DESN 10054

Design Studio

BArch core module : 60 credits

Images: Coop Himmelb(l)au Folly#6, Osaka Expo 1989-90

(from Isozaki, A. et al. Osaka Follies (Types). London: Architectural Association, 1991)

Project 4: FIGURE AND GROUND place-making/marking

BArch (Hons) 2014-15

DESN 10054

Design Studio

core module : 60 credits

PROJECT 4 FIGURE AND GROUND

1.

RATIONALE a design philosophy

1.1

Building and the Surrounding Environment

BRIEF

Human habitats, like animal habitats, offer shelter not so much from as within
particular environments. We flatter ourselves by believing that our habitats are more
sophisticated than animal habitats, because we (architects, especially) put a lot of
thinking (design) into them rather than constructing them instinctively:

we take into account ergonomic considerations (as we did in the Cardboard

Chair project)

we subdivide spaces in accordance with social and functional considerations (as

we did in the LifeBox project)

we select and combine natural (and artificial) materials and sites in creative
ways in order to invest specific parts of our environment with MEANING
seeking through design to reinforce our sense of belonging somewhere.
Lets dismiss construction that proceeds without such deeper thinking as mere
buildings rather than Architecture: the fundamental objective of this Design Studio
project 3 is to design a construction feature that will make visiting a particular location
feel like a more special, satisfying experience.

1.2

Adapting the Environment to our Needs

At the heart of the architects endeavour is our consciousness that, in organising
materials and space (and time) around human needs and aspirations (ergonomic,
economic, and psychological all conditioned by culture), we are merely re-shaping
certain features of the environment:

we aim to filter out or to override the undesirable elements (unpleasant

weather or difficult site conditions, for example)

we aim to take advantage of and so to enhance whatever we identify as

the positive aspects of the CONTEXT (both near at hand and further away) in
which we choose to build.
Architectural design therefore involves the development of proposals for new
possibilities of environmental interaction, requiring a respectful balancing act between
nature (external forces we cannot control) and technology (human ingenuity,
tempered by cultural habits). The design process must begin with site choice (if
available), demanding analysis of the surroundings (to identify constraints and
opportunities as a starting-point): the more thorough our analysis, the more our
architecture will belong in its selected position. This Design Studio project therefore
begins with the process of choosing a location for the proposed construction
feature.

1.3

The Idea of Shelter

Architecture may thus be understood essentially as an attempt to make habitable
space (or vice versa, to make space habitable) it marks a coming to terms with its
location. We may use the concept shelter to denote the most basic kind of building
that does little more than relate to (ie interact with) the environment in which it is
situated: the shelter is not the same as a dwelling, as we inhabit it for only a limited
period of time. Inhabitation nevertheless demands the creation of habitable space
setting apart the other (non-inhabited) space as being outside or there (rather
than in or here). The relationship between interior and exterior is fundamental to
architecture, although the boundary between the two zones need not always be
obvious (and therefore provides a rich ground in which to explore design ideas).

BArch (Hons) 2014-15

DESN 10054

Design Studio

core module : 60 credits

PROJECT 4 FIGURE AND GROUND

BRIEF

Throughout the history of architecture, there have been numerous versions/visions of the primitive
hut as a primary building block for meaningful architecture. The word vernacular (from the Latin
for a cottage) is an important reference to this tradition. The less familiar term aedicule is also
associated with the same rich vein of typological precedents associated with the simplest of
compositional elements.

1.4

Building in Time
The location of the basic, short-term shelter needs to be understood as a matter of
both TIME and geography. It is natural for clients to expect more important
Architecture (often including their family homes, for example) to be designed for
permanence: people use the capital A for the kinds of building they respect as classic
(ie timeless) in conjunction with their cultural preferences (which themselves vary
through time, of course). The truth that architects must acknowledge, on the other
hand, and therefore embed in their designing, is that all buildings are merely
developed forms of sheltered spaces: not only can they never be more (in essence)
than temporary refuges, but they change physically over time most significantly, of
course, in response to their external conditions. This design project is therefore
concerned with a temporary structure that will serve a shelter function effectively by
creating a filter between the interior and exterior environment.

