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B1 Design

Arch 3001.06

Fall 2016

Dalhousie University

School of Architecture

Christine Macy (Coordinator)

Peter Braithwaite

Alec Brown

Talbot Sweetapple

Lisa Tondino

Cristina Verissimo

R O O M P A V I L I O N

Allegorical engraving of the Vitruvian primitive hut, Charles Eisen.

From Marc-Antoine Laugier, Essai sur l’architecture, 1755.

advanced through an integrated suite of courses: design studio, building technology, and architectural representation. In the design

studio, you will learn architectural design skills and put them to practice. In the building technology course, you will learn to make

your designs work with gravity, wind, sunlight and rainwater. In the representation course, you will learn to visualize and communicate

your design ideas. Architectural history and case studies in design studio will help you to learn from 2,500 years of accumulated

knowledge about human settlement, while professional practice will introduce you to an architecture career today.

Sketchbook and process portfolio

All architects develop and communicate their ideas through drawing. Whether you already enjoy drawing or you are new to visual

thinking, two very important tools for your development as a designer are the sketchbook and the portfolio.

The sketchbook

Make it your permanent companion. Write down and draw what you see in lectures. Use it to record your thoughts and observations

put down your design ideas, or make notes on what you want to work on tomorrow.

The portfolio is also a record of your work, but one that requires some thought about what you put in it, in relation to the design ideas

your designs. These might be photographs, site maps, projects by other architects, poetry, written or photographic descriptions that

evoke a sense of place or an effect you would like your design to achieve. As you work on your design, you will make many sketches

and architectural drawings of your project as it evolves. These might include impressions of a building from a distance, how it meets

the ground or landscape, the play of light on surfaces, or how one material meets another. You might study the structural system that

You may also paste pages from your sketchbook directly into the process portfolio!

range of work on a single page, helping you to make connections and linkages between different drawings and images, to edit them,

and show how architectural ideas evolve. When you meet with your tutor each week, use the process portfolios to show the tutor

what you have been working on. The process portfolio will be reviewed at midterm and the end of term and its contents and format

B1

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Lab: Bas relief model

Lab: sectional model

Lab: layered plan drawing

Lab: layered model

Lab: models & drawings

Lab: structural performance model

Lab: layered drawing

Lab: structural performance model

Lab: tonal drawing

Lab: window & adjacencies 1



Intro to B1 TechShadow

Shade, illuminence, daylight

Materials, wall construction

Thickness, roof/ceiling construction

Structural behaviours

Super- and sub-structure

Structural resistance

Structure in light

Envelope, cladding tactics

Detail design

Appearance in light

Intro to B1 Rep Freehand and measured

drawing

Orthographic drawing

Tone

Tonal section workshop

Model

Model workshop

Class moved to Wed aft

Class moved to Wed aft

Base drawings

Base drawingsPin-upEx Rm

DTR WorkshopEx Rm

Presentation mock-upsPin-upEx Rm

City walk for glossary

Seminar

Seminar

Seminar

Design Statement workshop

Archaeo-astronomy

(guest lec PK)

Seminar

Seminar

Seminar

Seminar

—

—

Skills tutorial 1: Drafting11:30-12:30 in H19Studio

2: Room in City DesignElements of archi’l form (TS)

Design in context (CV)Studio

Studio

3: Pavilion Case StudyPlan section elevation (LT)

Portfolio review with new tutor

Studio

Studio

Studio

DTR Workshop Ex Rm

Studio

1: Room in City StudyPurpose of architecture (CM)

Studio

Studio

Studio

Studio

4: Pavilion Counterpoint From parti to project (AB/PB)

Experiencing Architecture (CM)Studio

Studio

Studio

The Architect

Case Studies I

The Making of Architecture

Case Studies II

Tutorial on Manifesto

—

Manifesto Pin-upEx Rm

IntroductionAsst 1 Illustrated

glossary

Prehistory: Sacred caves & nomads

First Cities: Mesopotamia &

Egypt

Trail of Alexander: Persia & Greek

city-states

Presentation Illustrated Glossary

Seminar on Design Case Studies

Quiz

Three Empires: Rome, China,

Mexico

Byzantium & Islam

Spread of Buddhism

Mandalas, Minarets &

Monasteries

Quiz

Photography (KK)9-12:30

Photo workshop (KK)9-12:30

Skills tutorial 2: Shop | Modeling | Digital

9-10 | 10:15-11:15 | 11:30-12:30


9-10 | 10:15-11:15 | 11:30-12:30


9-10 | 10:15-11:15 | 11:30-12:30

Week 1Sept 12-16

Week 2Sept 19-23

Week 3Sept 26-30

Week 4Oct 3-7

Week 5Oct 10-14

Week 6Oct 17-21

Week 7Oct 24-28

Week 8Oct 31-Nov 4

Week 9Nov 7-11

Week 10Nov 14-18

Week 11Nov 21-25

Week 12Nov 28-Dec 2

Week 13Dec 5-9

Week 14Dec 12-16

monday fridaythursdaywednesdaytuesday

tech rephistdesign tech hist tutorialdesign

Project 4 Design Review Mon Dec 12 and Tues Dec 13 @ 9am | Pin-up Sunday Dec 11 @ 5pm

practice

Thanksgiving Day(no class)

