Thinking and suggesting solutions of REuse, REbuilding, REconstruction, and Rehabilitation to provide the needs of REturnees to the destroyed Syrian cities and settlements after the end of the war.
METHOD
Groups of 2-3 students formed with international colleagues to : choose one out of the 6 different building typologies in the neighborhood, create 2min need assessment video -Decide the strategy out of the 4Res to be followed and design the solution to provide the needs (storyboard, shop drawings are preferred).
TECHNIQUE
Need assessment Video preparation, Storytelling.
Design for Urgent needs without forgetting Identity of place and culture of the community.
STRENGTHS
– Respond to Urgent needs of buildings with a long term use (it is not emergency or temporary projects).
– Devloping strategies and solutions when a mass reversed migration occurs) Returning Refugees and IDPs).
Learning from the relationships between us and our urban environment students will conceive the program as an open framework, generating new radical scenarios in the city through architecture.
The aim of this workshop is to build upon what has been explored in the previous workshops.
METHOD
SEMINARS: Reflecting on the architectural program
and concept in architecture, understanding its relationship with the society, through talks with invited architects and artists.
EXERCISES: Unpacking the urban fabric. Reading the city as an ecosystem, identifying, understanding, and communicating (exchanging) the spatial and social dimension and qualities of
the communities (Human and non-human) around the globe.
OUTPUT: Communicating the idea/strategy through the production of an online showcase in form of a public exhibition. Each student will produce 10 images + a text of 200 words.
The Shuar tribe, residing in the Amazon rainforest, has expressed a desire for “modern housing.” In response, the Ecuadorian government has launched an international competition, questioning what it means to be modern today.
METHOD
Participants are tasked with designing a home in accordance with the competition’s guidelines:
The project will involve groups of 3 students producing detailed design plans in the required formats outlined in the competition rules, as well as creating an explanatory video.
STRENGTHS
This initiative positions architecture as a unique opportunity to contribute to a sustainable and forward-looking future. Notably, the winning team will have the opportunity to construct the proposed housing in the Amazon.
To understand traditional Architectural elements used in creating environmentally comfortable and healthy buildings. To be able to design new elements inspired by traditional ones
TECHNIQUE
-A model of the designed element.
-A story board (shop drawings are recommended)
-2min analysis presentation video.
AIMS
The importance of traditional and vernacular architectural heritage and its role in inspiring future design contextually compatible.
STRENGTHS
Intercultural exchange. and cooperation between different members with diverse backgrounds, expose to different architectural schools and learning methods.
Interpreting Public Place and Local Heritage; designing small ephemeral architectural structure for the Cultural Capital of Culture 2027
TECHNIQUE
Students will be paired with international colleagues: select an historic urban space in Évora and propose an urban device to enable people (locals, visitors, etc.) to enjoy that place.
AIMS
Raise awareness about the local heritage and how it can be displayed to the public in the outdoors.
STRENGTHS
“Bringing international students to Évora” and exchange knowledge about architectural heritage, as space and place.
A biotope is an area of uniform environmental conditions providing a living place for a specific assemblage of plants and animals.
Last semester we did a workshop related to biotopes. This year we will start with this information and we will revise the concept of Biotope using the work developed by the students as a task.
CONTENT / This year again we start making emphasis on the many changes that are shaking the architecture profession. More specifically, this time the introduction of non-human conditions in the process of design is needed to preserve the theory of the Earth as an organism – see Gaia hypothesis.
In this second semester, our course has students from more than twenty different nationalities. This is a strength of our learning, and we want to proceed with that singularity:
Every student needs to study and measure a biotope from her/his country, city, or town. A piece of landscape to understand the environment and the rules of the relations between plants and animals, including people.
AIMS / Our aim is to be capable of measuring an activity in a specific landscape and to do it we will have to design our measuring tools.
After identifying a local biotope, we will work with the measurements and descriptions of the place.
Find opportunities in our environments to start with a project.
Introduce yourself to the class.
Get to know the rest of the future members of your working group.
Learn how to contribute to group work.
METHOD /
1st working week: Introduce your biotope presenting a 3min video with the values of your singular environment. For that purpose, you have to revise the work developed by the students in the first semester.
Group work according to your common interests. Connect the activities of your biotopes in a story board (free technique).
2nd week: Final crit. Design your instruments of measuring aspects of live in your group selected biotope.
SCHEDULE / 2-Week Workshop. Weekly 8-hour class arranged with the students:
Introduction / 5 April 2023.
Video + Storyboard / 17 April 2023.
Final Crit / 21 April 2023.
EVALUATION / Develop the answers to 3 questions from these 12:
The WORKSHOP proposes that students begin to build a complete thought to tackle projects, to process, organize, view and display information so that “data collection” became proactive rather than an analytical tool. Have I been able to go beyond analysis procedure and convert the project into a proposition display?
The students have to learn to criticize their work and to draw conclusions. They have to process systems and models of architectural production, reformulating nonobvious descriptions, focusing their gaze on the invisible structures, not having preconceived ideas, producing unexpected findings, and non-discursive reasoning. Have I used my own ways of expression reformulating descriptions and avoiding the obvious and the use of direct images of the project culture?
The student begins to explore architectural expression systems to formalize their projective ideas. How many ways of expression have I used at work and what is the value expressed by each of them?
We have to learn to talk and discuss about architectural sustainability criteria, adding the concept of ecological niche project (mental territory, social, material, technical, medium-environmental, etc). Have I addressed the theme of THE WORKSHOP responding to the proposal on the sustainability?
We are going to know how to work in-group to discover the roles in production systems. How much information data made in-group have I used to express my project?
The students must participate and contribute with their ideas to the class as an essential part of knowledge. What is the intensity used to express my ideas through the architectural expression ways?
The students must learn to establish a personal lexicon to express his architectural ideas. Have you expressed your ideas through a personal lexicon, or have you imitated expression systems used by other designers seen in the media (magazines or Internet)?
You need positively assess risk and innovation as a necessary condition of design. Innovation defined as the use of allied disciplines to develop intellectual and technical tools to create new realities, within their own reality, exceeding the established models. Do I use allied disciplines for innovative production?
The students must enter, step by step, work details the project culture, you must learn to interpret and criticize from their own proposal. How many data have you appropriated from the culture to express my project?
You should produce an open system work, with more questions than answers. How many questions have you made throughout the design process and how many have you tried to answer?
Skills: Interest in the contribution, regardless of the attitude from which it was generated. What is the interest of my contribution?
Attitudes: how to tackle the problem independent of the outcome. Have I solved with intellectual and material effort to present the proposal?
Bibliography / The work by Thomas Thwaites and Philippe Rahm
CONTENT / what it is relevant on Architecture nowadays is talking about SUSTAINABILITY AND DIGITALIZATION. Last year we designed in the Metaverso in Venice to create new environments, relations and horizons.
The proposal for the workshop is to create a sustainable space with agents and objects in order to redesign the project developed last year inside the “METAVERSO”. The design was a scenario for a video game in VENICE.
As a third attempt for this workshop, using the video developed by the students last year, we are going to create a new horizon with LINES, AGENTS AND OBJECTS, and, going beyond, to design it into the “METAVERSO”. For this purpose, we will work together with one digital platform.
AIMS / to understand the presence of the SUSTAINABLE AND DIGITAL SPACES in our projects.
To relate drawings, physical models and video as a way to produce an architecture DIGITAL project.
METHOD / The students will use the drawing to create A SUSTAINABLE SPACE USING the video design by students AS A TASK. We will draw lines, agents and objects, and model them to create a space as a sustainable scenario to improve that video.
Finding opportunities of Multimedia Dawing_Model_Video relationships to start with a digital project.
Part 1: Draw. Individual Work. Picture frame
Select one scenario of the video in Venice and redraw the lines, agents and objects that constitute the sustainability of the space.
BIBLIOGRAPHY / “Power of ten”. Charles and Ray Eames:
Part 2: Model. Group Work. Story Board
Transform the individual work into a three-dimensional object.
BIBLIOGRAPHY / “Cloud Cities and Solar balloon travel”. Tomas Sarraceno:
Work all together to design the project as a new scenario for the video into the “METAVERSO” with all your ideas.
BIBLIOGRAPHY
“Let me tell you about my boat.” – The Life Aquatic. Wes Anderson
https://www.youtube.com/watch?v=d1RnYfFZK2k
SCHEDULE /
31 Jan Presentation
03 Feb Part 1
10 Feb Part 2
17 Feb Part 3
EVALUATION / Jury: UOU professors.
Those are 12 questions to be answered by students
1.-The WORKSHOP proposes that students begin to build a complete thought to tackle projects, to process, organize, view and display information so that “data collection” became proactive rather than an analytical tool.
Have I been able to go beyond analysis procedure and convert the project into a proposition display?
2.-Students must learn to self-reference and criticize their work and to draw conclusions. They have to process systems and models of architectural production, reformulating nonobvious descriptions, focusing his gaze on the invisible structures, not having preconceived ideas, producing unexpected findings, and non-discursive (arguments that are made but which does not follow anything immediately) reasoning.
Have I used my own ways of expression reformulating descriptions and avoiding the obvious and the use of direct images of the project culture?
3.-Student begins to explore architectural expression systems to formalize their projective ideas.
How many ways of expression have I used at work and what is the value expressed by each of them?
4.-We must learn to talk and discuss about architectural sustainability criteria, adding the concept of ecological niche project (mental territory, social, material, technical, medium-environmental, etc …).
Have I addressed the theme of THE WORKSHOP responding to the proposal on the sustainability?
5.-We are going to know how to work in-group to discover the roles in production systems.
How much information data made in-group have I used to express my project?
6.-The students must participate and contribute with their ideas to the class as an essential part of knowledge.
What is the intensity used to express my ideas through the architectural expression ways? How much time do I need to make a drawing or a model to express my ideas?
7.-The students must learn to establish a personal lexicon to express his architectural ideas.
Have you expressed your ideas through a personal lexicon or have you imitated expression systems used by other designers seen in the media (magazines or Internet)
8.-You need positively assess risk and innovation as a necessary condition of design. Innovation defined as the use of allied disciplines to develop intellectual and technical tools to create new realities, within their own reality, exceeding the established models.
Do I use allied disciplines for innovative production?
9.-The students must enter, step by step, work details the project culture, you must learn to interpret and criticize from their own proposal.
How many data have you appropriated from the culture to express my project?
10.-You should produce an open system work, with more questions than answers. The number of questions the student will be assessed is more than the number of certainties, you must use fuzzy logic, to support multiple possible truth-values, allowing multiple possible truth-values and strategies to create unpredictability.
How many questions have you made throughout the design process and how many have you tried to answer?
11.-Skills: Interest in the contribution, regardless of the attitude from which it was generated
What is the interest considering my contribution to the WORKSHOP?
12.-Attitudes: how to tackle the problem independent of the outcome
Have I tried to solve with intellectual and material effort to present the proposal. The project has developed enough quality
Alicante University (SPAIN) / Joaquín Alvado Bañón (joaquin.alvado@ua.es) + Javier Sánchez Merina (jsm@ua.es)
CONTENT / We know, now, that the rising waters could reach about 90 centimeters. This information should change our way to design the architectural project in this area. Above all, it is a question of letting the site guide the project rather than thinking of the architectural object and inserting it into a natural context.
Each student has to choose one a site located on the coast, a site close to home or a site visited during a trip, … a site well known to the student. The richness of UOU is that we should share the way these sites are experienced in different countries and share our views of how to proceed forward the climate change.
AIMS / The aims of this topic are:
To be able to observe, to read one site,
To be able to present one site with our sensibility,
To understand the rule of a window (not only seen by inside – light, wind, … – but also seen by outside – opening on a landscape, framing
To use the window as a pretext of showing something from one point of view (our point of view made of all we are made of OR the one from another)
The architect navigates in his house whose windows have the shape of a tribute, Lucas MERLINI, 1999.
METHOD /
1st working day: Present a sensitive collage (sketch, photo, references that come, free technique) and a story. Both, the collage and the story describe, in a sensitive way, haw the coastline site is experienced by people.
On a beach of Nice, in the South of France, 2015. Martin Parr for Magnum Photos agency.
2nd day: Final crit. Design a photomontage made by the model of a cabin, that stage the landscape (fictional and reality) as seen through a window. The cabin has to be built with organic material in order to be digested, one day, by the ocean.
Model of Strasbourg Cathedrale seen from Scharrabergheim-Irmstett
– 40km far away from, 2005
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / Friday 30 SEPTEMBER 14:00-14:30 CET
Stories / Thursday 06 OCTOBER before midnight
Presentation of the collages and creating of groups / Friday 07 OCTOBER 2022 – 12h30 – 15h30
Model – Final Crit / Friday 14 OCTOBER 2022– 12h30 – 15h30
EVALUATION /
This topic is about to “read” the site chosen ad how to account of our reading. Be able to “read” the site. What is the best way to explain this data or the other? What are the characteristics of the site that I will use in the project?
It is question to exchange our way to live on the coastline depend on where we live in the world. How can I explain the others students my culture and the way this site is experienced?
The window is a strong theme of the topic. The different functions of the window are :
to watch through,
to light the room,
to bring the wind into the room,
but moreover the way to see the world through our eyes, our culture, our “ourselves”,…
To be aware of the climate change and to explain the attitude we can have toward these changes.
The installation on the archipelago of Ulist ECOSSE by Perra NIITTYVIRTA and Timo AHO (Finnish artists)ANTARCTICA WORLD PASSEPORT de Lucy + Jorge ORTA (artistes Britannique et argentin)
CONTENT / This workshop is a spiritual and thematic continuation of ‘Texture, Rhythm, Pattern’ from the fall semester. Students once again use their photo cameras to capture their personal interpretation of human interaction with the architectural environment, and the potentials in visual storytelling through still images.
AIMS & METHOD / In a similar fashion to the previous semester, the workshop is structured into two photo exercises.
In the first exercise students seek for various unique and unusual scenarios in which the architecture of the urban setting influences the way people interact with buildings or the way they interact with each other. They try to capture these strange urban rituals that are characteristic only that one distinct environment, one special context or one micro location.
