions regarding exposure, each student is asked to produce material documenting the investigated phenomenon and programming a strategy to act upon or against it, thus seeking a particular effect potentially transforming its character.

The aim is to try to understand the role of the phenomena in perceiving space, regardless of whether they are but linked to the practical purposes or if they are charged with an aesthetic or poetic meaning.

As a minimum the following is required:
>a description of the phenomenon in focus: its appearance, intensity, temporality, experiential and physical properties;
>a description of the covering in focus: its physiognomy, scale, material properties;
>a description of the relation to the body: the property of the action of covering;
>a description of the relation between the three

The produced material should be processed, comprehensive and coherently organized and presented in the folded-zigzag book (one side printed) composed by 6 sheets:
>format: folded book 29.7cm x 29.7cm, i.e. an A3 format is reduced to 29.7 x 32,7. This allows a 3.0 cm zone for gluing – please note that the last page should not have a gluing zone meaning the format of the last page is 29.7 x 29.7 cm.
>paper code: Technical drawing paper 185 gr.
>font: Times New Roman 9
>margins: folded book pages 3,5cm

The layout and the character of the book will depend on the nature of the produced and/or collected material, however it should contain as follows:

[p.1] name + title
[p.2] text (max. 250 words)
[p.3] phenomena
[p.4] body
[p.5] covering
[p.6] excerpt of contents

All sketches, diagrams; photos; documents; material samples should be available at the presentation.
All source material – quotes, references, images etc.– must announce source according to the provided reference system.
If video is used as a means of notation, it should be presented in printed version – as a sequence of images.
The book is to be delivered both on paper and as a PDF document uploaded to the shared folder. >>>> Shared (R) >Bachelor >Unit 2+3d_AL >F2013 >Phase I

Individual studies

mixed media (drawing, photo, diagram, video, collage, recording etc…) + folded-zigzag book (square format: 29.7cm x 29.7cm)

Sept. 16.-20.

data collection and processing, delimitation of initial field of investigation, property analysis and extraction of architectural potentials

Mon. Sept. 16th           
9.00-10.30 Welcome and [P1] Introduction/ Laden Nord, Noerreport 20
10.30-12.00 Spatial studio organization/ Paradisgade 3rd floor
15.15 Lecture, 2nd year, Architectural History
Tue. Sept. 17th                      
15.15 Lecture, 2nd year, Architectural History

Wed. Sept. 18th 
Studio tutorials
11.00 Lecture, Frei Otto, w. Per Dombernowsky/ Grand Auditorium, Noerreport 22 
Fri. September 20th    
9.00-16.00 [P1] presentation + [P2] Introduction/ The Gym, Paradisgade

[1] Haacke, Hans, Condensation Cube – sculpture: Plexiglass and water (1963-65), MACBA Museu D’art Contemporani de Barcelona, retrieved from <> [accessed: 15 September 2013]
[2] KÜKELHAUS, Hugo (2007 [1972]) Inhuman Architecture. From Animal Battery to Information Factory, Auroville, India: Studio Naqshbandi Publisher, p.15, (original edition: Unmenschliche Architektur, Köln, Germany: Gaia Verlag, 1972)
[3] ALLEN, Stan (2009) “II_Notations+Diagrams: Mapping the Intangible”, in: ALLEN, Stan (2009) Practice: Architecture, technique + representation, New York: Routledge, p. 6
[4] CORNER, James (1999) "The Agency of Mapping: Speculation, Critique and Invention", in: COSGROVE, Dennis (1999) Mappings, London: Reaktion Books Ltd., p. 213