Mohsen Mostafavi has written of weathered buildings: "the mouth kisses, the mouth spits; no one
mistakes the saliva of the first for the second." By analogy, the spit of weather kisses our
shelters in a meaningful way, leaving marks on them as we filter the climate through them. A
hermetically sealed dweling does not acknowledge the environment it negates/supersedes it.
Our internal environment needs to be permitted to interact periodically with the external
environment. By providing a selective interface on the boundary between interior and exterior, we
can nullify the worst aspects of the weather whilst allowing us to filter warmth, sunlight and air.
Weathering can give the shelters we design a mark of time: sun-kissed or washed, our roofs and
walls are steadilly patinated by sedimented aging. We must design not for what the building will
look like immediately it is finished but for how it will age (ie deteriorate in terms both of appearance
and performance) over its lifetime.

1.5

Building (on/in) a Sense of Place

Consider a solitary post used as a marker for a bus stop: whilst there are no physical
boundaries to the idea of a bus stop in such an open ended case, we are nevertheless
able to recognise where the bus stop 'ends'. In the same way, a shelter offers the
same phenomenological sense of 'sheltered' and 'unsheltered'. The articulation or
expression of such ideas through the arrangement of materials in three-dimensional
space allows us to reinforce the meaning of an architectural shelter, and therefore
gives meaning also to its setting. This Design Studio project requires you to select a
site, to identify the features (physical and cultural the latter including historical,
social and economic dimensions) that determine its character (in Latin, we term this
the genius loci - the spirit of the location), and to shape your design proposals
around these features. We argue that buildings designed independently of their
proposed setting are meaningless: if we intend to create architecture, it must be
rooted in the idea that shelter involves close relationship with the immediate
environment (environmental impact gradually reducing with distance). This Design
Studio project gives you the opportunity to demonstrate how this philosophy might be
implemented.

BArch (Hons) 2014-15

DESN 10054

Design Studio

core module : 60 credits

PROJECT 4 FIGURE AND GROUND

1.6

BRIEF

Extending skills and knowledge

Your previous design projects (in conjunction with parallel modules) have introduced
you to a range of architectural topics, enabling you to engage in a discourse that
addresses:

representation

structure

ergonomics and anthropometrics

spatial arrangement.
You have also learnt some important lessons related to design project
management:

the need to formulate design ideas early in the process

the need to plan the time available for drawing and making a model.

the need to allow further time for revising parts of the design in response to
critical comments.
This project not only synthesises all that you have explored so far, but it adds two
new design considerations environment and context. Every architectural project
may be said to possess inward-facing components of creative interpretation,
structural logic, symbolic representation and spatial design: we can only make our
designs completely meaningful, however, by relating them to certain exterior
conditions. By deliberately seeking to provide a sheltered, inhabitable space that
seems to belong in a particular location, you will develop new skills, insights and
habits of thinking that will ensure your architecture is forever characterised by a
strong relationship between object and surroundings. In order to underpin this
understanding, some research associated with OBSERVATION as a theme is highly
recommended.

2.

BRIEF

2.1

The Architectural Challenge

Individually, you are invited to design AN OBSERVATION TOWER, which is to be
located on a site of your choosing within the Arboretum, Nottingham. The tower
must relate as closely as possible to its location:

giving expression to its context (including respect for existing wildlife and
planting, for regular park users and for neighbouring residents in order to fit in
appropriately with its surroundings)

acting as an environmental filter (using the local topography to ensure good

visibility both towards and outwards from the viewing area, at the same time as
landing lightly but effectively upon the site itself).

2.2

Design Objectives
The purpose of the tower is to provide a vantage point enabling up to 4 visitors at a
time to perform any or all of the following activities:

watching birds and other park wildlife

observing the surroundings and so enhancing the security of the park overall

connecting both to the immediate site and to the wider environment through
the enjoyment of views over the landscape.
The tower must provide adequate shelter for short-term inhabitation either standing
or seated (according to the kind of activity given precedence). You are urged to
consider the hard/soft landscaping layout around the base of the tower, in order to
enhance public interface with an otherwise alien structure.

BArch (Hons) 2014-15

DESN 10054

Design Studio

core module : 60 credits

PROJECT 4 FIGURE AND GROUND

2.3

BRIEF

Technical Constraints
The tower is to be built entirely of timber. You are therefore expected to undertake
research into alternative structure and cladding solutions and their associated
detailing (preferably by reference to the detailing of built examples). The footprint of
the tower must not exceed 25m2 (not including ramps or staircases for access at the
base).

3.