In the second exercise they try to find spatial (architectural) situations where the elements of the visual composition are created by light and shadow, or where light or the lack of it fundamentally changes how we perceive the space.
In the process, students further develop their visual compositional skills, learn to understand the compositional values of their built surroundings, and to explore the narrative potentials in their environment beyond the obvious.
SCHEDULE / Two-week workshop. Weekly on-line classes (+ individual work during the week) arranged with the students:
March 29th 2022 (Tuesday) – 9.30 am (CET) – Consultation (Project 1)
April 1st 2022 (Friday) – 10.00 am (CET) – Presentation & Critical Review (Project 1)
April 5th 2022 (Tuesday) – 9.30 am (CET) – Consultation (Project 2)
April 8th 2022 (Friday) – 10.00 am (CET) – Final Critical Review (Project 1&2)
EVALUATION / Evaluation is based on the fulfilment of workshop aims. Participating students are expected to gain a better understanding the visual characteristics of their urban surroundings and develop their visual compositional skills.
Budapest University of Technology and Economics, Faculty of Architecture (HUNGARY) /
CONTENT / Movement is fundamental to our experience of the spaces we inhabit, but design can fail to fully engage with this simple truth. Our representational traditions seem caught in ambitions for static portrayal, capturing our world as frozen moments in a seeming denial of time. So, when we begin designing the drawing tools we turn to are not necessarily promoting ambitions that contemplate the dynamics of everyday activity which our environment consists of. There is also little sense of our place within these drawings.
In our workshop we will begin a critical engagement with movement, building understanding of the nature of dynamic spatial experience, such as perceptual border zones of spatial vagueness, through direct engagement, teasing out implications. We will begin with a walk of fixed time and length, but in numerous locations, engaging with neighbourhoods near and familiar to each workshop participant. We will then start to untangle our experience and evolve our drawing techniques and tools to begin to construct a new vocabulary for dynamic representation. Through this we will start to challenge conventional technique and offer drawn frameworks which can be inhabited by our experience, offer our presence a voice to within the drawing.
AIMS / The aim of our workshop is to critically examine our experience of movement through space and begin to identify means to subvert traditional modes of representation in order to represent this. We therefore aim to identify modes of drawing and representational tools that can enable us to capture movement space so these might offer frameworks for future design proposals informed by movement.
METHOD / We will start with a shared ‘walk’ in the same time but multiple places. On route we will begin to identify perhaps previously overlooked phenomena. What do we notice, what starts to blur or fade, how do we experience these spaces differently in movement? We will experiment with capturing our movement through different means such as drawing, photography, photogrammetry, lidar depending on facilities available. We will evolve these evidences towards a representational language for dynamism
1st day: Introduction
Lecture: Spatial movement and drawing
We will divide into internationally diverse groups for a ‘walk’ taken at the same time for the same time period yet in disparate locations. Each group member will record this using one of a range of techniques agreed within the group. The ‘walk’ constitutes moving through space in the manner and at the speed you are familiar with for the set time.
2nd day: The findings from the ‘walk’ recording are critically analysed and key findings identified. The phenomena each group identify as the most intriguing become the focus of the exploration. How might this growing understanding begin to inform how we draw that space? Are we present within the drawing or are we outside of it? How does this start to challenge traditional forms of architectural representation? How might a drawing start to speak of this experience and assist us in designing within it? Review of each groups drawing tools.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Initial introduction at the end of the preceding week
Tuesday 29th March Introduction and development
Lecture: Movement and drawing: Sarah and Charlotte
Tuesday 5th April Evolution and Review
EVALUATION / Develop these actions:
Engaging critically with traditional modes of representation, questioning the static world they discuss.
Uncovering the variety of spatial experience.
Finishing with experimental proposals for drawing techniques which are capable of speaking of our experience of space through movement.
Bibliography /
Allen & Pearson Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture.
Robin Evans Translations from Drawings to Building and Other Essays.
Perez-Gomez, Pelletier Architectural Representation and the Perspective Hinge.
CONTENT / The urban fabric is interwoven with specific places such as urban gardens, parks, river banks, semi-public or semi-private green areas. Those little lungs of the cities, often play a role of informal gathering spots, where inhabitants can undertake various activities from picnics and barbecues, through sports, yoga, leisure up to everyday walks with pets or simply reading a book. Some of those actions are taken by individuals, while other require the group effort. The beauty of these spaces lies in their appearance in the form of (more or less) well-kept greenery, accompanied with equipment, seats, playgrounds and specific meeting places such as garden houses or sheds.
re: cultivation means a response, a cultivation of the plants in urban gardens as a social activity, but also the process of trying to acquire or develop a quality or skill. The “re:” refers also to re-fuse, re-duce, re-use, re-purpose and re-cycle (the 5R principle). Therefore the topic concern designs that will enhance social interaction, which lately was damage by COVID-19 pandemic, but also will pay attention to the eco-friendly materials and their multiply use or recycling.
AIMS / The aim of the workshop is to research and find the social potentials in the small green areas in the cities and to propose the factor that enhance social interaction and local community cooperation. The participants should take into account the environmental impact of the proposed architectural objects, as well as their simplicity (understood not as an object to which nothing can be added, but from which nothing can be subtracted in order to fulfil its intended role). The objects what can be retransformed, recycled or re-purpose and are made of local, recycled, unobvious materials will be of high demand.
The workshop will be an initial step to the summer school of architecture, during which participants will develop further their concepts, create shop drawings and finally will build prototypes of those social boosters for public spaces.
METHOD / The participants of the workshops will gather into group of 5- 8 members from different universities and cooperate in order to create a preliminary conceptual design of an architectural object that will answer for the need described above. The work on the project will include the research on certain areas (online and onsite – by the students from chosen location), research on the needs of users and potentials of the space, preparation of scenario for actions and social activities, preparation of conceptual design. Next, the concepts will be discussed during the mid-term presentations and further developed in terms of structural design and materialisation with the respect to the mitigating their negative impact on the environment.
THECHNIQUE / The presentation of the projects can have a form of sketches, notes, diagrams, CAD drawings, visualisations, collages, mock-ups, animations, videos, and other visual techniques that will support description of the assumed project idea, functioning and materialisation of the architectural object.
The object may have varies forms and functions, and the authors should not limit themselves at the first stage of design.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / 11 March 2022.
Mid-term presentations / 18 March 2022.
Final Presentation / 25 March 2022.
Optional consultations 15 and 22 March 2022.
EVALUATION /
– Quality of the research on the potential spots and needs of local community.
– Originality of the concepts.
– Innovation in social and material solutions.
– Use of materials and solutions that mitigate the negative impact on the environment.
– Clear and comprehensible project content and presentation.
Wroclaw University of Science and Technology (POLAND) /
CONTENT / We live suspended between the digital and the physical, in a liminal space. The pioneers of digital landscapes we navigate realms unfettered by physical constraints. A place where stories can construct and reconstruct themselves at will, where time is not just static but can be reversed, where truth can be rewritten and history revised. Orientation increasingly turns to an expanding mirror world, the echo of Borges fiction. A 1:1 remaking of the world, where huge ships may hide within the folds of fake signals, infrastructure is analysed through its digital twin and non-existent islands rise into being leading very real exhibitions to search for them.
This can begin to paint a picture of an increasing retreat from reality into our imaginaries, with all the dystopian and problematic environmental consequences this could bring. Yet it also holds within it the potential to enhance and deepen our embodiment within the physical realm. AI and other technologies offer the opportunity for us to sculpt this liminal realm to enhance our spatial embodiment, extending our understanding and engagement of the physical world and ourselves.
We will explore how the design of our architecture and cities might engage critically with these liminal landscapes, beginning to define our mode of engagement through the spaces we dare to imagine.
AIMS / The aim of our workshop is to begin to explore the implications of our evolving liminal condition as an opportunity for extending embodiment. We aim to begin to construct potential frameworks of engagement, formulating a zoo of proto architectures for the liminal realm. We will focus on the potential of AI to augment spatial experience.
METHOD / We will be teaching through the medium we are contemplating, the digital realm of Zoom, Teams, Miro. We will therefore begin through a questioning of the space of this connection. For our workshops each of us will simultaneously enter into multiple spaces in multiple countries through a digital presence. Yet the sound of our voices will echo around solid walls and physical spaces remote from us, influencing and impacting places we have never visited. Working in small groups spread across disparate locations we will begin with attempting to grasp the nature of this liminal space, using drawing as a tool to start to discuss its implications for our inhabitation of space. With the aid of this initial navigation we will begin to focus on how AI might inform our engagement with liminal spaces to extend embodiment, workshopping opportunities to evolve a zoo of proto architectures.
1st day: Introduction
Lecture: Liminal Landscapes: Sarah Stevens (Architecture lecturer, University of Brighton) Lecture: AI and architecture: Marcus Winter (AI lecturer, University of Brighton)
Workshopping ideas and then dividing into small groups to evolve specific areas of interest.
2nd day: Workshopping group proposals through concept images for initial proto architectures. Opening of the zoo of the liminal landscape with the final review of the group’s proto architectures.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students: Tuesday 15th March Introduction, lectures, workshopping proposals
Lecture: Liminal Landscapes, by Sarah Stevens
Lecture: AI and Architecture, by Marcus Winter
Tuesday 22nd March Workshopping proposals and final review.
EVALUATION / Develop these actions:
– Critically engage with the digital realm that augments out day to day lives.
– Uncover implications of differences in cultural approaches.
– Finish with concept proposals for proto architectures which begin to discuss both the physical and digital realms we inhabit, furthering our embodiment in the physical.
University of Brighton (UK) / Sarah Stevens – architecture (S.Stevens2@brighton.ac.uk ) + Marcus Winter – computing: AI (Marcus.Winter@brighton.ac.uk)
CONTENT / We started last academic course saying that many changes have been in the architecture profession since Journey to the East was written: the diary of Le Corbusier’s trip in 1911. This book is a collection of visual notations or impressions perceived by Le Corbusier as a visitor to several cities in Southeast Europe. Later, the acquired disciplinary knowledge acted as an inspiration for his architecture.
Our aim last year was to travel to an unknown part of the city with the task to practice an activity to learn from the local, its technology, culture, and society. It was an experience to empathize Architecture as a Comparative Study, learning as a trip, a journey as an experience.
We start this course realizing that many changes have also occurred since last year. Let’s focus in just this important fact: no one is capable to predict the future.
Our workshop takes this uncertainty as an opportunity to imagine new realities and, why not, coexisting at the same time.
This time we will discuss and go further with our proposals and designs for our desired trips, redefining the limits of architecture by experiences to build up research.
AIMS / To identify a desired experience. To work with the imagination and describe a place for your experience. To find opportunities in your desires to start with a project. To introduce oneself to the class. To get to know the rest of the future members of your working group. To learn how to contribute to group work.
METHOD / The student’s desires as building material. To introduce our personal skills and portfolio into a place. Trip to a new destiny you desire to create.
1st day: Introduce yourself presenting a 3min video with the values of your experiences in the desired reality.
2nd day: Group work according to your common interests. Connect your realities in a story board (free technique).
3rd day: Final crit. Design your Zoom setting. Mock-up scale 1:1.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / 01 Feb 2022.
Video of experience / 04 Feb 2022.
Group story board / 08 Feb 2022
Final Crit / 11 Feb 2022.
EVALUATION / Develop the answers to 3 questions from these 12:
The WORKSHOP proposes that students begin to build a complete thought to tackle projects, to process, organize, view and display information so that “data collection” became proactive rather than an analytical tool. Have I been able to go beyond analysis procedure and convert the project into a proposition display?
The students have to learn to criticize their work and to draw conclusions. They have to process systems and models of architectural production, reformulating nonobvious descriptions, focusing their gaze on the invisible structures, not having preconceived ideas, producing unexpected findings, and non-discursive reasoning. Have I used my own ways of expression reformulating descriptions and avoiding the obvious and the use of direct images of the project culture?
The student begins to explore architectural expression systems to formalize their projective ideas. How many ways of expression have I used at work and what is the value expressed by each of them?
We have to learn to talk and discuss about architectural sustainability criteria, adding the concept of ecological niche project (mental territory, social, material, technical, medium-environmental, etc). Have I addressed the theme of THE WORKSHOP responding to the proposal on the sustainability?
We are going to know how to work in-group to discover the roles in production systems. How much information data made in-group have I used to express my project?
The students must participate and contribute with their ideas to the class as an essential part of knowledge. What is the intensity used to express my ideas through the architectural expression ways?
The students must learn to establish a personal lexicon to express his architectural ideas. Have you expressed your ideas through a personal lexicon, or have you imitated expression systems used by other designers seen in the media (magazines or Internet)?
You need positively assess risk and innovation as a necessary condition of design. Innovation defined as the use of allied disciplines to develop intellectual and technical tools to create new realities, within their own reality, exceeding the established models. Do I use allied disciplines for innovative production?
The students must enter, step by step, work details the project culture, you must learn to interpret and criticize from their own proposal. How many data have you appropriated from the culture to express my project?
You should produce an open system work, with more questions than answers. How many questions have you made throughout the design process and how many have you tried to answer?
Skills: Interest in the contribution, regardless of the attitude from which it was generated. What is the interest of my contribution?
Attitudes: how to tackle the problem independent of the outcome. Have I solved with intellectual and material effort to present the proposal?
Bibliography / Le Corbusier. Journey to the East. Cambridge, MA: MIT Press, 1987.
AIMS / To research and design an emergency architecture in chosen context.
STRENGTHS / Understanding the need for a shelter in different emergency contexts and situations (refugee, natural disasters, homeless). Creating a possible scenarios and solution.
Wroclaw University of Science and Technology (POLAND):
Understanding the historical dynamics and characteristic features of the urban built heritage and the interaction with its dwellers in the process of developing a personal interpretation of the city through the eye of the camera.
TECHNIQUE
Students will use their camera in the exploration of urban patterns, textures, visual rhythm, contrasts, contextual interrelations and constellations, between the city and its inhabitants and prepare their personal reading of the city through a photo series.
AIMS
To understand how buildings and built structures and their interaction with the living environment define and initiate unique cultural, social and psychological synergies.
STRENGTHS
Developing a new perspective and understanding of the individual character of our urban environment.
