Ruye
Nishizawa, Teshima Art Museum, Japan (2010) [1]
“the act of construction
develops its own momentum”
Rosalind Williams
Résumé [P1-P3]
In [P1] the choice of a specific climatic phenomenon framed the exploration of potential relations between body-covering-environment and materiality-phenomena-effects. Applying the same optics in [P2] the structural and material properties of selected examples from the 20th century Western history of architecture were analysed. Maintaining a focus on the body-covering-environment relation, through the performance of series of experiments the objective of [P3] was the generation of a series of membrane probes which embodied specific, aesthetically programmed relations between the human body and the climatic phenomenon selected in [P1].
In [P1] the choice of a specific climatic phenomenon framed the exploration of potential relations between body-covering-environment and materiality-phenomena-effects. Applying the same optics in [P2] the structural and material properties of selected examples from the 20th century Western history of architecture were analysed. Maintaining a focus on the body-covering-environment relation, through the performance of series of experiments the objective of [P3] was the generation of a series of membrane probes which embodied specific, aesthetically programmed relations between the human body and the climatic phenomenon selected in [P1].
[P4] Materializing membranes
> relations human body-environment
Based on
conclusions extracted from the development of probes and prototypes in [P3], moreover relating to the
team-specific directions concerning the required particular subject-matter of
their [P4] production, the objective
of [P4] is to demonstrate coherence
between suggested materialization(-s) and the announced aesthetic intention(-s).
This means that in each team the materialization of a minimum of 3 critically selected
foci within their prototype(-s) is required to be performed in dialogue with a
precise definition of a series of particular aesthetic programmes. In this context
a. critically selected foci should be
understood as foci, the materialization of which will be of significance to the
achievement of intended effects in the relation human body – covering –
environment.
b. aesthetic programmes should be
understood as the description of a scenario of intended effects in the
relation human body – covering – environment.
c. Environment should – as a minimum
requirement - be understood as: The chosen phenomena ([P1]); the chosen ‘time-scale’ or speed (see [P3]), and the chosen situation ([P3]).
In other words: In the development of each critically selected foci the
teams are expected to materialize specifically programmed relationships human
body – covering – environment maintaining a focus on the actual design of the
membrane as mediator between the human body – the environment. In expecting materialization(-s) particular attention
should be applied to
a. test and choice of material(-s)
b. the design of particular structural elements, i.e. elements the
design of which are of paramount importance to the achievement of specific programmed
effect(-s)
c. the design of specific spatial relations between the human body –
covering – environment, i.e. spatial relations the design of which are of
paramount importance to the achievement of particular programmed effect(-s)
Jean
Nouvel, facade construction detail & photo, l´Institut du Monde Arabe, Paris (1987) [3]
Initially, each team is required to produce a plan directing their development
/ materialization of foci. The plan should
> be based on a close scrutiny of [P4]
production requirements
> entail a focused progression in the production within each team, as
well as a clear distribution of responsibilities.
Please note that following pin up #2 Nov. 18th, all teams (unless
otherwise agreed, see pin up #2) are required to focus on production related
to the unit´s exhibition at Ramboll DK Nov. 29th-Dec. 6th
At the pin up special production related to the exhibition at Ramboll DK
Nov. 29th-Dec. 6th will be discussed. Please note that
based on the development of a ʻstory-board’ each team will be required to produce a video of maximum
duration 5 minutes, which
> starts with a still of 10 seconds duration which announces project
title; chosen conditions (phenomena; ’time-scale’ or speed; situation;
structural system); first and last names of the authors (a matrix will be
distributed).
> with the human body as optic documents the specific architectural
qualities – i.e. relationships body – membrane – environment. Concerning the
latter the documentation of architectural qualities should focus on, but not only relate to effects related to
situation > chosen phenomena.
> with an emphasis on critically selected, significant effects are
generated documents the structure.
Monday Nov. 11th
at 9am / the studio
>>>[Pin up #1]
Presentation of
> a résumé of
chosen phenomena; ‘time-scale’ or speed, and
situation
> a résumé of the
conclusions drawn from the production of probes and prototypes in [P3]
> extracted
from – i.e. with a clear reference to - a. and b., the aesthetic programmes
that guides the selection of a minimum of 3 foci
> the team´s
initial plan for the production in [P3] entailing
production substance; time-schedule; distribution of responsibilities.
Monday Nov. 18th at 9am / the studio
>>>[Pin up #2]
Presentation of
> foci
development related to aesthetic programme(-s)
> ʻstory-board’ for the production of
an exhibition video of maximum 5 minutes duration
> the team´s plan
for the potentially still remaining prototype / foci production entailing
time-schedule and distribution of responsibilities.
“Exhibition design, as I understand it, is much more
than display. It is a means of visual communication, or, to put it less
pompously, it is a treat for eye and mind – roughly, to help you notice
things which otherwise would escape your attention or which you would
never quite get from descriptions and pictures alone.”