B1 / M5 charette

Fall Study Break (no classes)

room

in the city

case study

pavilion

pavilion counterpoint

2 Round Robin ReviewPin-up Sun Oct 16 @ 7pm

Project 3 PresentationPin-up Wed Nov 2 @ 7pm

Hand-in Process Portfolio

Project 1 ExhibitionPin-up Wed Sep 21 @ 7pm

room in city

design

3

This studio course introduces principles of architectural form and design. It focuses on elementary forms — the room and the pavilion

you to fundamental architectural principles and essential design skills. Principles addressed include the social and symbolic

a thematic dialectic of the city and the shelter – that is, of situation and enclosure. The course also develops design skills such as

and visualization in drawing and modeling. Because architectural design draws on the history of architecture, is developed through

visualization and realized through building construction, this design studio is integrated with your history, representation and building

technology courses.

Course structure and weekly meeting timesThe course meets two afternoons a week, for lectures, studio and reviews. Students should plan to spend up to 18 hours per week

in studio on their design work.

Learning objectives To develop competence and skill in actively observing architecture. Active observing, through sketching, is the foundation of

architectural skill and knowledge, and it is developed through practice.

To develop competence and skill in analyzing works of architecture. Architecture’s long history is always with us — as a resource

and a teacher. We study works of architecture to learn from this history and contribute to it. We can also learn what to avoid. Some

lessons for the beginning student include:

To develop competence and skill in architectural design, integrating knowledge from your building technology and representation

courses, in the following aspects:

B1Architectural design

4

(Left, from top to bottom)

Serpentine Pavilion, Kensington Gardens, London. SANAA, 2009

Swoosh Pavilion, London. Architectural Association students, 2008

Infomab 10 Pavilion, Madrid. Kawamura Ganjavian, 2010

AssignmentsThe course is organized around four projects, with the following weight in terms of the course mark:

EvaluationYour design project should demonstrate:

and geometry, structural and material development, working to scale, and design methods and visualization in drawing and

modeling.

Grading will be done collectively by the tutors.

Required reading [Books available for purchase in the Dal Bookstore.]Simon Unwin, Analysing Architecture ISBN 9780415719162

Recommended readingThermal Delight in Architecture, Cambridge, MA: MIT Press, 1979. ISBN 026258039-X

Juhani Pallasmaa, The Thinking Hand: existential and embodied wisdom in architecture

ISBN 9780470779286

The Crit: An Architecture Student’s Handbook

ISBN 0750682256

(Right, from top to bottom)

Webb Chapel Park Pavilion, Dallas. Cooper Joseph, 2012

Oasis Pavilion, APMAP South Korea. OBBA, 2015

5

aggregated together, forms one of the greatest achievements of humankind — the city. We usually think of rooms as being indoors.

look at both indoor and outdoor rooms, and how they are connected to each other.

of additional layers of meaning. They are places that order the city around them, through their distinctive features of: being set apart,

providing an anchor between earth and sky, and accommodating ritual activity. Every important room has sequence of arrival, and a

Due date and review

EvaluationThis project will count f

A large world in a small world. A house like a city. A city like a house. Aldo van Eyck

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1

1a

1b

2a

2b

3a

3b

4a

4b 5b

5a

4b

1a

1b

3b3a

2a

2b

4a

5a

5b

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students to one of two buildings. Some of the

buildings have one major room, while others

have a series of smaller rooms. Each group

will decide on the limits of the study, and will

organize its members to carry out the work.

Everyone in the class is encouraged to visit

all the sites, located on the map to the right.

Design Group 1 - Peter Braithwaite’s studio

1b. St. Paul’s Anglican Church in the Grand

Parade

Design Group 2 - Alec Brown’s studio

Design Group 3 - Cristina Verissimo’s studio

3b. Seaport Farmers Market on the

waterfront

Design Group 4 - Talbot Sweetapple’s studio

Artillery Park

4b. St. George’s Church at Brunswick and

Cornwallis Streets

Design Group 5 - Lisa Tondino’s studio

5a. Goldberg Computer Science Building on

University Avenue

5b. Library in the University of KIng’s

College quadrangle

Groups and buildings

— it engages both body and mind as you look and analyze.

drawings through which you will communicate your analysis. You may want to divide this work among your group — so that some

neighbourhing buildings). Then, when you get together to look at the work, you can collectively decide how to put these together to

best tell the story of the room.

Aim to capture and communicate the architectural quality of the room(s) in all its richness, capturing and conveying the aspects listed

to the left (“some things to notice”). Think of the drawings as a collage, that is progressively layered.

plan, section, and elevation? Which drawings are better for which parts of your analysis?

orthographic drawings.