Budapest University of Technology and Economics, Faculty of Architecture (HUNGARY):
Reinterpreting the notion of architecture through reuse of existing buildings and areas.
TECHNIQUE
Through exploration of existing and underused buildings and areas in the city we would like to discover new infinite places reinterpreting the notion of commons in the EU cities.
AIMS
To reflect on the role of the architecture and explore new tools for the architectural and urban design, through innovative participatory methods. The WS will include talks with practitioners and experts, reading seminars and co-desing sessions.
STRENGTHS
Interdisciplinar and Intercultural. The aim is to produce an ATLAS that can be used as the starting point for further explorations and reflections.
Umeå University (Sweden) / Malmö University (Sweden):
Storytelling – interpreting place through imagination and language.
TECHNIQUE
Through using the rhythm, tone and intonation of language explain and question place in words from language(s) you are not familiar with.
AIMS
To use languages and words that students are not familiar with to create a story that helps a listener to read a place, even if that listener does not ‘speak’ the language.
STRENGTHS
International, avoids the use of English uses a lingua franca, explores a medium of communication neglected in architecture and urbanism. Accessible to all students regardless of their mother tongue or other known languages.
University of the West of England, Bristol (ENGLAND):
Analyses & Self-reflection on different creativity styles. Based on 3 frameworks of design. 3 pre-recorded lectures about theory of creativity and workshops will be given as base for the exercise.
TECHNIQUE
First week will be desiccated to production of fast ideas, drawings/sketches based on theory and workshops. Second week will be dedicated to refine one concept.
AIMS
Undertraining theory of creativity and understanding of own design strength based on individual fast test-design exercised.
STRENGTHS
Developing more couscous and more structured and more approach to own creativity.
Use drawing as a tool to understand the experiences of people in place.
TECHNIQUE
Build a relationship with a participant in the neighbourhood you are studying and make a series of drawings of their experiences/stories/histories.
AIMS
To challenge the generic idea of ‘the user’ by understanding the nuanced and complex experiences of people in the places where they live, and how the built environment and urban form impact these experiences.
STRENGTHS
Use architectural skills combined with anthropology, to expand beyond common methods of analysis in architecture.
Architecture at Queen’s University Belfast School of Natural and Built Environment (UK) :
Identify and analyse the topographic condition you would like to work with in response to the brief (eg: land that becomes an island, land/water edge, open water).
TECHNIQUE
Through models, physical and digital, develop ways of dealing with unpredictable water levels to propose a structure for shelter, be it attached to land and responsive or amphibious or buoyant…
AIMS
To stimulate quick design responses for scenarios which require adaptable solutions.
STRENGTHS
Employ architects’ ability to solve complex problems to offer solutions for extreme situations (non-site specific solutions with site specific knowledge, skills, materials).
Through models, physical and digital, develop ways of dealing with unpredictable water levels to propose a structure for shelter, be it attached to land and responsive or amphibious or buoyant…
AIMS
To appreciate cognitive mapping as a tool that assigns preferences, determines attitudes and predicts possibilities.
STRENGTHS
To transcend the familiarity with cartographic maps (that correspond to a dimensional reality) and explore a plurality of experiences/ cultures/sites via alternative representation techniques.
CONTENT / What it is relevant on Architecture and Art, talking about objects is the matter. Matter as a physical substance that create atmospheres, relations and light.
The proposal for the workshop is to create matter with lines in order to design a “Material City”.
As a second attempt for this workshop, using the definition of Marble, we are going to create matter with a pattern of lines and, going beyond, to design one “Marble City”. For this purpose, we will work together with MIRO.
AIMS / To understand the presence of the matter in our projects.
To relate drawings, physical models and video as a way to produce an architectonical_artistic project.
METHOD / The students will use the drawing to create matter.
We will draw lines and model them to create a space as a matter.
Part 1
Draw. Individual Work.
Select a piece of marble, draw, and model the lines that constitute the matter of the stone.
Bibliography
“Power of ten”. Charles and Ray Eames.
“How I built a toaster from scratch”. Thomas Thwaites. https://www.ted.com/talks/thomas_thwaites_how_i_built_a_toaster_from_scratch
Part 2
Model. Group Work.
Transform the lines into a three_dimensional object
Bibliography
“Cloud Cities and Solar balloon travel”. Tomas Sarraceno.
Work all together to design a “Material City” with all your ideas in MIRO.
Bibliography
“Let me tell you about my boat.” – The Life Aquatic. Wes Anderson
SCHEDULE / Workshop:
17 Sept / Presentation
24 Sept / Part 1 + 2
1 Oct / Part 3
EVALUATION / Jury: UOU professors. 1st, 2nd and 3rd prize.
Those are 12 questions to be answered by students
1.-The WORKSHOP proposes that students begin to build a complete thought to tackle projects, to process, organize, view and display information so that “data collection” became proactive rather than an analytical tool.
Have I been able to go beyond analysis procedure and convert the project into a proposition display?
2.-Students must learn to self-reference and criticize their work and to draw conclusions. They have to process systems and models of architectural production, reformulating non obvious descriptions, focusing his gaze on the invisible structures, not having preconceived ideas, producing unexpected findings, and non-discursive (arguments that are made but which does not follow anything immediately) reasoning.
Have I used my own ways of expression reformulating descriptions and avoiding the obvious and the use of direct images of the project culture?
3.-Student begins to explore architectural expression systems to formalize their projective ideas.
How many ways of expression have I used at work and what is the value expressed by each of them?
4.-We have to learn to talk and discuss about architectural sustainability criteria, adding the concept of ecological niche project (mental territory, social, material, technical, medium-environmental, etc …).
Have I addressed the theme of THE WORKSHOP responding to the proposal on the sustainability?
5.-We are going to know how to work in-group to discover the roles in production systems.
How much information data made in-group have I used to express my project?
6.-The student must participate and contribute with their ideas to the class as an essential part of knowledge.
What is the intensity used to express my ideas through the architectural expression ways? How much time do I need to make a drawing or a model to express my ideas?
7.-The student must learn to establish a personal lexicon to express his architectural ideas.
Have you expressed your ideas through a personal lexicon or have you imitated expression systems used by other designers seen in the media (magazines or Internet)
8.-You need positively assess risk and innovation as a necessary condition of design. Innovation defined as the use of allied disciplines to develop intellectual and technical tools to create new realities, within their own reality, exceeding the established models.
Do I use allied disciplines for innovative production?
9.-The student must enter, step by step, work details the project culture, you must learn to interpret and criticize from their own proposal.
How many data have you appropriated from the culture to express my project?
10.-You should produce an open system work, with more questions than answers. The number of questions the student will be assessed is more than the number of certainties, you must use fuzzy logic, to support multiple possible truth-values, allowing multiple possible truth-values and strategies to create unpredictability.
How many questions have you made throughout the design process and how many have you tried to answer?
11.-Skills: Interest in the contribution, regardless of the attitude from which it was generated
What is the interest considering my contribution to the WORKSHOP?
12.-Attitudes: how to tackle the problem independent of the outcome
Have I tried to solve with intellectual and material effort to present the proposal. The project has developed enough quality.
STRENGTHS / Finding opportunities of Multimedia Dawing_Model_Video relationships to start with a project.
CONTENT / The corner plays a very special role in any architectural scale. From the micro to the macro. It is the boundary of architectural spaces, both inside and outside. Corners define places and transitions; they mark beginnings and ends. Corners are the exceptions of any rule.
However, the corner has, for a long time been also an architectural theme (the Doric Corner Conflict) of rhythmic-harmonic transition from one side to another, of proportion, scale, dimension and creative materialized expression. The aesthetic solution of the corner is closely connected with the constructive solution.
At all architectural scales we find manifold examples and spatial situations where the corners play a special role representing unexpected creative design solutions: from furniture design to interior fit-out, in constructive details, in the building scale as well as in urban design. Depending on their function, their context, and the designers specific answer, corners appear in different shapes: right-angled, rounded, beveled, recessed, dissolved, different materializations or different roles as spaces of transition.
AIMS / Analyzing, understanding and visualizing the meaning of a self-selected corner, describing its role as the end of a grid, an architectural component of precise thought and materialization in different scales (multi scalar context).
METHOD /
Identifying a corner of interest within an architectural or urban context (not forcibly made of stone)
Exploring and analyzing its architectural specificities, function and materiality
Determine defining the typology of the corner
Documenting in form of
line drawings (section, elevation, plan, axonometric projection)
3 photos (from context to detail)
Presenting and discussing the findings
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / 30 Apr 2021.
Development / 03-14 May 2021.
Final Crit / 14 May 2021.
EVALUATION /
Evaluation criteria:
Originality of the chosen corner object.
Clarity and depth of the analysis:
function, design, interaction and impact on the context, typological classification, materiality-immateriality.
Quality of the presentation material.
Learning outcome:
Learning to identify and understand that architectural elements (here: corners) can have specific roles within different scales and contextual situations.
CONTENT / Architectural details are often seen or even reduced to tools for solving technical issues and other things related to construction. Or they are described in relation to architectural styles. But what happens when we look at the detail and use the detail as a form of spatial agency?
Agency has to do with performance. It fosters relationships. Agency is the capacity of an actor (detail) to act in a given environment (whole). Within that mindset we wonder whether the architectural detail can go beyond the mere solving of a technical issue and thus having agency? What is the relationship between the architectural detail and the conceptual intent of the building to which it belongs? Is it only ornamental details that can have agency or do other types of details have spatial agency? If we would affirm that an architectural detail can have agency, then this implies that details could teach us something about important themes related to the Anthropocene…
Through this workshop you will be invited to find and explore the relationship between material, the place a detail has in a project and the overall concept and intent of the project. You will be asked to consider in what ways a detail can represent the whole? How can you use the development of an architectural detail to move the project forward? How can the detail highlight and address actual ‘spatial’ urgencies?
So basically, it comes down to this crucial question: ‘Can a detail save the world?’
AIMS / To identify a place as a desire. To work with the imagination as a real context. To describe a place with your experience. To find opportunities in your desires to start with a project. To introduce oneself to the class. To get to know the rest of the future members of your working group. To learn how to contribute to group work.
METHOD / Model-making, sketching, drawing, collage and annotating. Documentation of the process in a Leporello booklet A6.
1st day: Brings up to date regarding the state of your ongoing project or body of work developed during the semester. Formulate a clear intent.
2nd day: Individual work developing of the detail and documentation of the process. Discussion of the work in small peer-groups.
3rd day: Final crit.
TECHNIQUE / Documenting the process of the workshop through producing a small A6 Leporello booklet. No waste! Discussing the works in small groups. Organising a feedback carousel.
Together these Leporello booklets form a new collection of ‘details with intent’.
AIMS /
To consider that in a design process the arrow does not always point from the large to the small.
To think spatially in a multidirectional way.
To consider the architectural detail as an architectural gesture: something small that can have a big impact.
To get acquainted with the concept of spatial agency.
To experience documenting as an ongoing production and part of the design process.
STRENGTHS /
Putting the architectural detail center-stage.
Exploring the impact of the small in relation to the whole.
To work on a very tactile thing, as a sharp focus, but which also has the potential for a greater impact.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / 30th April 2021.
Development / 3-13th May 2021.
Final Crit / 14th May 2021.
EVALUATION /
Have I been able to formulate an intent for my project?
Did I explore different options?
Was I able to hold on to more than one line of thought simultaneously?
Was I able to document my process and development in an understandable way?
Did I succeed to communicate my insights and development in a clear way, both graphically and in annotating of the graphics.?
Did I increase my knowledge on spatial agency?
Was I able to express my thoughts and engage my peers in a conversation?
How much did I use experimentation to move the assignment forward?
Bibliography / Tatjana Schneider and Jeremy Till. Beyond Discourse: Notes on Spatial Agency. Footprint: Agency in Architecture: Reframing Criticality un Theory and Practice, Spring 2009, pp 97-111.
James Corner. The Agency of Mapping. Mappings (Denis Cosgrove ed.). Reaktion Books, 1999, pp 213-252.
Faculty of Architecture KULeuven Campus Sint-Lucas Brussel/Gent /
CONTENT / Today, architecture, public spaces, gardens and landscapes are experiencing moments of contamination like never before seen in the history of these disciplines. Probably, during the Renaissance and soon after, major projects such as Versailles brought together the disciplines of architecture and landscape, creating physical connections and visual relationships between garden spaces and the monumentality of architecture.
Today, at a time of democratization of public spaces in the city that is taking place through new and important projects, they need to strategically review the design of the soil, triggering processes of greater contamination between the closed space of architecture and the open space of gardens, landscape, parks, and public space.
AIMS / The workshop aims to investigate the relationship between inside and outside by imagining the disappearance of closed and open space, generating interconnected and fluid spaces.
METHOD / Students are asked to choose a place, either real or imagined, and propose spaces of relationship between architecture and landscape. Sections, diagrams, maps or any other media they consider useful to redesign of the ground of cities.
1st day: brief introduction of inside outside by professor; Presentation of the spaces chosen by the students.
2nd day: Group work.
3rd day: Final critic.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / TBA.
Development / TBA.
Final Crit / TBA.
Bibliography / Berrizbeita A, Inside outside: Between Architecture and Landscape. Editor Rockport Pub.
Corner J., The High Line, Phaidon.
……….
Università Mediterranea di Reggio Calabria (Italy) / Valerio Morabito(valerio.morabito@unirc.it)
CONTENT / Everyone has a favourite architect and artist and we would like to live two days and at least a night in one of the designed dwellings in an urban context by her or him. In this case we can understand the spaces of the house in the phenomenological way and know how it was more important for the architect, which were their concepts. It has to be part of the city because we will try to discover its way of integration.
In this pandemic period, we notice the openness of the architecture publications, magazines and even the famous architect’s will to share the precious information. In this way, we invite you to explore your most wanted building through, first of all, the plans and sections, second of all, the conceptual 3D model and, third of all, the short interview with the architect and someone from their office.
All of them create an imaginary atmosphere about that building and play with new spaces which you will add on the conceptual 3D model. You will design your house based on your needs, but related to the initial concept. So, we provoke you to re-design the former.
This year we have organized a 2-week workshop living in our favourite architect’s building.