PROJECT SCHEDULE

3.1

6th January Studio: SITE DECISION

a)

9.00am Project Introduction (Chris Heuvel): Brief uploaded on NOW.

b)

10.15am Site Choice: having received your Brief, you will be invited to accompany
Chris Heuvel and Lindsay Purssord on a visit to the site (the Arboretum in
Nottingham). The aim will be to collect site information through notes and sketching,
recording information such as:

site conditions and topography

cardinal orientation and exposure

views and frontage

access and terrain

natural features and wildlife habitat

pedestrian movement and other activity.

Based on the above, you will then individually decide on a suitable location for
your project. Keep in mind the 3 activities (identified in section 2.2 above)
that need to take place within the Observation Tower when you appraise the
site location.

c)

Initial Design Considerations: collaborate with your colleagues during the

site visit (in order to share the workload associated with site appraisal),
discussing the following questions amongst others:

exactly what area should the tower footprint occupy, and how should
the immediate surroundings be landscaped?

what can be seen from the chosen site (ie what will be the main kinds
of observation carried out from it)?

from where can the tower be seen?

how tall should the tower structure be (in the constext of the site you
have chosen for it)?

what provisions ought to be made for ensuring security (both in terms

of access to the structure and safety whilst using it?

what level of comfort (for short-term inhabitation/shelter) should be

provided?

what other facilities (eg storage) might be associated with the

proposed structure?
It is suggested that, either during your initial site visit or subsequently, you
map out on the ground (with twigs, clothing, etc) the size of your proposed
structure. How might you estimate an appropriate height for it?

BArch (Hons) 2014-15

DESN 10054

Design Studio

core module : 60 credits

PROJECT 4 FIGURE AND GROUND

3.2

BRIEF

13th January Studio: CONCEPT DEVELOPMENT

a)

9.00am Timber! (Mike Hawkins): material precedents.

b)

Record appropriate Design Precedents in your personal Blog (ensuring you

provide full referencing to each of your information sources, including details
such as the name of the designer, date, location, etc), together with
comments of your own on each of the images or ideas selected.

c)

DO NOT USE SKETCHUP SOFTWARE for design development: use your

Sketchbook to document manually produced diagrams and images reflecting
the process of developing and arriving at design ideas and decisions.

d)

Make rough Sketch Models to explore alternative structural possibilities

(taking special care to allow appopriate space for all staircases). Consider
both overall principles (eg structural skeleton and bracing) and details (eg
joints and fixings).

e)

TUTORIALS: your (new) tutor will wish to discuss both your proposed design
work programme (ie personal project timetable) and your choice of site
(together with the design implications of this choice).

3.3 20th January Studio: CONCEPT REVIEW

a)

9.00am Vertical (Chris Heuvel): cultural precedents.

b)

Record appropriate Research in your personal Blog (ideas about seeing without being
seen, views, vistas, and the architecture/technologies of surveillance, tracking etc to
enrich your tower idea with references to key precedents), together with discussion of
your own on imagery associated with the ideas selected.

c)

STILL AVOIDING THE USE OF SKETCHUP SOFTWARE for design development, use your
Sketchbook to chart ergonomic and safety considerations (related to the design of
steps and handrails,and to the proposed viewing activities to be associated with your
Observation Tower).

d)

Make a scaled Model to demonstrate how well your proposed design relates to its
immediate surroundings (ie existing the topography and natural surroundings).

e)

TUTORIALS: your tutor will wish to discuss both your overall design ideas (including
thoughts about landscaping around the Tower base) and your choice of structure and
cladding system.

BArch (Hons) 2014-15

DESN 10054

Design Studio

core module : 60 credits

PROJECT 4 FIGURE AND GROUND

3.4

BRIEF

27th January Studio: DESIGN DEVELOPMENT

a)

9.00am Natural (Chris Heuvel): ethical dimensions.

b)

Record reflections on the design process in your personal Blog (what working
methods you have found effective / what you realise you still need to develop). Review
this projects Assessment Criteria, and identify your strengths/weaknesses.

c)

Use your Sketchbook to explore ways of depicting the relationships between

inside/outside, sheltered/exposed, enclosed/public that have been developed in your
project proposals.

d)

Take photographs of your final Model and use them (via Photoshop) to give realistic
impressions of the forms, spaces and materials that characterise your design proposal.

e)

TUTORIALS: your tutor will wish to discuss your proposed presentation panels (eg scale
chosen for site plan) and accompanying explanation. You should aim to avoid making
any major design amendments after this meeting (concentrating instead on the
preparation of final submission material).