Bernard Rudofsky
Tuesday Nov. 26th at 8am-12noon / the Gym
>>>[Final hand-in]
At the final hand-in of the fall semester assignment the investigations
in [P1-P4] leading to the production
of one or more prototypical membrane(-s) mediating the relation human body –
covering – environment are to be presented.
Furthermore, the
zig-zag book is to be presented supplemented by
> 3 pages per
prototype: 2 pages documenting the prototype in drawings (plan(-s);
section(-s); details(-s), potentially supplemented by model photographs. 1 page
announcing the aesthetic programme of, and documenting a minimum of 3 critically
selected effects materialized in the prototype(-s).
> 2 pages
presenting a résumé of the development process [P1-P4]
> format: please follow the [P2] layout guidelines
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 IV
>>>Final review / the Gym
3rd-5th
semester students: Tuesday Nov. 26th - Thursday Nov. 28th
6th
semester student: Friday Nov. 29th
Presentation
On the basis of presentation of
On the basis of presentation of
a. the chosen
phenomena
b. the chosen ‘time-scale’ or speed
c. the chosen situation
d. the chosen
aesthetic programme(-s)
an oral
presentation, altogether lasting 20 minutes maximum incl. video screening, should
emphasize the chosen prototypical materialization(-s), and – by the use of
probes and foci - documentation of its (their) ability to produce the programmed
effect(-s).
Evaluation
Construed as leading to the achievement of the qualifications required in the compulsory curriculum 3rd-6th semester project development and presentation will be evaluated regarding to their ability to respond to assignment requirements.
Construed as leading to the achievement of the qualifications required in the compulsory curriculum 3rd-6th semester project development and presentation will be evaluated regarding to their ability to respond to assignment requirements.
Calendar:
Thu. Nov. 7th
2:00pm
approx.: [P4] Introduction/ the Gym, Paradisgade
Mon. Nov. 11th
9:00am [Pin up #1] /
the studio
Mon. Nov. 18th
9:00am: [Pin up #2] / the
studio
Tue. Nov. 26th
8:00am-12:00noon [Final
hand-in] / The Gym, Paradisgade
1:00pm-5:00pm [Final review] 3rd-5th semester students
1:00pm-5:00pm [Final review] 3rd-5th semester students
Wed. Nov. 27th
9:00am-5:00pm [Final
review] 3rd-5th semester students
Thu. Nov. 28th
Thu. Nov. 28th
9:00am-5:00pm
[Final review] 3rd-5th semester students
[Final review] 6th semester students (schedule to be confirmed)
Fri. Nov. 29th
9:00am-2:00pm [exhibition transportation + mount]
2:00pm [exhibition opening]/Ramboll DK, Olof Palmes Allé 22, 8200 Aarhus
Links:
American artist John
Grade´s Capacitor
http://www.johngrade.com/projects/ > Capacitor [Accessed 06.11.2013]
http://www.johngrade.com/projects/ > Capacitor [Accessed 06.11.2013]
[1] NISHIZAWA, Ruye, Teshima Art Museum, Japan (2010) [1] in: HALL, William (ed.) (2012) Concrete. New York, London: Phaidon Press, p.105
[2] WILLIAMS, Rosalind (2008), Notes on the Underground - An Essay on Technology, Society, and the Imagination, Boston, Mass.: MIT Press, 1st ed. p. 20
[3] Jean Nouvel, facade construction detail & photo, l´Institut du Monde Arabe, Paris (1987)<https://www.google.dk/search?q=nouvel+institut+du+monde+arabe&tbm=isch&tbo=u&source=univ&sa=X&ei=bHJ2Us2LIqWE4AT76IGoDg&ved=0CCoQsAQ&biw=1330&bih=661> [Accessed 16.08.2013]
[4] RUDOFSKY, Bernard, Lecture Tokyo, December 5th 1958. p.2, in: PLATZER, Monika (Ed): Lessons from Bernard Rudofsky. Life as a Voyage, Basel, Boston, Berlin: Birkhäuser, 2007, p. 171
[2] WILLIAMS, Rosalind (2008), Notes on the Underground - An Essay on Technology, Society, and the Imagination, Boston, Mass.: MIT Press, 1st ed. p. 20
[3] Jean Nouvel, facade construction detail & photo, l´Institut du Monde Arabe, Paris (1987)<https://www.google.dk/search?q=nouvel+institut+du+monde+arabe&tbm=isch&tbo=u&source=univ&sa=X&ei=bHJ2Us2LIqWE4AT76IGoDg&ved=0CCoQsAQ&biw=1330&bih=661> [Accessed 16.08.2013]
[4] RUDOFSKY, Bernard, Lecture Tokyo, December 5th 1958. p.2, in: PLATZER, Monika (Ed): Lessons from Bernard Rudofsky. Life as a Voyage, Basel, Boston, Berlin: Birkhäuser, 2007, p. 171