It is also an experience to study the landscape of the windows of this house, because we will find many photos that have captured the exterior context and the way of entering the light in a room. Through these images the look is home to show the architect’s intentions.
We discover a fascinating world of the house only in two-week discussions and your serious analysis.
AIMS / To identify a dwelling as a desire. To work with the found documents, imagination and your needs. To describe a city with your chosen house in collaboration with your favourite architect or office of architecture. To find opportunities in your desires to start with a project.To introduce oneself to the class.
METHOD / The student’s life and interests as building concept and way of insertion in a context. To introduce our personal skills to re-design a building. Live imaginarily to a new space, which you desire to know.
1st day: Introduce yourself presenting a 3min video with the values of your interests of an architect.
2nd day: Group work according to your common interests. Connect around the main architect’s ideas from his or her period of design. Here we will meet with persons who appreciate the same architect, but not the same ideas, details.
3rd day: Final crit. Design your Zoom setting.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / 30 th April, 2021.
Development / 3-7th May, 2021.
Final Critics / 10-14 th May, 2021.
EVALUATION /
Bibliography / The collection of El Croquis magazines.
The collection of Domus magazines.
The collection of OASE magazines.
The collection of SAN ROCCO magazines.
The collection of sITA – studies in History and Theory of Architecture publications.
Ion Mincu University of Architecture and Urban Planning, BUCHAREST, ROMANIA/
Housing forms the rooms, neighborhoods and cityscapes of our everyday lives. Housing is where our most personal happiness and societal well-being originate and find their expression. Simultaneously housing illustrates personal dramas and social ills. The Question of Housing (referring to Engels, Friedrich: Zur Wohnungsfrage. Leipzig, 1872) is increasingly reduced to the phenomena of the real estate market and disassociated from the cultural practice of architectural urbanism. Across Europe alternative models of housing concepts are lacking and for large parts of societies it is becoming more and more difficult to gain access to self-determined and affordable housing.
The right to housing is a human right. Article 25 of the Universal Declaration of Human Rights was adopted by the United Nations General Assembly and states that „Everyone has the right to standard of living adequate for the health and well-being of himself and of his family, including food, clothing, housing and medical care and necessary social services.“ (Universal Declaration of Human Rights (UDHR). Paris, 1948).
AIMS
Housing Europe – Challenging Sameness investigates the interrelation between urban design and architecture, between housing and social reality taking the participating University Cities as its Case Studies. Housing is the field of architecture most heavily influenced by formal, social and spatial conventions. Investigating specific typologies of housing in different urban environments and visualizing the manifold forms and types, considering the various scales of public and private interfaces aims to broaden the understanding of – and the perspective on Housing.
The relationship of density, complexity, difference and openness of spatial concepts and use arises in every housing design concept regardless of its location or size.
Today various forms of (re-)densifications continue to absorb the never-ending flow of new urban inhabitants while city expansions are being developed as new island within ever-growing metropolitan areas. At the same time shrinking cities, abandoned real estate speculations, or vast structural changes are phenomena found in various regions across Europe. All of these scenarios impact the specific responses to The “Question of Housing”.
What can we learn from traditional housing typologies?
How does housing types differ in various parts of Europe (or further)?
How can we learn from the specificities of the other?
How can the battle for quantity be transformed into new architectural quality?
How does the concept of adaptability manage the constant changes of individual and common demands?
How does the demand for adaptable, neutral structure relate to the fact architects are asked to create specific, unique buildings?
Which forms of housing do residents really identify with?
Due to factors like climate, culture, social practices, design – to name a few – the use of public space differs widely in different parts of Europe. Even if the proportion of ownership resided Housing varies greatly throughout Europe, the forms of Housing seem to be more of the same in different parts of the continent – but is this really true? New forms of communities, processes and ownership models are being encouraged and developed to either cope with an ever-increasing demand for affordable housing in rapidly developing urban environments or the immediate demands of structural shifts.
The term sameness has an ambiguous meaning. On the one hand it describes a lack of variety, uniformity and even monotony – on the other hand sameness defines the quality of being the same which has the capacity to generate identity through similarity.
METHOD
Housing Europe – Challenging Sameness identifies, analyses, visualizes and explains specific typologies of Housing present in the respective Case Study Locations. Representing the most important characteristics in a consistent manner: key facts, photo, axonometric projection of research object and urban context and axonometric projection of a selected single unit.
Comparing typical structures aids in understanding spatial qualities and deficits of urban housing architectures. How do essential architectural elements like dimension, proportion, cohesion, access, circulation, representation, private and public space contribute to the urban architectural form of Housing in the specific context? Creating an understanding for both conventions as well as concepts of alternative, unexpected spatial configurations, promoting the ideas of radical spatial, social and functional mix.
The Workshop focuses urban housing typologies and the multiplicity of relations between the architectural object and the city. As a manual of existing typologies, the outcome of the International Workshop allows all participants of Housing Europe – Challenging Sameness to evaluate existing conditions of Housing in a broader context based on different urban realities. This knowledge encourages a new thinking regarding the own design process that transfers, translates and transposes this understanding to ultimately challenge sameness with experimental Urban Architecture that has to be deeply enrooted and interwoven with the context of the contemporary city.
SCHEDULE
23.04.21Introduction / Workshop
30.04.21Workshop / Presentation
EVALUATION
Groups of two students to analyze, visualize and communicate on housing project
Key facts of research object
Series of photos
Axonometric projection of research object and urban context
Axonometric projection of a single unit
Evaluation of Drawings after Hand-in
BIBLIOGRAPHY
Engels, Friedrich: Zur Wohnungsfrage. Leipzig, 1872
Janson Alban; Wolfrum Sophie: City as Architecture. Basel, 2018
Wietzorrek, Ulrike: Wohnen+: Von Schwellen, Übergangsräumen und Transparenzen, Basel 2014
Wolfrum, Sophie: Squares – Urban Spaces in Europe. Basel, 2014
CONTENT / Once hugely determinant in the development of shoreside urban areas, the evolution of city structure, and vital in the survival of the local communities, the role and hence the appreciation of urban riverfronts largely diminished, somewhere in the last century. With the development of infrastructure and the general social and economic transformations, rivers were often viewed as obstacles in city planning. It wasn’t until about three decades ago that cities all around Europe began to rediscover the underlying enormous potential of urban rivers.
Beyond the apparent aesthetic, recreational values, rivers also largely define urban identity, and at the same time evoke a spiritual bond, cultural and historical cohesion among twin cities along their banks. Danube alone connects four capitals and a number of large towns both physically and culturally. Yet, up to this point there still are a great number of urban riverfronts which have been underused partly due to bad design, or simply by oversight.
AIMS / This workshop aims at the investigation of the relationship between inter-urban rivers and riverside communities; the understanding exploration of the potential of underutilised embankment sites, and the inspiration of architecture students to exploit this potential through creative design thinking and collaboration.
METHOD / Working in groups of 2 or 3, students explore the possibility of small-scale design interventions in larger riverside cities.
Using online maps, like Google Earth they locate urban locales, smaller embankment sites which in spite of their obvious proximity to residential areas have clearly failed to create the natural connection between the people and the water; or even worse, which currently act as a barrier between the community and the river.
Then, they select one and create design ideas to reintroduce, restore or strengthen the bond, the interaction. The groups lay out a series of design solutions which together help reinforce local, visual as well as international and intercultural identity, at the same time.
SCHEDULE / Two-week Workshop. Weekly 4-hour class arranged with the students:
1st class – Introduction & potential site mapping
2nd class – Development of conceptual solutions
3rd class – Final Crit
EVALUATION / Evaluation is based on the fulfilment of workshop aims. After the workshop students are expected to have a better understanding of river cities, the ability to evaluate the contextual quality of embankment sites, and to be able to create the scene of community interaction with the river through the language of architecture.
CONTENT / In his book Construire autrement in 2006, the builders, architect, artist, planner (…) Patrick Bouchain reflects on alternative way of building societies: “I believe in temporariness and mobility of things, in exchange. And I work in order to create, in architecture, a situation in which construction could be achieved in another way and could produce unexpectedness, and thus enchantment. Construire autrement is using ideas that I experienced/experimented [same word in French] with a lot of delight and then kept from a construction site to another in order to reach this goal: building within the context, knowing the rule, not acting but transforming, doing the least as possible in order to give as much as possible, involving everyone, interpreting, giving some time, transmitting, never doing the same thing…”
The phenomena global development and the current urban condition of our cities, induce to think about a different possible way of intervening on abandoned and empty spaces. This matter has alerted public awareness and produced a debate in which we are all involved as architect and urban designers. Thinking about the city as a place of experimentation in which citizens primarily, politicians, investors, public administrators and technicians are working together to contribute and to improve the quality conditions of life for the cities, means to design more open and flexible cities, improving our tools and references, towards a more sustainable future. Starting from these considerations, the workshop aims at identifying different points of view on the role of the architects and planners in the contemporary city, starting from an alternative way of “building”.
Starting from the experience of the Workshop held in October 2020 (ARCH EU1s 2020-21) with students participating from 6 different universities: Umeå University, School of Architecture; Malmö University, Urban Studies; Alicante University, School of Architecture; University of Nicosia, Department of Architecture; University Ion Mincu of Bucharest, Department of Architecture; University of Bristol, School of Architecture; about the Architecture as the art of building communities; we have learned that in the current pandemic situation we have an opportunity that can bring us beyond the trans-national/scalar/disciplinary boards learning from the local context, culture and society, and going beyond languages, national regulations. We built an ATLAS of more than
200 “infinite places” as possible places for a future intervention, sharing and reflecting on the potential of each of this places in 6 countries in Europe.
AIMS /
To unpack the ATLAS, considering the experience of the places.
To find opportunities in neglected and forgotten area/buildings.
To identify a potential place, from the existing ATLAS, as context of experimentation and work with the imagination in defining new rules for a collective “Imaginary Place” as a different idea for a trans national/scalar/disciplinary community. Sharing the voids, sharing the experiences, and the notion of “occupation” and transformation.
To learn how to contribute to group work and exchange as a small experiment for a learning society. To think about installation to be tested in scale 1:1.
To improve the ability of working in an international team using online teaching as an opportunity. • To learn about new techniques for communicating the projects through digital curation. • To find opportunities of Interdisciplinary relationships starting from a “common” project.
METHOD /
Research and investigate through case studies, speculate through the common sharing of knowledge. Positioning yourself as an architect producing a visual manifesto.
The students will work in groups from the 6 different universities, on a project of transformation, thinking about the short/mid/long term prevision, exchanging knowledge as a small experiment for a learning society, using as a starting point the ATLAS produced during the WS 2 / UOU ARCH EU2s 2020/21.
Part 1. / Reflecting and Unpacking the ATLAS choosing and unpacking three of the proposed Infinite Places from different countries. What is the potential for transformation? What can we learn from the different uses of the space? How do the community manage the place, what is the role of the architecture? Design the strategy of intervention sharing the voids, learning from each other, producing and sharing a first draft of a visual manifesto.
Part 2./ Communicating the idea/strategy through the production of a visual Manifesto to be displayed through an online exhibition/showcase.
SCHEDULE /
Fridays
10-14.00
(Time of Central Europe)
Expected Learning Outcomes/
After these two weeks workshop the student will be able to:
Apply methods for quantitative and qualitative mapping, through the description of a place in the city. Identify a potential for the reuse or reactivation of an area/building of the city. Learn how to use case studies. Explain the consequences of various urban development strategies and its relation to architecture and society. Improve communication ability through oral and visual presentations.
INGHILLERI, Verso un’architettura die beni comuni e dell’identità, in LOTUS n.153, 2014 S.MARINI, G.CORBELLINI, a cura di, Recycled Theory. Dizionario Illustrato/Illustrated Dictionary. Quodlibet, 2016
TUTORS/
Umeå University (Sweden) / Malmö University (Sweden)
This workshop is for students who want to overcome a worry about presenting design work It is deliberately designed to be relaxed and to build confidence
The architectural review is ritual in education in which the student presents work to academics in public for legitimisation but which research has shown to be a frightening experience (Webster 2005). Many architectural students live in fear of the review. It can remove their enjoyment of the subject and many potentially good designers are lost to the architecture profession because of the way in which reviews are held. The traditional review cripples learning, especially for the shy and reserved. This is an issue throughout architectural education. Myself and colleagues are very supportive of initiatives to overcome this and have been developing innovative new ways of helping students to explain their work and to receive feedback without being intimidated.
There are many words associated with this but all have roughly the same meaning and same connotations: ‘review’, ‘critique’ (crit), ‘presentation’, ‘jury’.
There are two common reasons for problems associated with this process of giving students feedback on their design work.
∙ The critic (who may be from academia or practice) does not understand what being a critic is about and how to explain his or her thinking without being aggressive or condescending. ∙ The student (who may be resilient or reserved) not being prepared, being too defensive or being argumentative.
Both of these broad problems can be overcome by the student taking control of the review.
But before we look at how this workshop might help you do that let’s consider some positive aspects of the architectural review. Reviews help you:
∙ To synthesise your design arguments and defend your ideas
∙ To work to deadlines and mimic practice
∙ To improve visual and verbal communication skills
∙ To improve your design output
AIMS
This workshop aims to help you think about the architectural review and its role in your education and in professional practice through undertaking research, practical exercises, including developing a piece of design and presenting it. You will also have a good idea of alternative ways of undertaking reviews and in how to make the most of them. All of the above is scheduled to be carried out over a period of two weeks, based on working approximately 4 hours (with academic staff) and 6 hours (without academic staff) per week.
At the end of the workshop you should have much more confidence in understanding reviews and in taking charge of the presentation and understanding of your project. This is useful for all students of architecture.
METHOD
We will start with an introduction to the review using examples and academic research. This will be done on line (staff presentations) and by individual learning and reflection. In particular you will be asked to reflect on your own work to date in design studio and your experience of the review. This
will be done in a systematic way with results posted on line. This first part of the workshop will be followed by an individual short design exercise (esquisse) that will help you to generate a proposition that might be reviewed.
You will then have a presentation about different methods of review and how to make the most of them, including advice on selecting the best one for the purpose. We will conclude week 1 by creating cross university groups ready for the start of week 2.