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(daylight, darkness, quiet, warmth,

(daylight, shade, trees, connected-

(monument, ornament, inscriptions).

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(Left) Site study of the kasbah in Ghardaia, Algeria, through an analysis of viewplanes and visual networks. André Ravereau, 1961.(Above) Comparative study of cooling strategies for court-yard dwellings in Damascus, Cairo and Ghardaia. André Ravereau, 1961.

Whiteread, 2000.

design intentions, learn how to communicate these intentions to yourself and to others — using the architectural language of drawing

and models — and to practice architectural design. Together with your design partner, you determine what activity the room will

proposal supports and improves the urban character of your study site. This assignment is shared between Design, Technology and

Presentation requirementsA design is never complete and every presentation is a work in progress. We will be looking for hand-drawings in pencil and plans

drawn to scale that are worked-over and revised, built up over time. Draw in people to study views and sightlines. Draw in sunlight

and wind, to show how your design modulates these. Also, quick little study models — if done carefully to scale — are wonderful

tools to study and develop your a design ideas. The core of your presentation should have the following elements:

to the top of the rolling partition.

Due date and review

Evaluation

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2

Luis Barragan.

(Left) Barragan’s sketch of the chapel interior in relation to the courtyard.

(Above) Street entry and passage from courtyard to chapel.

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are evidence that architecture’s long history is always with us — as a resource and a teacher. We study works of architecture to tap

into this history, learn from it, and contribute to it.

Architectural documentationAssemble a portfolio of your building, using books, journals, and the web (compare sources to determine which are reliable or

authoritative). Then, to thoroughly understand the pavilion, you are asked to complete two kinds of architectural documentation: a

set of orthographic drawings (plan, sections and elevations) and a digital or physical model.

Architectural analysisWorking from your documentation, your group will analyze the architectural strategies employed in the pavilion, including: spatial

meaning. Make the orthographic drawings the base of your analysis, and develop them as fully as possible to communicate your

Presentation requirementsYour group’s presentation will include four parts, presented in a wall length of 2.5 meters:

Due date, review, evaluation

3

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RADIAL PLAN AXIAL PLAN FREE PLAN

Naiku Shrine “Kotai

Uji-tachi, Japan

under Emperor Temmu

680

Mosque-Cathedral

Córdoba, Spain

784 - 987

Banff Pavilion

Banff, AB Canada

Frank Lloyd Wright and

Francis Conroy Sullivan

1913

Maison Tropicale

Brazzaville, Congo (Zaire)

Jean Prouvé

1949

Thorncrown Chapel

E. Fay Jones

1980

German Pavilion

Barcelona, Spain

1928

Nordic Pavilion

Venice, Italy

Sverre Fehn

1962

Sonsbeek Pavilion

Arnheim, The Netherlands

Aldo van Eyck

1965

Thermal Baths

Vals, Switzerland

Peter Zumthor

1996

Serpentine Pavilion

Kensington Gardens,

London

Toyo Ito and Cecil Balmond

2002

Beta Giyorgis Church

Lalibela, Ethiopia

under King Lalibela

12th c. BCE

Tempietto

in S Pietro del Montorio

Donato Bramante

1502

MIT Chapel

Cambridge, MA USA

Eero Saarinen

1955

Le Corbusier

1955

Water Temple

Awaji Island

Tadao Ando

1991

TALBOT

building materials, or abstract ideas. In this assignment, your design must engage its surroundings and respond to your case study

Site. Situate your design in relation to the case study pavilion and consider the site design as part of your project.

Programme. Determine the purpose (programme) of your pavilion, in relation to the case study building. It must include at least 800 sf (80 m2

human comfort (water, storage, etc).

Construction. A clear structural stategy and careful consideration of building materials are fundamental components of a well-designed pavilion.

Three scales of designArchitectural design considers multiple scales of investigation: the city, the building, and the body. A good architectural idea is one

that has implications at all three scales.

City scale. parti.

Building scale

Body scale

Presentation requirementsThe presentation should show the following aspects of design:

1) The pavilion in its site and in relation to the case study building

parti through development

rolling partition. Please place your process portfolio near your design work.

Due date and review

Evaluation

created for the First Biennale in Architecture, has been pulled up to

the Punta della Dogana in Venice.

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France. 2011.

freehand sketching, interspersed among more precise sections and

models from the Building Workshop.

Finalist designs for the the Fallingwater Cottages Competition, 2010

(Clockwise from top left)

1-2 Wendell Burnette, presentation boards

5 Saucier and Perotte, birds-eye view

6-8 Marlon Blackwell, site perspetive, section, model

9 MacKay Lyons Sweetapple Architects, model

1 2 3

4

5

678

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Dalhousie University · Week 7 Oct2428 Week 8 Oct31Nov4 Week 9 Nov711 Week 10 Nov1418 Week 11 Nov2125 Week 12 Nov28Dec2% Week 13 Dec59% Week 14 Dec1216 Lab:B Lab:Bs Lab:abBs Lab:Bsr

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