3.5 3rd February: Final Review Minimum Submission Requirements

a)
b)
c)

SKETCHBOOK showing site appraisal and design process.

1.20 MODEL (preferably in balsa wood and dowel) on an appropriate base.
2 x A2 PRESENTATION PANELS showing:

site plan showing the Observation Tower in context.

1.20 floor plans showing internal spaces and timber structure.

1.20 section showing internal spaces, timber structure, and people (for
scale).

2 x elevations showing the Observation Tower in context.

exploded axonometric/isometric showing the whole structural system.

The number of orthographic drawings you present always depends upon your design and
how best your ideas may be expressed. Complicated designs usually require more
drawings to explain the architecture in full. You are encouraged to use colour in order to
communicate materials and how light will fall upon their surfaces, giving character to
your design. The use of SketchUp usually fails to communicate character.

BArch (Hons) 2014-15

DESN 10054

Design Studio

core module : 60 credits

PROJECT 4 FIGURE AND GROUND

4.

BRIEF

ASSESSMENT

This individual design project, which is weighted 10% within your overall module
grade, requires you to meet the assessment criteria specified overleaf in conjunction
with the modules Learning Outcomes (defined in the Module Guide):

Assessment Criteria

Learning Outcomes

Structural sense:
Produce an elegant design that suggests
achievement of maximum structural stability with
a minimum amount of material, spreading loads
efficiently through the whole structure.

Produce architectural designs that recognise and

respond to:
- basic social, cultural and aesthetic needs;
- basic technical, practical and environmental
considerations;
- primary spatial, functional and ergonomic
needs at a basic level.

Design quality:
Produce a design that expresses integration of the
shelter function with site context, and that
takes into consideration all the other requirements
of the Brief.

Resolve potential conflicts between the above

issues in the creation of a coherent architectural
design.

Critical engagement with project issues:

Produce a sketchbook that provides clear and
strong evidence of sustained design evolution in
response to ergonomic and environmental
considerations.
Graphic skills:
Produce attractively organised and effectively
annotated presentation panels containing all the
required drawings.
Craft skills:
Produce a neat and accurately scaled model that
demonstrates sensitive understanding of materials
and their associated technology.

Verbal skills:
Describe your handling of architectural
relationships (inward/outward, enclosed/exposed,
etc) fluently and convincingly, and present your
design ideas coherently.

Relate your own ideas to those of others through

the expression of basic design concepts.

Clearly and effectively convey design ideas

through architectural conventions, and graphic
and model-based communication methods.

Clearly and effectively present and debate

architectural designs and ideas encompassing a
broad range of historical, cultural, social,
environmental and technical considerations.

Define and appraise your own work through

reflection, evaluation and working in teams.

BArch (Hons) 2014-15

DESN 10054

Design Studio

core module : 60 credits

PROJECT 4 FIGURE AND GROUND

5.

BRIEF

SUGGESTED REFERENCES

Cook, P. et al. (1990). New Spirit in Architecture. New York: Rizzoli

Davies, C. (1992). British Racing Green in Architectural Review vol.190.6
(on Grimshaw Architects British Pavilion at Seville Exposition 1992)
Diller, E. and Scofido, R. (1994). Flesh: Architectural Probes. Princeton:
Architectural Press
Firebrace, W. (Spring 1991). John Hejduk: Lancaster/Hanover Masque. AA
Files no. 21
Glusber, J. (1992). A Decade of RIBA Student Competitions. London: Academy
Editions
Hejduk, J. (1986). The Collapse of Time. London: Architectural Association
Isozaki, A. et al. (1991). Osaka Follies. London: Architectural Association
Johnson, P. and Wigley, M. (1988). Deconstructivist Architecture. New York:
MOMA
Powell, R. (1989). Ken Yeang: Rethinking the Environmental Filter.
Singapore: Landmark Books
van den Bergh, W. (1993). John Hejduk: Berlin Night. Rotterdam: Nai Utigevers
Venturi, R. (1966). Complexity and Contradiction in Architecture. New York:
MOMA (especially pages 70-87: the Inside and the Outside)

BArch (Hons) 2014-15