Week 2 will be group work. Your group will be assigned the task of choosing a review typology best suited to (a) the student presenting and (b) the type of project being presented. You will be helped to do this but at the same time encouraged to be creative and arrive at your own preferred approaches. These will be compared against traditional approaches (by academic staff) to help you understand them.
You will then have a review of your work – how that will be done will be revealed to you at the time. The idea being that this delay in revealing how you will be reviewed mimics some of the apprehension felt before a review – but please be assured that this is a relaxed, fun experience.
SCHEDULE
Friday 14h00 [or alternative tba] Short introduction
WEEK 1
Monday 13h00-15h00 Presentation of the workshop Overview of the review process
Setting the first task
Wednesday 11h30-12h30 Setting the design task
Friday 14h00-16h00 Submission of design task
Formation of groups
WEEK 2
Monday 13h00-15h00 Developing confidence
Review formats
All week Reviews at given times
Friday 13h00-17h00 Review of the reviews
EVALUATION – ASSESSMENT
Each university has its own expectations and requirements and you will be informed of those separately. As a general guide to assessing your involvement in this workshop the following will be considered:
Evaluation is based on:
∙ your grasp of the concerns that surround architectural reviews,
∙ your self-reflection
∙ your development of a suitable approach to the review
∙ your review
University of the West of England, Bristol (ENGLAND) /
CONTENT / What it is relevant on Architecture and Art, talking about objects is the matter. Matter as a physical substance that create atmospheres, relations and light.
The proposal for the workshop is to create matter with lines. MARBLE IS A HARD ROCK THAT HAS A PATTERN OF LINES GOING THROUGH IT THAT CAN BE POLISHED TO BECOME SMOOTH AND SHINY. Using the definition of Marble, we are going to create matter with a pattern of lines that could be smooth and shiny.
AIMS / To understand the presence of the matter in our projects.
To relate drawings, physical models and video as a way to produce an architectonical_artistic project.
METHOD / The students will use the drawing to create matter. We will draw lines and model them to create a space as a matter.
Finding opportunities of Multimedia Dawing_Model_Video relationships to start with a project.
Part 1: Draw. Individual Work.
Select a piece of marble and draw the lines that constitute the matter of the stone.
BIBLIOGRAPHY / “Power of ten”. Charles and Ray Eames:
https://www.youtube.com/watch?v=0fKBhvDjuy0&t=14s
Part 2: Model. Group Work.
Transform the lines into a three_dimensional object.
BIBLIOGRAPHY / “Cloud Cities and Solar balloon travel”. Tomas Sarraceno:
CONTENT / In the Cambridge Dictionary “to pop-up” means to appear or happen, especially suddenly or unexpectedly. This word is also used to describe a shop, restaurant, etc. that operates temporarily and only for a short period when it is likely to get a lot of customers. Similarly, like a three-dimensional folding object that suddenly pop-ups from the book and soon after, when the page is turned, the object disappears.
The pop-up phenomenon is an answer to an instant occasions or events that create a space and needs for temporary use. Those events might have both positive and negative character. On the one hand, the growing popularity of the pop-up restaurants or shops brings the new opportunities for local communities and small entrepreneurs. On the other, the instant need for relief in situations such as earthquakes, floods, military conflicts cause an urgency to provide emergency shelters and to undertake other activities that are associated with the emergency situation.
Globally, the pop-up movement is connected with temporary use of space or structure that brings a new quality in a short period of time. In urban areas the pop-up installations make use of abandoned plot or unused (or unfinished) buildings, or they complement the urban pattern with new values.
The pop-up architecture is closely related to social, technical and cultural status of the space where it occurs. The idea of the pop-up places seems to be fitted in the flexible societies where people are less and less tight to concrete places and look for some constantly-changing physical and cultural landscape.
In Europe and North America, the pop-up places are the avant-garde in commercial, retail and housing services. Those temporary places which are often installed in urban voids or lands without any identity, have strong experimental character where the new concepts can be tested. The limited danger of large investments allows small entrepreneurs to risk and try new ideas, which will be evaluated in real life conditions.
The temporary character of the pop-up places makes them exclusive and limited. This goes together with high popularity in a short period of time. The marketing of pop-up places can be arranged by fast messages sent to the potential customers. Therefore, the Internet advertisement via web pages and social media, and spreading the information by the word of mouth are the best solutions for instant marketing. The pop-up places can also be self-advertised by the means of surprise.
AIMS /
The new city observation skills – identity of places with potentials for pop-ups
Analysis of the physical and social context of the chosen spot
Determination of the pop-up influences on a local community
Identification of the potentials (pros and cons) of temporary architectural interventions
METHOD /
Search for potential pop-up places in the local area
Observations and analyses of the local community (survey, interviews photos, drawings, diagrams, collages)
Development of the architectural design of a pop-up structure
Teamwork (3 -5 people in the team)
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / (What?)
Development – analytical phase (3 min presentations) / (Where and What for?)
Final presentation – pop-ups (3 min presentations) / (Why and how?)
EVALUATION / The following process and projects elements will be evaluated:
Chosen spot and argumentation (clarity, comprehensiveness, consistency)
Results of the surveys ( e.g. interviews, photos, diagrams, sketches)
Final design and its value in the context of the conducted studies
Bibliography /
Alkisti Eleni Victoratou (2013) Pop-up Initiatives in Athens, Greece Shed Light on Economic Crisis. The Global Grid. Urbanist news. Local views. https://theglobalgrid.org/pop-up-initiatives-in-athens-greece-shed-light-on-economic-crisis/
Ella Harris and Mel Nowicki (2015) Cult of the temporary: is the pop-up phenomenon good for cities? The guardian. https://www.theguardian.com/cities/2015/jul/20/cult-temporary-pop-up-phenomenon-cities
Marni Epstein-Mervis (2016) The Rise and Rise of Pop-Up Architecture. Curbed. Accessed on 5th Feb. 2019: https://www.curbed.com/2016/3/9/11180920/architecture-history-temporary-banksy
Rebecca Burns (2014) Multistorey car park in US transformed into designer micro-apartments. The Guardian. https://www.theguardian.com/cities/2014/jul/09/multistorey-car-park-us-designer-micro-apartments-affordable-housing
Paul West (2011) Pop Up Concepts in Hospitality. Ignite hospitality. https://www.ignitehospitality.com/blog/pop-up-concepts-in-hospitality/
Laura Powell (2018) Hotels Experiment With Pop-Ups to Attract New Audiences. Skift. https://skift.com/2018/05/15/hotels-experiment-with-pop-ups-to-attract-new-audiences/
Robert Kronenburg (2008) Portable Architecture. Design and Technology. Birkhauser Verlag AG ISBN: 978-3-7643-8324-4
Peter Jones, Daphne Comfort, David Hillier (2017) A Commentary on Pop up Hospitality Ventures in the UK. Athens Journal of Tourism. Volume 4, Issue 3. Ed. Gregory T. Papanikos, Valia Kasimati, ISSN: 2241-8148, Pages 203-216. https://doi.org/10.30958/ajt.4.3.2
Pop-up power: How pop-up outlets are changing the landscape of fashion retail (2018), Strategic Direction, Vol. 34 Issue: 10, pp.7-9, https://doi.org/10.1108/SD-06-2018-0143
Aglieri Rinella, Tiziano; García Rubio, Rubén. 2017. Pop-Up, Liquid Architecture for a Liquid World. Arts 6, no. 3: 14, https://doi.org/10.3390/arts6030014
Gaitan, J. W. (2015). Pop Up: A Deployable Brand in the Urban Fabric (MArch Thesis, Carleton University).
Staback, D., Addison, J., Angles, Z., Karsan, Z., & Tibbits, S. (2017). Aerial Pop-Up Structures.
Hollwich, M. (2015). Lasting Impressions: Pop‐Up Culture by HWKN. Architectural design, 85(3), 124-129.
Rian, I. M., Chang, D., Park, J. H., & Ahn, H. U. (2008). POP-UP TECHNIQUE OF ORIGAMIC ARCHITECTURE FOR POST-DISASTER EMERGENCY SHELTERS. open house international, 33(1).
TUTORS/
Wroclaw University of Science and Technology (Poland) / Jerzy Łątka (jerzy.latka@pwr.edu.pl)
Yasar University in Izmir (Turkey) / Mauricio Morales-Beltrán (mauricio.beltran@yasar.edu.tr)
CONTENT / In architectural education, one of the most common and universal representation technique is central perspective which was discovered during Renaissance period. The rational world that Renaissance offered us helps to create a universal language in the field of architecture and enables to represent our thoughts on space so as to create a dialog between ourselves and others. On the other hand, some other techniques like iconography or miniature drawing reflects another understanding of the world and space per se that could be a new way of representation in our era.
The understanding of perspective in miniature drawing is different from the European Renaissance painting tradition. The scene depicted usually includes different time periods and spaces in one picture. Thus, we may say that miniature drawing is a multi-layered representation. Miniatures are always a part of book, not like a standalone work of art and because of that they are closely related with the context of the book they were included in.
In our “Homeland Miniatures: A Collective Digital Travelbook” workshop, we will make a collective travelbook that represents different cities/countries through miniature drawings of those homelands. Each student will draw a miniature drawing of his/her homeland or the city where he/she is living at that moment and write a short reflection paragraph that is related with his/her drawing. By putting all these drawings together, we will create our collective digital travelbook at the end of the workshop.
AIMS / To introduce a new way of looking and understanding the world around us. To start a debate between “Western” and “Eastern” thoughts. To think on how to represent a city/country through one drawing. To discover the textures, important landmarks and cultural artifacts of a city/country. To discover the multi-layered world of miniature drawings and their fragmented but yet wholistic spatial characteristics. To discuss on the emancipatory character of architectural representations.
METHOD / The tutor will give a lecture on miniature drawing and travelbooks (seyahatname) and introduce the drawing techniques through various examples. Each student will make one miniature drawing and write a short text about it. The process of the workshop will be as follows:
1st > Introduction of the history and technique of miniature drawings and discussion on different cities
2nd > Each student will start to draw fragments of spaces, textures that are related with their homelands
3rd > Each student will propose a draft layout of his/her miniature drawing
4th > Each student will apply all the fragments and textures to his/her miniature drawing and finalise it and write a text about it.
5th > The tutor will put all drawings together to create the collective travelbook and each student will present his/her page in it at the final crits session.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
March 12th, 2020 (Friday) – 30 minutes – Introduction
March 15th, 2020 (Tuesday) – 2 hours – Fragments of spaces, textures
March 18th, 2020 (Friday) – 2 hours – Layout of his/her miniature drawing
March 22nd, 2020 (Tuesday) – 2 hours – Finalise the miniature drawing and the text
March 26th, 2020 (Friday) – 2 hours – Final crits
EVALUATION / The following will be considered in the evaluation process:
Active participation in discussions and production of drawings
Precise drawing in his/her own way
Writing a critical reflection text
Bibliography /
Sener, S., (2007). “A SINGULAR ART: A Theoretical and Artistic Survey on Miniature and Hybrid Possibilities of Traditional Arts in Contemporary Art”, Master of Fine Arts in Graphic Design Thesis, Supervisor: Assist. Prof. Dr. Mahmut Mutman, Bilkent University.
Avci, O., (2016). “Rethinking architectural perspective through reverse perspective in Orthodox Christian iconography”, ITU A|Z Journal of Faculty of Architecture, 12(2), p. 159-171
MEF University Istanbul (TURKEY) / Ozan Avci (avcio@mef.edu.tr)
The rapid developments of the urban realms and the monstrous evolution of the socioeconomic systems together with the invading globalization deprived the people from the sustainable way of living which was forged by local conditions through the centuries.
The workshop will revisit existing, forgotten or lost worlds and traditions or vernacular architecture not nostalgically, not just to revitalise them. But rather to rediscover cultures, and vanished wisdoms to facilitate their evolution into the contemporary world.
Traditional elements such as courtyard typologies, shading devices of Mashrabiyas, traditional irrigational systems and building technologies are among a vast number of traditional wisdom that either was forced to extinction or to a dormant state.
The students are asked to revisit those ‘dusted’ wisdoms, reconstruct them and reuse them in their evolved metamorphosis in the ever changing and rapidly developing urban built environments for a future of environmental and social sustainability of regional identities.
AIMS /
To understand and experience the unique architectural qualities of forgotten traditional elements and mechanisms
To share knowledge and insights from diverse cultural backgrounds
To develop awareness, knowledge and understanding of extracted wisdom from traditional elements and their potential role in contemporary architecture
To develop a critical approach towards sustainability and an environmental awareness [of traditional wisdoms and vernacular architecture], as integral parts of a design process.
To amalgamate research findings in order to stitch, integrate and embed those findings in innovative and radical ways in the future architectural and urban realms.
To take a stance, and a voice of resistance for a substantial future for humanities against the devouring globalizations and erasures of identities.
METHOD /
E L E M E N T S T U D Y [space, mechanisms, infrastructures, materiality, technology]
RECORDINGS # DIS-ASSEMBLING # EVOLUTION
Analysing and assessing existing condition
Drawing and making experimentations
Discovering spaces & relationships through a specific methodology
Loose and Accurate methods of representation allowing different information to be revealed
Chance
Evolution
The intension is to create a new reading of the ELEMENTS which can be seen in various configurations and scales. Experimentation will be tested through hybrid drawings.
Transformation of the technical drawing becomes a device to read the different parameters and qualities of the dis- assembled and evolved elements.
Students will develop a series of creative work starting from an existing situation (photo, drawing etc) and leading gradually to a hybrid drawing. Emphasis will be given to the evolution through the layers / depths of the built and human topographies.
The process of drawings and results in the various stages of the development should be Recorded in a photographic sequence.
Students will be assigned to work in groups based on their categories of interest [ELEMENTS] by the end of week one.
STEPS
Week one
Investigate, collect drawings, photos and other materials of a chosen traditional element/ wisdom [visit if possible]
Create a 2d drawing of the existing element based on your interest [suggestions: sectional drawing, layering techniques, photo collage, cut-outs etc]
*** Exaggerate and accentuate elements that you want to focus on
Choose an unexpected/contrasting existing setting [you may use previous projects, existing landscapes and buildings] where you will apply your intervention
Week two
Evolve forgotten wisdoms and facilitate the emergence of their evolution through testing and hybrid drawing investigations
*** Specific human activities should be presented in ‘distinguished’ (not indifferent) graphic mode, adding to the general unique (not generic) atmospheres of the interventions
*** We strongly encourage a deep dive-in into radical experimentation and provocation through alternative techniques and ways of seeing architecture
SCHEDULE /
2-week Workshop.
