When designing we conventionally outline surfaces, so our design method is primarily conceptual not perceptual, ideas not visual experience. This is fine for buildings composed of flat surfaces arranged orthogonally, but is it adequate for sculptural architecture? Answering this question is fundamental to our design methodology. In this session we re-exam the limits of current design methodology, in the light of sculptural forms.
literate is essential to understanding and design sculptural forms. We’ll be
bringing the flat slab to life by presenting a full
lexicon of singly and doubly curved surfaces – an essential understanding to
documenting and construction.
The challenging task
of experiencing how the form affects feelings.
The idea that “Form follows function” is pragmatic and widespread but omits the
most important quality of architecture: humanness. Comprehending the psychological experience of forms in
relation to feelings, including the experiential distinction between
rectilinear and curvilinear forms, which is equivalent to the difference
between a major and minor scale in music.
How to clearly
document irregular plans for the contractor?
Your builder won’t go around the bend when your drawings are around the bend. Techniques to document irregular shapes: one
of the limits preventing architects from designing organic forms. We want you
to be able to translate your creative design in an understandable and buildable
way for the contractor to construct accurately. We take the guessing work out
of building dynamic and irregular shapes.
Taking the previous session a bit further,
from 2D to 3D! Learning techniques for documenting in elevation, in volumes and
with irregularly warped surfaces, including synclastic and anticlastic surfaces.
Designing sculptural buildings is super cool, BUT how can I apply it to
real life: with bricks, wood, and concrete? Getting real about getting it
together. Practical design session,
detailing for construction of non-orthogonal forms
This is a design session: final project begins
and before we document it we will take your creativity to the next level! Humanising
the building by treating it as a personality; followed
by clarifying a palette of materials and forms appropriate to the function and
feeling of the project and spontaneously design
And a million-dollar question: How to design co-operatively giving feedback without
criticism but adding and complimenting the process with further creative input
as opposed to analysis and criticism?
Time to wrap up. Let’s revise the whole content
learned so far, share impressions, insights and think about ways to move
forward and together. With this range of tools and a clear sense of direction
the architectural world is your creative oyster!