Weekly 4–hour class Tuesday 9.00 – 13.00 CET [additional hours may be offered at a later stage]
EVALUATION /
The evaluation will be based on the following Expected Learning Outcomes:
After completion of the workshop students are expected to be able to:
Examine and interpret traditional and vernacular conditions in relation to their appropriation and evolution in the existing natural and built environment [material and immaterial qualities of space, ambience and innovation]
Use appropriate representation and presentation tools, including mixed media techniques to explore a plurality of experiences/ cultures/sites via alternative representation methods.
Demonstrate competence in dealing with sustainability, environmental awareness and climatic modification as integral parts of a design process.
Experiment with materiality and mechanisms in order to achieve an atmospheric architectural environment, having as a drive the interaction of the human body and space.
Identify and critically address the inherent conditions of the site, deal sensitively with the social issues as an integral part of the design process
Bibliography /
‘From Shinto to Ando; studies in architectural anthropology in Japan’ / Gunter Nitscke ; Academy Press (October 29, 1993) ISBN 978-1854902894
Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture ; Kenneth Frampton ; The MIT Press; Illustrated edition (October 1, 2001) / ISBN-13 : 978-0262561495
CONTENT / We live in a time of change. What we took for granted in the summer of 2019 is now an enormous uncertainty. Each day we sick for answers to questions such as when can we travel? When can we visit a museum? And I ask how can I introduce students, here and worldwide, to the World Heritage City (WHC) of Évora?
Following Darwin’s quote “It Is Not the Strongest of the Species that Survives But the Most Adaptable to Change”, in this workshop we will change the way we travel, by “bringing international students to Évora, and to the city Museums”, and exchange knowledge about architectural heritage, as space and place.
Participants will be asked to design an Urban Folly (from French folie, “foolishness”, a generally non functional building that was in vogue during the 18th and early 19th centuries, to enhance a natural landscape), an ephemeral structure to place in an urban space, where the unimaginable will happen: the city heritage will be displayed, not inside a traditional and immoveable museum, but in the square or the street, perhaps from where the museum pieces have been found. And, by 5G technology, these
Follies will be in contact with the rest of the world and provide a virtual tour to the WHC of Évora.
AIMS / To raise awareness about the local heritage of a WHC. To reflect on how it can be displayed into the public, here and elsewhere, in the outdoors.
METHOD / Interpreting Public Place and Local Heritage – Local participants (Évora) will be paired with international colleagues. Then they will be given an historic urban space in Évora and describe it to the foreign colleagues. To design an architectural structure to enable people (locals, visitors, etc.) to enjoy the historic values of that place. To present the idea in a mock-up..
SCHEDULE / 2-Week Workshop. Weekly 4-hour class
OFFICIAL TEACHING HOURS: 2 h Tuesdays + 2 h Thursdays 15:00-17:00 (PT)
02 March | Introduction of the workshop objectives (video-lecture of 15 minutes) + questions and feedback / Introduce yourself and three major values of the historic core of the city where you are living, in a short video (3min. máx) / Define work groups according to shared city’s values / Group work: Start the development of ideas
04 March | Group work: development of ideas and teachers’ feedback
9 March | Group work: teachers’ feedback on finalising Mock-up scale 1:50 and presentations in Zoom setting.
11 March | Final Crit.
(SELF-) EVALUATION / Answer to these questions in order to identify what skills you acquired:
Question 1 | Our world is increasingly composed of visual images – phones, tablets, laptops, cameras, therefore it is important to develop the ability to recognize, sort, and rearrange them in order to create something new: did you
heightened your visual acuity (your ability to look at things on their own terms but also to make visual connections and to turn those visual connections into an evolutionary history that has a past, a present, and a future)?
Question 2 | This workshop has the capacity to be a consequential experience if it is used to enhance your knowledge on cities values, on why and how they can be used as triggers of new architectures. As you study other follies and ephemeral architectural structures, in order to understand how you can design one that responds to the challenge, you became an interactive learner, you expand your mind, you exchange ideas with other students, you work together in groups, and create real world projects and, by so doing – have you enhanced your academic and personal life? Please explain how.
Question 3 | By proposing an interactive learning experience, mixing students from different geographies and cultures, a contemporary solution (to bring cities values to wherever you are) to a real life problem (the impossibility/difficulty to travel to other countries to know indigenous cultures on-site) has been found and communicated using a mock-up – How have you learned with your colleagues and enhanced/enlarged your architecture communication methods?
Question 4 | Working in groups in such a short period, requires the establishment of tasks such as data gathering, discussion/brainstorming of ideas and methods, and time management – have you reached a definition of the concepts of space and place to suitably respond to the workshop proposal on cultural values?
Question 5 | Explain how innovative your proposal is.
CONTENT / The science on various design methods and processes is a fascinating branch of knowledge which architects perhaps do not study enough. The knowledge of design methods could organise and systematise your work, offer an X-ray vision, real psychanalysis of yourself as well as other designers and your tutors. This science may also help you to overcome design blocks when you are mentally stuck.
We could provide you a long, detailed and technical lecture about various methods of design, but why not experiment on yourself and feel how it is to become three different creative personalities?
AIMS / During this workshop we will talk and learn about libraries in the 21st century – this is a fascinating topic with its own unique problems and potentials. However, the workshop is not only about libraries. It is about making you aware about the design process; about who you are… and who you could be as a conscious architect. The seminal book Revealing Architectural Design Methods, Frameworks and Tools by Philip Plowright has a surprising conclusion that there are only three main types of architectural design process which represent three schools of teaching and creation. Architects, architectural tutors and students are often not aware of that so their arguments are actually pseudo-arguments… deriving from confusion on a meta-level. Some ‘big debates’ in the architectural world or academia stem from basic misunderstanding of those three different design processes.
The workshop is also about ‘fast methods’ for designing options. In the first week, you will be asked to design one option a day following specific instructions.
The objective of the project is only partly related to designing a library. The main aim of the workshop is for you to reflect on different design methods, your own strength and weakness and on the tools that are available.
During the workshop you will learn about:
Problem solving, problem redefinition, exploratory and evaluative thinking, architectural syntax, usefulness of bias, IBD (Intelligence-based design), pattern language, forces, intellectual tools and brainstorming, CPSP (Creative Problem Solving Process), TRIZ (theory of the resolution of invention-related tasks), domain-to-domain transfer.
METHOD / During the first week of this workshop you will be asked to approach the same architectural task – designing a library – three times. Every time, you will design it according to different architectural framework. This will allow you to learn something about yourself as an architect and about your own strengths and weaknesses. In the second week, you will be asked to analyse your work, evaluate the three projects and to refine the best result during group work.
…And one more thing… At the end, you will be asked to reflect on the work done and reflect on who you are and who you could be.
The workshop will be an exercise on fast design. For three days you will follow a different design framework, thus learning about different design methods and tools. As a result, you will create three, probably very different, projects. For now, let’s call the three projects Alpha, Beta and Gamma. (You will learn the real names of these frameworks during the workshop). In order not to confuse you, we will not explain the different methodologies here, but they will be explained on three separate days in special materials you will be sent.
SCHEDULE/
Week 1 – Individual design
Monday: Briefing, Preparation: Identify three sites in your city where a medium size building could be designed.
Tuesday: Alpha briefing, Visit the Alpha site, Create Alpha design, Present Alpha design to fellow students in your groups.
Wednesday: Beta briefing, Visit the Beta site, Create Beta design, Present Beta design to fellow students in your groups.
Thursday: Gamma briefing, Visit the Gamma site, Create Gamma design, Present Gamma design to fellow students in your groups
Friday: Presentation of individual projects chosen within groups
Week 2 – group work
Monday-Wednesday – group work
Thursday – final group presentation
Friday – individual reflection and online submission
EVALUATION / your work will be assessed according to the following criteria
Analyses/ How thoroughly and deeply did you analyse the issues and questions related to libraries in the 21st century as well as all the people involved in library life?How well did you formulate architectural questions according to those analyses? Mind that during the process of developing the project you will create several small projects. Each of these projects could have a different agenda, different analyses, different questions and different criteria. So it is important that you formulate this clearly by adding clear annotations to each initial sketch.
Concept/ How strong and coherent was the response (answer) to a problem (question) which you formulated during the analyses? Mind that in different projects the criteria ‘strong’ and ‘coherent’ could mean something different, e.g. functional, critical, original OR something different). Be clear about YOUR criteria. Clearly annotate the drawings
Development/ How systematic and rational was the choice of a design path? How many options did you take into consideration? How rigorously (according to your own criteria) did you choose the next step? (Mind that the development will be partly individual and partly group work. Engagement in each part of the work will be evident through peer assessment and the outcome you will have to submit.)
Presentation/ Did you submit all the required deliverables? How clearly did you manage to convey the final idea and how engaging was it? (The deliverables will be a combination of individual and group work. They should be clearly annotated. A very important part of the individual work will be the final reflection.)
University of Lincoln (UK) : Marcin Mateusz Kołakowski (mkolakowski@lincoln.ac.uk)
„Dancing and architecture are the two primary and essential arts. The art of dancing stands at the source of all the arts that express themselves first in the human person. The art of building, or architecture, is the beginning of all the arts that lie outside the person; and in the end they unite.”
Havelock Ellis, The Dance of Life (1923)
What is architecture? A seemingly basic question, but actually one that is open to a diverse range of subjectivity. However, it is impossible to conceal that architecture is a positive balance between Science and Art, a point at which the two fields collide yet, finding the right balance is not always so easy to do. An architect should not only be familiar with the architecture and engineering principles but also have the ability to creatively manifest an emotive idea into something tangible. The ability to capture and physicalize invisible elements of our world through storytelling is an art itself. The building is not only the walls, the floor and the roof but also the atmosphere and feelings it celebrates. Many architectural projects are based on creating a narrative and engaging users into this relationship between space and mind. Architecture is an inseparable part of all cultures and the context in which it exists. It has the ability to comment on all the immaterial structures of our societies, such as the social, cultural, economic and political, immortalizing them as physical structures. It is important to identify the greatest needs of your local society and their environment. In architecture, just as in nature, nothing is accidental. Therefore, a discussion on the same topic in a multicultural environment can lead to very interesting and unexpected conclusions, „Quot homines tot sententiae: suo’ quoique mos” eng.: „So many men, so many opinions: to each his own way.” (Terence, 161 BC).
AIMS
A workshop will be conducted remotely between universities, we wish to discover different approaches to the narration in architecture, depending on the background of the participants. First, try to imagine the feeling of the space(s) you are designing and its atmosphere before drawing the architecture. Each participant will have to discover himself and take his own position in the given topic, devise its greatest needs and respond to them through their work. Through the discussion of the brief and the individuality of each member of the group, we will try to broaden our perception and discover new ways of observing the world to develop material and immaterial storytelling. The drawing will allow us to experiment with scale, proportions, colours material, light and shadow.
METHOD
Based on the brief issued during Day 1 of the workshop we will define the needs of local society in a given topic and each individually considers the question:
What is the most significant aspect of the brief that can be reflected in an Architectural narrative?
Each participant will discuss their initial intuitive response to the brief, their experience, passion, and hobbies, in order to ascertain a narrative for the brief, whilst simultaneously, revealing something of ourselves to the group. To help with the preparation of the narrative, a lecture will be conducted where the topic will be discussed with examples and ideas. Everyone will have the opportunity to exchange their thoughts and discuss an outline with their lecturers, along with colleagues in the group, where all will receive support in the development of their project. We will conclude with short presentations of each narrative and 500mm x 500mm drawing, discussed in the forum. Everyone will have the opportunity to ask questions, comment on other works and provide feedback.
SCHEDULE
Week 1:
(Monday) 25 Jan 2021 – Introduction and Brief Release
(Thursday) 28 Jan 2021 – Lecture and Open Discussion
Week 2:
(Monday) 01 Feb 2021 – Tutorials
(Thursday) 04 Feb 2021 – Final Presentation
EVALUATION
The workshop will focus on drawing as a primary medium. The conclusion piece will be a 500mm x 500mm drawing, exploring a range of mediums. In addition, our global studio will be required to produce a 200-word synopsis to compliment his or her work. Each piece will be considered under the following points:
Individuality and creativity in the process of generating an architectural narrative,
Understanding and responding to the needs of the local society,
Understanding the context and environment of the given topic,
Graphical representation of your idea and the ability to include the whole story in one drawing
CONTENT / In many cities, globalisation has contributed to the emergence of new urban environments which, over very short periods of time, have replicated similar and homogenous spaces, evacuated public ownership, erased local singularities and produced what may be defined as a generic and franchised city. Most of these cities retain urban environments developed on the long term, where palimpsest spaces give a fair share to public space and where the character and singularity of place are preserved.
This process raises a variety of questions, particularly that of the appropriation of public space by people in these two ‘versions’ of the city. Considering that the work of time in the construction of urban space cannot be replaced, it becomes crucial to identify the conditions which may accelerate the process of appropriation of public spaces by users whilst encouraging the emergence of uncontrolled and non-programmed uses and spatial arrangements.
AIMS / The workshop will explore how the implementation of more inclusive approaches in terms of public space design and usage may promote more vibrant urban environments
To this end, two urban fragments, one “palimpsest” and the other “generic”, will be explored through the prisms of public life. At first, emphasis will be put on identifying the types of public spaces encountered, the variety and density of uses observed as well as the factors that appear to favour or constrain individual and collective ownership of these spaces. Secondly, lessons will be drawn from this understanding to suggest conceptual processes that promote the appropriation of public space by people and allow them over time to develop their own responses and solutions.
METHOD /
Session 00: Introduction
Organised in groups of 3 to 4 students, you will introduce yourself with a 2 to 3 minutes video, explaining why you chose to attend this workshop and what urban sites you wish to investigate.
Session 01 – Immersion, interpretation and representation
You shall choose two urban environments of the same surface. The first one will be a part of the “palimpsest city” where you would usually enjoy dwelling and spending time, the second will be a part of the “generic city”, as described above.
Using walking as an exploration too, you will dwell through site for an average of 2 hours. You shall prepare the itinerary of your journey beforehand using a map, but you will allow yourself to drift once on the spot.
Whilst on site:
– Identify the main types open spaces you encounter (sidewalks, paths, squares, café terraces, playgrounds, etc.) and the forms of public life that take place in them as well as in the spaces visible from them (e.g., outdoor extensions of dwellings), distinguishing between spontaneous and more official uses;
– Associate keywords with each identified situation;
– Register your perception and feelings in each place (e.g., excitement, anxiety, boredom, …);
– Register your perception of time and the density of the uses you observe along the way.
– Seek potential correlations between the shape and location of the open spaces and their degree of appropriation by people.
Once off site:
– Process your observations and “findings” by organising this new knowledge in a “narrative” (example: exploration book, graphic novel, comic strip, video, etc.) that clearly highlights your understanding of the issue of public life in your two chosen urban environments;
– Indicate your route “before” and “during” the drift, highlighting times of movement and pause. When using graphical supports such as plans or maps, use the same scale for both urban fragments.
Session 02 – / Reflexions & projections
Based on your previous work and if necessary, by referring to existing practices and experiences, define the broad outlines of “proposals” or “recommendations” that could set up and promote a more people centred urban life in your generic city fragment. Beyond the production of artefacts, you may focus on defining processes which will ultimately contribute to this objective (i.e., alternative urban morphologies / specific spatial arrangements / new urban planning rules / experimentation and prefiguration phases / Post-occupation phases / new “permission to do” for inhabitants / ….
The presentation format remains free, but shall be in continuity with your previous work.
SCHEDULE / 2-Week Workshop / Weekly 4-hour class arranged with the students:
Session 00 – Introduction / 15 Feb 2020.
Session 01 – Development (Immersion, interpretation and representation) / 15-19 Feb 2021.
Session 02 – Final Crit (Reflexions & projections) / 26 Feb 2021.
EVALUATION / Fulfilment of the requirements of sessions 00, 01 & 02
École Nationale Supérieure d’Architecture et de Paysage de Bordeaux (France)
CONTENT / In many different ways, European cities have suffered a common fate: the compulsive increase in buildings, the financialization of the real estate market, the enslavement of urban space to cars. Despite the diversity of individual national events, these are the distinctive traits of the contemporary city that have left on the ground portions of the territory in disuse, incongruent urban fabrics, open wounds in historical structures.
AIMS / Identify the role of project disciplines to remedy the casual use of territorial resources and the dissipation of the urban landscape that we have inherited from the last century.
The city of Forlì will be the scene on which the project workshop will be applied with the aim of regenerating / redeveloping the undecided or degraded spaces of the historic city. Students from other European schools will be able to work remotely based on the descriptions prepared by the University of Bologna, or work on similar topics within the cities where their course is located.
METHOD / Students and teachers from different cultural areas of the project disciplines will work together to contribute to the debate on the possibility of transforming urban space and its perception, proposing a different and integrative logic with respect to the social and economic urgencies imposed by the market rules.
Imagining the shape of the public space by evading the impositions of current utilitarianism means projecting the imagination beyond the horizon of the short range.
SCHEDULE / 2-Week Workshop. Weekly 8-hour class arranged with the students:
Introduction / 17 Feb 2020. Presentation of the city of Forlì and the issues underlying the workshop.
Development / 18-27 Feb 2020.
Final Critic / 28 Feb 2020.
EVALUATION / The workshop is a form of project action based on the exchange of quick proposals. The proposed solutions do not aim to obtain a definitive character but to open debates on the fate of cities in a conjectural and multiple form. By offering points of view distant from the logic and mechanisms that preside over the transformation of cities, they open up a panorama of alternative possibilities capable of conditioning consciences.
The more different and unexpected positions emerge, the more we can consider the experience successful.
Bibliography / Italo Calvino. Visibility, in Six memos for the next millennium. Cambridge, MA: Harward University Press, 1988, pp.81-99
CONTENT / Many changes have been in the architecture profession since Journey to the Eastwas written: A diary of Le Corbusier’s trip in 1911. This book is a collection of visual notations, or impressions perceived by Le Corbusier as a visitor to a number of cities in Southeast Europe. Later, the acquired disciplinary knowledge acted as an inspiration for his architecture.
This year we have organized a 2-week workshop travelling to the unknown: to places that have awakened in each of us a need to learn from the local, its technology, culture and society; consolidating links of specialisation. It is also an experience to empathize Architecture as a Comparative Study, learning as a trip, a journey as an experience.
We will discuss and go with our proposals and designs in our desired trips, redefining the limits of architecture by working with the unknown as a way to build up a research.
AIMS / To identify a place as a desire. To work with the imagination as a real context. To describe a place with your experience. To find opportunities in your desires to start with a project.To introduce oneself to the class. To get to know the rest of the future members of your working group.To learn how to contribute to group work.
METHOD / The student’s life and interests as building material. To introduce our personal skills and portfolio into a place. Trip to a new destiny you desire to know.
1st day: Introduce yourself presenting a 3min video with the values of your experiences in the desired destiny.
2nd day: Group work according to your common interests. Connect your destinies into a sequence.
3rd day: Final crit. Design your Zoom setting. Mock-up scale 1:1.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / 03-05 Feb 2020.
Development / 08-11 Feb 2020.
Final Crit / 12 Feb 2020.
EVALUATION / Develop the answers to 3 questions from these 12:
The WORKSHOP proposes that students begin to build a complete thought to tackle projects, to process, organize, view and display information so that “data collection” became proactive rather than an analytical tool. Have I been able to go beyond analysis procedure and convert the project into a proposition display?
The students have to learn to criticize their work and to draw conclusions. They have to process systems and models of architectural production, reformulating nonobvious descriptions, focusing their gaze on the invisible structures, not having preconceived ideas, producing unexpected findings, and non-discursive reasoning. Have I used my own ways of expression reformulating descriptions and avoiding the obvious and the use of direct images of the project culture?
The student begins to explore architectural expression systems to formalize their projective ideas. How many ways of expression have I used at work and what is the value expressed by each of them?
We have to learn to talk and discuss about architectural sustainability criteria, adding the concept of ecological niche project (mental territory, social, material, technical, medium-environmental, etc). Have I addressed the theme of THE WORKSHOP responding to the proposal on the sustainability?
We are going to know how to work in-group to discover the roles in production systems. How much information data made in-group have I used to express my project?
The students must participate and contribute with their ideas to the class as an essential part of knowledge. What is the intensity used to express my ideas through the architectural expression ways?
The students must learn to establish a personal lexicon to express his architectural ideas. Have you expressed your ideas through a personal lexicon, or have you imitated expression systems used by other designers seen in the media (magazines or Internet)?
You need positively assess risk and innovation as a necessary condition of design. Innovation defined as the use of allied disciplines to develop intellectual and technical tools to create new realities, within their own reality, exceeding the established models. Do I use allied disciplines for innovative production?
The students must enter, step by step, work details the project culture, you must learn to interpret and criticize from their own proposal. How many data have you appropriated from the culture to express my project?
You should produce an open system work, with more questions than answers. How many questions have you made throughout the design process and how many have you tried to answer?
Skills: Interest in the contribution, regardless of the attitude from which it was generated. What is the interest of my contribution?
Attitudes: how to tackle the problem independent of the outcome. Have I solved with intellectual and material effort to present the proposal?
Bibliography / Le Corbusier. Journey to the East. Cambridge,MA: MIT Press, 1987.
The pandemic period offered us a chance of seeing a deserted city. Empty streets, empty squares (piazzas), empty parks, empty churches, empty theatres, empty museums, all of these created a non-living city. We know that a city does not operate in this way. The city and, at a micro scale, a building live through spaces and ‘their patterns of events which we experience there’. (Christopher, ALEXANDER, The timeless way of building, New York, Oxford University Press, 1979, page 62 – I strongly recommend reading this book.)
Let’s try to imagine a diverse life in the natural environment even in the heart of the building. We will focus on the dwelling buildings, because these were the spaces in which we were captured.
How do we, the neighbours, create the city through the activities we carry out?
I am certain that all of you know at least one enclosed space, among the walls of the same building or of different buildings, which can be investigated and can identify the patterns of events.
AIMS /
Search, find, investigate and identify the patterns of events in an enclosed garden. Create a link between the built space and the unbuilt enclosed one. Formulate a hypothesis about the influence of nature on this closed space.
Illustrate in any way you consider appropriate, how to show both the garden, along with the façades that border it, and how the garden reaches the streets of the city.
These illustrations will offer us a prospect of a wide range of lives in our cities and with their help we will collect fragments of ideal islands in which we dwell.
As a final aim, we generate a new city formed by our islands. The city will be read through our book, which will result.
METHOD /
It is compulsory to work in groups of two or three students for the first week. In the second week, every group has to interact with other four groups because every part of the building meets other requirements.
1 st day: Introduce yourself presenting an image of the contemporary hortus conclusus from your hometown. 2 nd day: Show us the above-mentioned illustrations. 3 rd day: Final crit. Design our puzzle.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / 02-06 November, 2020
Development / 09-12 November, 2020
Final Crit / 18 Sept 2020
EVALUATION /
The student will be able to understand and shape the ground floor of the building in relationship with the city, with its inhabitants and other citizens, with the nature, mainly he or she will know how to keep a balance between the built and the unbuilt space and will tell us which are the advantages and the drawbacks of a city with enclosed gardens.
The architect is a storyteller. The architect designs spaces that speak to the user and, in turn, the user hears that story through an interaction with a building. What would architecture be without a story? We suggest it would not be architecture. But to tell a story we need a language in which to communicate.
Ferdinand de Saussure (1857-1913) the founder of modern linguistics saw language as ‘signs’ that express ideas. Each sign has a ‘signifier’ (a word) and a ‘signified’ (a meaning). We want to use this concept and apply it to architectural space. We want to tell stories that help the listener to imagine and indeed to experience space without seeing it.
We have designed a two week long workshop that will encourage you to use your imagination and apply it to a piece of significant architecture. By doing so you will elaborate a story through the body of someone else – not yourself – who experiences that architecture. You will need to consider questions about the building (the signifier) and the architectural intention (the signified) that the architect wishes to imply. So, for us and for our storytelling workshop the building becomes what Roland Barthes (1915-1980) would have called the ‘rose’ and the architectural connotation is what he would have labelled ‘passion.’
This is a creative exploration, interpreting architecture through storytelling and choosing words and sounds to communicate an idea. There is no right or wrong answer.
As students of architecture you need to become storytellers, and this workshop will help you to do so.
AIMS /
Over the two weeks from 16th to 27th November you will work (via the internet) in groups with students from other universities. You will all speak different languages and come from different cultural traditions. First, you will need to decide on a common language(s) of communication for the group. Then, you will need to think about how we express feelings through words by using rhythm, tone, inflection etc…As well as doing this you will be guided in developing ideas about what is a ‘story’. Would the same story told in one language be the same when translated into another? And if architectural space is a ‘story’ we might then ask would the same architectural space be understood differently depending on the language, words, rhythm, tone and inflection used to describe it.
When we are familiar with a language the words we use carry meaning. Our cultural development gives words (signifiers) a particular cultural meaning (signified). So whilst we can translate a word into another language it is the meaning that’s all too often lost in translation. The listener does not give the word the same meaning as you. When applied to architecture we can think of this as the difference between the building (the signifier) and the architect’s intention. But we can take it a step further an explore the difference between the architect’s intention (signified) and a reading of the building as experienced by the user (which might be a different ‘signified’ to the architect’s).
We aim to explore the translation of architectural idea into architectural experience through storytelling.
By the end of our two weeks, you will have found a way within your groups of describing an architectural space that we (as architects) know well, and of situating a narrative within that space, that helps someone else experience it as architecture. In other words, we will tell a story about something that happened/happens/will happen somewhere, but in an immediately intelligible language.
METHOD /
At the start of the workshop, under the guidance of Mike and Thom, we will work together to answer the questions posed above. We will you into groups that are deliberately multi lingual. We hope as many native languages as possible will be brought together, and none dominate. We will introduce you to the ideas of language and storytelling and how to apply them to three dimensional space. We will encourage you to be confident in expressing yourself using unfamiliar language and in recognising how ‘sound’ is just as important a concept as ‘word.’
Each group will be allocated a building well known to students of architecture but which no-one in the group will have visited. Each group will have a different building. Information on the building will be easily available on line and it will be able to be visited ‘virtually.’ The building will have been the subject of architectural writing and the intentions of the architect will be readily found via the internet. Getting an architectural understanding of the building will be the starting point for each group. That will happen quickly.
The group will then be allocated a persona and will be asked to develop a one act radio play (story) exploring that persona’s interaction with the building in a fictional way. Guidance will be given on the storyline but the important point is that the interaction must be such that it is with the architecture. In other words the action of the play could not take place meaningfully anywhere else but in the building given. The play will last 5 minutes and will be spoken, but accompanied by sound effects (but only such that can be made by students’ voices) as appropriate. The play must not mention the name of the building or give express clues as to what or where it is. No expressly architectural terminology must be used and you must not simply describe the space – the important thing is the narrative. There must be a clearly understandable narrative (beginning, middle and end) to the story, all of which must be appropriate for the architectural space. The choice of words, rhythm, intonation and tome are vital as will be the sound effects. The play is to be pre-recorded by the group. The speakers must not use their native tongue nor English.
If done well the other groups should be able to describe the architectural space (perhaps by drawing it as they listen) and even guess the name of the building in which the play is set, just as a play about passion might lead us to draw a rose (without ever using the word rose in the play).
SCHEDULE /
To be developed, when we establish other unis’ schedules.
Monday 16:
Participants identified.
Initial briefing.
Understanding what a story is.
Using language to convey meaning.
Tuesday 17:
Allocation of building.
Identification of ‘signified’ and ‘signifier’
Further briefing to all groups.
Wednesday 18 and Thursday 19:
Allocation of persona – the storyline in the architectural space.
Mike and Thom ‘visit’ each group for live tutorials
Friday 20:
The story – guidance and development.
Plenary for all groups
Monday 23, Tuesday 24:
The ‘script’ and ‘roles’ (voice, sound, effects)
Mike and Thom ‘visit’ each group for live tutorials.
Wednesday 25:
A rehearsal
Thursday 26:
Recording and submission
Mike and Thom available as required
Friday 27:
On-line performance
On line interviews with the directors and actors
Simultaneous posting of individual live drawings as each performance ends
EVALUATION – ASSESSMENT /
Each university has its own expectations and requirements and you will be informed of those separately. As a general guide to assessing your involvement in this workshop the following will be considered:
A demonstration of understanding the application of ‘signifier’ and ‘signified’ to architectural space.
A grasp of the architectural intention behind a given space.
The use of rhythm, tone and delivery as regards language to convey feeling.
The creation of a story that evokes architectural atmosphere through its telling
The creative process and participation to a professional level.
The COVID-19 crisis has obliged us to rethink the evolution of our models of architecture, our squares and streets, our homes and other typologies of buildings. Our entire cities are being judged due to new relationships within society.
Under these novel circumstances we have listened to more experts from different disciplines to give their opinions about necessary changes in architecture than to architects themselves. During the last months, epidemiologists, economists, politicians, anthropologists, sociologists, scientists, policemen, reporters or general citizens from all over the world have been the real spokesmen for new architecture. Without a doubt, it is time to question the single authorship of the future of Architecture: more than ever, as a discipline, it cannot continue being taught alone, nor on a local level.
From the architect’s point of view, all of us we have also being secluded in our architecture. The confinement that forced many of us to be at home has encouraged to reduce the speed of our fast life and reflect on our social-political engagement within this new reality. This period has been a real impulse to assume those commitments and transform them into architecture, opening new ways of working and collaborating with other colleagues and disciplines internationally, something that just some months before would have been rather arduous.
A direct example, in terms of the pedagogy of architecture, is our ambitious project “UNIVERSITY of Universities”. Although this exchange of workshops was technically possible before, it is only now when it became a reality.
AIMS /
Rem Koolhaas directed the exhibition “Elements of Architecture” at the 2014 Venice Architecture Biennale. It consisted of a massive recollection of information about the evolution of selected fragments of building details of architecture:
WINDOW FAÇADE BALCONY CORRIDOR FIREPLACE STAIR ESCALATOR ELEVATOR FLOOR RAMP CEILING ROOF DOOR WALL TOILET
The aim of our workshop is to complete that book. We consider that this research on historical evolution of elements from early times to the end of the 20th century, directed by Koolhaas, calls now for an additional reading. Foreseeing new confinements, our society starts to ask for therapeutic qualities of these same elements. And we believe that this will be the result of an international collaborative work between architects and other disciplines.
METHOD /
To achieve this, the participants in the workshop will be organized in groups of 6 members, each one from a different school of architecture.
Every group will choose one of the elements listed above to develop during this workshop for confinement.
Since each member belongs to a different culture, the task consists of collaborating with an expert from a different discipline than architecture and to compare the diverse applications in your particular realities.
1 st day: Individual introduction / each student chooses an element and produces a document (free technique: video, drawing, model…) that speaks about him/her or the way it inspires him/her (memories, interests, reflexions…). After his/her personal presentation, we will arrange the groups by affinities and interdisciplinary collaborations.
2 nd day: Group proposal / produce a conceptual image that contains the new interdisciplinary qualities that your element of architecture should adopt due to a future confinement and apply it to the work developed in the former UOU Workshops.
3 rd day: Final Crit of the precise constructive details of group’s Therapeutic Elements of Architecture.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Introduction / 30-04 Dec 2020.
Development / 07-10 Dec 2020.
Lecture: Architecture can heal, by Francisco Colom and Ana Fernández Martínez (MASS design group).
Final Crit / 11 Dec 2020.
EVALUATION /
Develop these actions:
– Finding opportunities of Interdisciplinary relationships to start a project.
– Describing the differences when dealing with different cultures.
– Finishing with a precise building detail of an element that defines Therapeutic Architecture.
Bibliography /
Sacks, Oliver. (1995). An anthropologist on Mars: Seven paradoxical tales (1st ed). Knopf.
The process of mapping extends and enriches our interaction with the specific conditions of site, therefore it allows the reader to understand and experience the unique characteristics of a specific place.
In his article “The Agency of Mapping, Speculation, Critique & Invention”, James Cornertalks of the map as having the power to ‘Reformulate what already exists’. The ‘agency’ of the map, is that which exploits the research to identify, decode and create the potential of possibilities for the place. Mapping is understood, not as a process of representing geographies or ideas, but ‘effecting the way they are manipulated’.
Cartographic maps correspond to the dimensional reality of the external world. This in many ways makes them totally inappropriate for reading and representing site qualities/phenomena because of their objective qualities.
Mapping is often understood as a technique for representing (predetermined), i.e. given – entities. This conception of mapping as a tool to visualize spatial concepts does not utilise the full potential that the map has to ‘reveal the specific qualities of the site’.
Cognitive mapping is an abstraction covering those cognitive or mental abilities that enable us to collect, organize, store, recall and manipulate information about the physical environment. Underlying this definition is a view of behavior that, although variously expressed, can be reduced to the statement that human spatial behavior is dependent upon the individual’s cognitive map of the spatial environment.
From a cognitive map, the individual can tell where certain valued things or experiences are to be found and how to reach them as required. The map assigns preferences, determines attitudes and predicts possibilities. It changes at all levels of timescale and is modified by education, experience and available resources. Cognitive maps could be simply understood as perceptual maps and cannot be merely a series of photos or measured drawings of what a place is.
AIMS /
To introduce and explore the idea of mapping as a tool for reading the site.
To understand and experience the unique characteristics of a specific place.
To acquire the understanding of site to transcend the standard and often inappropriate objective analysis of just a dimensional reality.
To explore site as multiple systems and processes.
To introduce the notion that any given site may mediate between the scale of humans, of the city and the environment.
METHOD / Week 1: Students have to document a chosen site through producing a photography mapping. They will be allowed to only capture twenty frames (20 photos) and manipulate them accordingly to communicate their findings. Important factors:
– How the specific topology (enclosures, light/shadow, introvert/extrovert, accessibility, materiality of the ground, noise/quietness, visibility) affects the ways the site is inhabited / How the inhabitation practices are related to the qualities of the site.
– Patterns of inhabitation in time (repeated actions, rhythm of activities, same location with different activities depending on the day/hour, individual activities happening rarely, permanent/temporary activities).
– Patterns of inhabitation in place (activities related to the specific topology are repeated every time you encounter the same topology, how every activity affects the others, what are the connections between different activities, how different activities overlay, what activities cannot take place at the same time with others, activities that exclude others)
Week 2: Developing cognitive mappings of the chosen site.
Cognitive mappings could deal with a spatial fragment, a sectional quality or 2D maps. The mappings should be developed as hybrid drawings incorporating a variety of media (2D+3D, collage, text, sketch, photos, maps, drawings, memories etc).
SCHEDULE / 2-Week Workshop. Weekly 4-hour class (schedule to be confirmed at a later stage)
Photography mapping / 19-23 Oct 2020
Cognitive mapping / 26-30 Oct 2020
EVALUATION /
The evaluation will be based on the following Expected Learning Outcomes. After completion of the workshop students are expected to be able to:
-Examine and interpret site conditions in relation to the natural and built environment, materiality, boundaries, users, social issues, activities, usage of space, privacy issues, objects, ambience and immaterial qualities of space.
-Use appropriate representation and presentation tools, including mixed media techniques and mappings, for recording existing site conditions.
-To appreciate cognitive mapping as a tool that assigns preferences, determines attitudes and predicts possibilities.
-To transcend the familiarity with cartographic maps (that correspond to a dimensional reality) and explore a plurality of experiences/ cultures/sites via alternative representation techniques
In 1982 the English-Swedish architect Ralph Erskine, opened his lecture reflecting on the definition of Architecture as the Art of Building Communities. Thirty-four years later the Urban age Conference held in 2016 in Venice opened up a series of reflections inviting experts from all over the globe, sharing ideas on the future of our cities. What is the role of the Architects? How can architecture respond to social challenges and environmental daily problems? Which are the limits of the design in facing the human condition scale and nature? It is more and more evident that nowadays the Architect does not stay within the boundaries of building construction but also seeks to building communities. An infinity of possibilities, both here and now.
Infinite places are pioneering places that explore and experiment with collective processes for dwelling in the world and for building community. These are open places, possible places, un-finished ones that establish spaces of freedom and the search for alternatives. These places exist by virtue of their determination to engage in experiment. Almost all of them started with an abandoned building, or a neglected site. Here architecture finds its means of expression through the confrontation of pre-existing spatial qualities with an organic process of transformation, whose meanings depend on common needs and the aspirations of those who commit themselves to it with courage and determination (Hencore Hereux) 1 .
The concept for “Infinite Places – Building or Making Places?”, developed by the Encore Heureux team in the Architecture Biennale of 2018, presents places produced by new and inventive processes that generate architectural processes of value. This exhibition project, which considers the territory as a whole, highlights initiatives on the part of civil society and communities that embody a certain free spirit of experimentation and the infinite possibilities opened up by architecture.
This 2-week workshop aims to build a reflection in between territories, nations, regions, cities, places, and their own inhabitants, on the topic of the role of the Architecture in the society: each group of tutors/students will identify an “infinite place” in their own nation. These are not meant to serve as sites for the development of a project, but as sources for the elaboration of our own a trans-national/scalar/disciplinary community starting from the local context, culture and society, and going beyond borders, languages, national regulations.
We will discuss and go from our “Infinite Places” to building an “Imaginary Land” where the architecture can re-conquer its function in “revealing”; the relationship between the humans and the world. (Dorfles 1968) 2 .
The workshop will include short talks between tutors from different universities.
AIMS /
To unpack the city based on your own experience of the places in which you live at the moment. To find opportunities in neglected and forgotten area/buildings. To identify an “Infinite place”. To work with the imagination in defining new rules for a our collective “Imaginary Land” as a different idea for a trans-national/scalar/disciplinary community. To learn how to contribute to group work and exchange as a small experiment for a learning society.
1. Encore Hereux, Infinite Places (Lieux Infinis) – Constructing Buildings Or Places?, Publisher Editions B42, 2018.
2. G. DORFLES, 1968 “Artificio e Natura” Einaudi, Torino – pag. 20-21
METHOD / Phase 1. SEMINARS / Reflecting on the role of “Architecture as the art of building communities” and its relationship with the society, through talks with tutors and other experts. Reflecting on the notion of ecological design thinking. “How will we live together” in the future city? Phase 2. EXERCISES / Unpacking the urban fabric. Reading the city, identifying the Infinite Places, understanding and communicating (exchanging) the spatial and social dimension and qualities of the communities around the globe. Phase 3. OUTPUT / Communicating the idea/strategy through the production of Collages (one for each group of students) that will define one or more “Imaginary Lands” – different media will be considered -. The Imaginary Lands will be displayed through an online exhibition/showcase.
– 1 st day: Introduce yourself presenting an image of your Infinite Place.
– 2 nd day: Group work according to your common interests. Build your Imaginary Land!
– 3 rd day: Online Showcase + Final crit.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students:
Monday 5th October 13-15
Introduction and first ideas
Friday 9th October 9-12
Optional Tutorial and feedback discussion
Wednesday 14th October 9-12
Closing discussion
EVALUATION /
The evaluation will be based on the following Expected Learning Outcomes:
After these two weeks workshop the student will be able to:
Apply methods for quantitative and qualitative mapping, through the description of a city.
Identify a potential for the reuse or reactivation of an area of the city. Explain the consequences
of various urban development strategies and its relation to architecture and society.
Bibliography /
Encore Hereux, Infinite Places (Lieux Infinis) – Constructing Buildings Or Places?, Publisher Editions B42, 2018.
CONTENT /
Architecture, open and expansive in nature, has explored unlikely interactions and projected hybrids with unpredictable results. Danish architect Bjarke Ingels has defined it as bigamy; Take multiple elements that apparently don’t fit together and merge them to create a new creation or genre. This is a positioning that will allow us to get out of the accepted parameters of architecture and, in doing so, give life to new ideas that previously seemed impossible or unknown.
AIMS /
Propose a new way of interpretation for the teaching and the practicing of architecture through interaction with a different field of creativity such us the food world and the use of experimental design techniques.
Study and understand the inherited relationships of the architecture-food bigamy with the intention of deriving in a better relational sustainability between both.
Highlight local values and encourage, through online group work, the discovery of other gastronomic and architectural cultures. Create + Act + Collaborate + Iterate + Invent + Question + Disseminate + Transcend
METHOD /
In this workshop we will work on the architecture-food bigamy:
• We will present edible products-objects.
• We will draw the conditions demanded by objects that are perishable and edible, the actions and rituals
associated with them and the spaces that are defined around their tasting protocols.
• We will rethink architecture and context from the gastronomic objects and, on the contrary, we will rethink
culinary art and its elements from an architectural approach.
SCHEDULE / 2-Week Workshop. Weekly 4-hour class arranged with the students: Day 1 – Analytical-Descriptive (Individual Work)
Find out an edible and man-made object/product that is iconic of your region-culture, with interesting shape, aesthetic and geometric qualities and that is perishable. Define the key parameters of its geometry and the relationships, proportions and rules between its parts. Day 2 – Representative (Group Work)
– Part 1
Group members choose by consensus a final edible object/product they will work with.
– Part 2
Represent the object through free graphic language. Draw with detail the architectural representation of the object, through a specific and free representation system. Include dimensions and annotations. Reference:
– Part 3
Generate a never seen ritual and space for the tasting of your chosen food/product. Design the utensils and the spatial, social, sensorial, interactive and emotional conditions that define how to eat it. Show clearly the relationship with the human body through sequences, phases, times, temperatures…
Output: One multi-layered drawing Reference:
Philippe Rahm architects http://www.philipperahm.com/ Day 3 – Performative Video (Individual Work)
Create the physical setting and represent the architectural scenography generated by the object and its tasting. References:
