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DALHOUSIE UNIVERSITY SCHOOL OF ARCHITECTURE

ARCH 4003.03 B3 Design Studio Summer Term 2019

Instructors: Ted Cavanagh (c), Jane AbboO, Thomas Evans, Chad Jamieson, Emanuel Jannasch. Credit hours: 3 Format: Lecture/studio: includes lectures, tutorials and reviews, supplemented with site visits. RestricTon: Year 4 BEDS students. Time: Mondays and Thursdays, 2-5.30 PM

Calendar DescripTon: Thiscoursestudiesprinciplesofarchitecturethroughthedesignofapublic

building.Buildingonpreviouscourses,itincludestheorganiza9onofapublicprogramandissuesofcontextandinterpreta9on.Asanintensivestudioitencouragesstudentstofocusondesigninten9onsandtodevelopanawarenessofdesignprocess.AddiTonal DescripTon: This course consists of an eleven-week-long project to design a public building and its site in response to given program requirements. It is a natural progression from the pavilion studies in term B1 and residenTal studies in B2.

Public buildings are owned by the community-at-large and contribute to the social well-being of the community based on democraTcally agreed upon principles. As such they are necessary spaces as well as poliTcally contested ones. They support the human need to socialize; to gather in groups to discuss, to meet with common purpose, and to simply ‘hang-out’. It is essenTal to understand how people occupy buildings, not just as prescribed but casually. These buildings oben host events in great rooms. Just as important are the series of interior and exterior spaces that people encounter others on the way to these events.

There is a cultural basis to public buildings, as well as a universal one. Some public buildings are Ted to historical precedent, others respond to contemporary change, but most do a combinaTon of both. As you take part in the consideraTon of your parTcular building program reflect on its Tmeless quality, what it would be like if put to another public use. At the same Tme consider the impact of social media on our ciTes, as stores, banks, libraries respond to our changing social circumstances. There are no easy answers, and, possibly, no correct ones. The point is to suspect received wisdom, and to challenge yourself to try to develop a valid basis for how you design for others.

Learning ObjecTves: As this course is the third of four mandatory design studios, it builds on the learning objecTves of the two prerequisite courses, as well as the eight other prerequisites in History, Technology, RepresentaTon and Professional PracTce. Adequate proficiency in these prerequisites is assumed and the objecTves below concentrate on those that are introduced, focused on, or describe an increased level of accomplishment. The courses this term, like last term, form an integrated set. It is important to be able to explore issues raised in other courses — RepresentaTon, History and Technology — and bring the results of the exploraTons into the studio project

1. This course introduces the public nature of buildings, and ways to design based on this understanding.

2. AddiTonal outcomes include the ability to translate into design an understanding of • the acTve and passive ways of building sustainably in terms of materials, energy, and ecology. • the social values of the local community, the region, the naTon, and the world. • how the building program represents social acTvity from large gatherings to casual encounters. • the physical and social nature of the immediate community context. • basic consideraTons of social equity public safety and universal design.

3. a) To assess, depict, analyse, and criTque other buildings in order to develop a ‘toolbox’ of design strategies. b) To develop a range of strategies for design based on an understanding of the following issues: • context such as fit / contrast; connecTons; adjacencies / flows; … • order and proporTon such as paOern; human scale; composiTon; part to whole relaTonship; … • view and transparency such as reveal / conceal; framing; percepTon and opTcs; prospect / aspect; …

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• crab and producTon such as in situ / factory; work of risk / of certainty; prototype / off the shelf; … • spaTal sequence, spaTal overlap, approach such as spaTal variaTon, entry / orientaTon; viewer / viewed; … • the material and the hapTc such as tacTlity / texture; light; sound; manufacturing process; …

c) To be able to explore and test these issues through applicaTon in the studio project.

4. To be able to work at the scale of the neighbourhood, the building, and the detail considering the: • cultural implicaTons of situaTng buildings, spaTal qualiTes of social occasions, and material and their assembly. • building performance for assembly occupancies in terms of lighTng, acousTcs, structure and envelope. • sensory experiences of the individual and the social group • construcTve composiTon of materials and the assembly of important juncTons.

Course Structure The course meets twice a week for 3.5 hours. These sessions will be dedicated to desk criTques, lectures, and reviews. The studio is based on significant one-on-one and small group feedback, these are on-going and in-depth. Since this feedback is oral, you are responsible to sketch and write notes of each discussion with your instructor and what is expected of you at your next meeTng. Do this in your process porjolio. Have your instructor review this at your next meeTng. Similarly, post-review feedback will be provided through conversaTons with your instructor and other instructors in the course. You are responsible for preparing in advance, and to summarize your review in the process porjolio, include the next steps you are considering, and any quesTons you have. These note- and sketch-summaries are an important record of your design process and are part of the assessment of your process porjolio.

Term Schedule –––––––—- week 1 -—–––––––

Monday,May6,2pmIntroducTon 1) to instructors (DB) 2) to course (TC) & 3) to [case study] issues (TC) (B308) Monday,May6,3:45pmMeet in Studio groups(possible site visits)Thursday,May9,2pm(noteChad’s“B”group“transparency/view”andstudiomeetsWed.May8,2pm-3.30pm—*HA18)The remaining four workshops one on each ‘issue’ (run in parallel) (HA18, HB4, HB2, *Faculty Area) Thursday,May9,4pm(traveltosite3:30-4:00)Studio groups (possible site visits) –––––––—- week 2 -—–––––––

Monday,May13,2pmTalk 1 – Tom Evans “Curiosity “ (HB4) Monday,May13,2:30pmFive pin-ups one on each ‘issue’ (2.5 run in parallel @ 2.30pm, 2.5 @ 4.00) (HA18, HB4, HB2) Thursday,May16Case studies presentaTons (*Temp. X Room) –––––––—- week 3 -—–––––––

Monday,May20-VictoriaDay-noclasses.Thursday,May23,2pm Talk 2 – DIogo Burnay “Structure and Materiality” (HB4) Thursday,May23,2:30pm Studio groups, design project –––––––—- week 4 -—–––––––

Monday,May27,2pmStudio groups, design project Thursday,May30,2pmTalk 3 – Jane AbboO “HapTcs” (HB4) Thursday,May30,2:30pmDesign work – site + program + secTon –––––––—- week 5 -—–––––––

Monday,June3,2pmTalk 4 – Chad Jamieson (HB4) Monday,June3,2:30pmDesign work – circulaTon + structures + materiality

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Thursday,June6Pin up - preliminary design, design statement, and ‘issue’ invesTgaTons –––––––—- week 6 -—–––––––

Monday,June10,2pmTalk 5 – Emanuel Jannasch — “Part and Whole” (HB4) Monday,June10,2.30pmDesign work – circulaTon + structures + materiality Thursday,June13,2pmRound-Robin Pin-up -plan, secTon, sketch model, materiality - pin up Wednesday, June 12. (*Temp. X Room) –––––––—- week 7 -—–––––––

Monday,June17,2pmTalk 6 – Ted Cavanagh — “Thinking about Making” (HB4) Monday,June17,2.30pmDesign Work. Structure + Systems. Thursday,June20,2pmTalk 7 – Anne Sinclair – “Universal architecture” (HB4) Thursday,June20,2.30pmDesign work. Systems + materiality.–––––––—- week 8 -—–––––––

Monday,June24Design Work. Design development and integraTon. Thursday,June27Porjolio submission, feedback, and grading session (HA18, HB4, HB2) . –––––––—- week 9 -—–––––––

Monday,July1-CanadaDayholiday-noclasses.Thursday,July4Design Work. Design PresentaTon Development –––––––—- week 10 -—–––––––

Monday,July8Mock-up Pin-up – studio swap – synopsis and feedback. (HA18, HB4, *HB2) Thursday,July11Design Work. Design PresentaTon development –––––––—- week 11 -—–––––––

Sunday,July14–Pin-upMonday,July15andTuesday,July16B3 Design review (*Temp. X Room — Reviewers TBA) Wednesday,July17-gradingsession.

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Assignments 1. Process Porjolio (25%) 2. Case Studies (15%) 3. Community Building Project (60%)

1. Process Porjolio Submission Students are expected to maintain process porjolios throughout the term. These record research and design process (final design work will be added at the end of term). They will be submiOed Thursday, June 27 for review, feedback, and grading. Review by appointment (15 min). Groups A, B, & E Thursday 2pm to 5.30pm. Two (or more) reviewers A: JA + DB; B: CJ + TC; and C: TE + EJ Groups C & D Friday, June 28 2pm to 5.30pm. Two (or more) reviewers C: TC + XX; and D: EJ + DB

Below is a transcripTon of the Process Porjolio guidelines on the School website. IntenZonYour process porjolio is produced gradually throughout the term. This encourages aOenTon to method and quality in your daily work. In turn, this should lead to finished work that is thoughjul and developed.

ContentWork from all of your courses should be included in your process porjolio. During a project, you will gather and study references that are relevant to a developing design: site documents, program descripTons, design projects by others, material and technological opTons, theoreTcal wriTngs, etc. Rather than just looking at them, it is more producTve to analyse and interpret them, using your own words and drawings. For a typical project, six sets of items would be included: the project outline, your references (in images/photos), your observaTons on those references (in words and drawings), your developing work (in sketches, images, and photos with capTons), your finished work, and a criTcal summary that reflects on your process and what you learned.

FormatThe format for a process porjolio is 24" x 36", landscape orientaTon, single-sided, and bound into a book format. A process porjolio for a single term may comprise forty or fiby pages. To facilitate review by others, all of its contents should be paper-based, without models or USB drives.

MaterialsOriginal drawings should be stored with care. Models are less liable to survive (and harder to store), so they should be photographed promptly. Digital files should be backed up daily to avoid loss. In a process porjolio, original drawings are preferable to prints. ds wide or 46" high; not both) may be folded once and included. Digital images can be printed onto 24" x 36" paper. Thick 24" x 36" backing sheets can provide a surface for aOaching smaller items, using an adhesive carefully. Pages from your sketchbook can be scanned or photocopied to avoid disassembling the sketchbook. The back cover should be sTff (e.g. a sheet of masonite); The front cover should be sturdy cardboard that enables the cover to open.

OrganizaZonA process porjolio for a term should be organized by week, with secondary headings to indicate the course; e.g., Table of contents ..................................1 Week 1...................................................2 Design....................................................2 History..................................................... Technology ............................................. RepresentaTon ....................................... Week 2..................................................... etc. In the porjolio, each project should have a heading to indicate the project Ttle. Group work should list the members of the group. Reference images should cite the author, Ttle, and publicaTon. Any items without a citaTon are assumed to be by yourself.

BindingBecause each course develops during the term, the porjolio pages can be fastened together temporarily At the end of the term you can number the pages, add a table of contents, and bind the porjolio more permanently (e.g., with nuts and bolts), so that the pages open fully and lie as flat as possible without tearing.

ReviewYour process porjolio can be reviewed at different Tmes: • during a term: to yourself, your colleagues in the studio, and your instructors • at the end of a term: as part of your design presentaTon

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• aber the end of a term: to parents, siblings, and friends you want to impress • at the beginning of the next term: with your new instructors • at the year-end reviews in April: to the commiOee that considers promoTon, graduaTon, and awards

PracZcalTipsA good process porjolio shows aOenTon to architectural crab in thought, form, and material.

Content• present all of your work, including process work and final products • convert different modes of work into graphics on paper (drawings, prints, model photos, video sTlls) • photograph models carefully (well composed, well illuminated, suitable background)] • include several different views of a model; consider including photos of models during construcTon • include your own analyTcal diagrams or comments next to images of reference buildings/projects • indicate a numerical or graphic scale on each drawing; include a north arrow on a plan • draw people (not geometric shapes or robots) in secTons and elevaTons to illustrate scale and use • include headings, labels, and capTons outside the drawings to help others understand the project • add brief summary comments (what you learned, what you would do differently next Tme, etc.)

Format• start with a 24" x 36" masonite back cover and about twenty 24" x 36" backing sheets • indicate your name, the term (B1, B2, or B3), and the date (e.g., Fall 2017) on the front cover • plan a basic template (margins, columns, headings, text blocks, page numbers) for all of the pages • scan and reduce oversize drawings to fit the 24" x 36" porjolio format • take care when mounTng drawings (straight edges, horizontal/verTcal alignment, placement of tape) • include a capTon (author, Ttle, date, publicaTon source) below each image that is not your own • use decreasing font sizes for headings, subheadings, capTons, labels (all legible from a metre away) • use light guidelines to lay out headings and capTons and to control your leOering • use a straight edge to make long, straight lines • use light, close parallel lines for hatching; use tone, colour, and different line weights for emphasis

Layout• compose each page to show your intenTons, not just to make an arbitrary formal composiTon • present an important drawing or exploraTon on its own page • show design variaTons side by side; describe what's different and why you chose one over the others • place a plan below a secTon to imply volume in a hinged way • place upper plans above lower plans to imply volume in a layered way • place a site plan next to a ground floor plan to imply zooming in and out

ExtraZps• don't include many repeTTve sketches or site photos (some ediTng is needed) • don't include rolled drawings; if possible, avoid large, folded drawings • don't use gridded paper for sketching (it can over-control and overwhelm a drawing) • don't use exuberant graphics or heavy markers that would distract from the work in the porjolio

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2. Case studies OrganizaTon There are twelve buildings being studied by the class (columns bg1 through bg12). There are five studio groups – A, Jane AbboO; B, Chad Jamieson; C, Ted Cavanagh; D, Emanuel Jannasch; and E, Tom Evans – there are twelve or thirteen in each studio group. Each student has a group leOer and a number in that group. Groups of three are formed by reading the chart, three on the same row and of the same colour.

The buildings being studied bg1 -- JA The New Museum of Contemporary Art New York City, USA by SANAA bg2 -- JA The InsTtute of Contemporary Art Boston, USA by Diller, Scofidio + Renfro bg3 -- CJ Saynatsalo Town Hall, Saynatsalo by Alvar + Elissa Aalto bg4 -- CJ Suzhou Chapel, Jiangsu by Lyndon Neri + Rosanna Hu bg5 – TC St. Peter’s Church, Klippan by Sigurd Lewerentz bg6 – TC Kunsthal Museum, RoOerdam by OMA bg7 – EJ Moldovan State Circus, Chisinau bg8 – EJ Centre NaTonal des Arts de Cirque, Châlons-en-Champagne bg9 – TE SeaOle Public Library, SeaOle by OMA bg10 -- TE River building at Grace Farms, New Canaan by SANAA bg11 – Munster City Library, Munster by Julia Bolles + Peter Wilson bg12 -- LSE Saw Swee Hock Student Centre, London by Sheila O’Donnell + John Tuomey

Assignment DescripTon This study is similar to the case studies you have done previously. It is more focused, concentraTng on one issue in all its complexity. The results delve deep into an issue and consider the variety of design strategies you can use to exploit it. Examine the three buildings and explain issue-based design strategies in a comparaTve way using appropriate techniques of analysis and representaTon. A building might have more than one strategy to exploit an issue. Test the effecTveness of the strategies. Consider their translaTon into your design project.

Workshop (May 9, 2pm-3.30pm) — except May 8 Group ‘B’ transparency / view - *HA18 AOend the appropriate ‘issue’ workshop (eg. “context’, row 1 above). Workshop led by one of the studio instructors (column 2 above). Bring a plan of study and your proposed methods of analysis and of representaTon. Instructor suggests methods of analysis and representaTon, and how ‘issue’ works at different scales.

Pin-up (May 13) Drab presentaTon in process, sketch and bullet form for any missing pieces Present your work at ‘issue’ session, instructors respond idenTfying gaps and quesTons (3 parallel sessions) 2.30pm — context (TE, DB); transparency / view (EJ, CJ); and crab / producTon (TC, JA) 4pm — order/proporTon (TE, DB); approach / sequence (EJ, CJ); and material / hapTc (TC, JA)

Final PresentaTon (May 16, 2pm) Work is to be pinned up as two landscape 24 x 36 boards using drawings and diagrams. In addiTon, these two panels are presented as two slides with up to an addiTonal six close ups. Includes the following: one plan and secTon of each building at the scale of 1:200 to promote comparison and reflecTng the ‘issue’; a design statement for each building, and general informaTon (design team, clients, dates of design and construcTon history of uses / adaptaTons, size, locaTon, and your names). Slides are accompanied by an oral presentaTon of 5 minutes. Reviews are scheduled for 30 minutes per issue. This allows 10-15 minutes of response.

bg1 bg2 bg3 bg4 bg5 bg6 bg7 bg8 bg9 bg10 bg11 bg12context TE A1 A7 B1 B7 C1 C7 D1 D7 E1 E7 E10 A13

order/proporZon DB A2 A8 B2 B8 C2 C8 D2 D8 E2 E8 E11 B13

transparency/view CJ A3 A9 B3 B9 C3 C9 D3 D9 E3 E9 E12 D13

crac/producZon TC A4 A10 B4 B10 C4 C10 D4 D10 E4

approach/sequence EJ A5 A11 B5 B11 C5 C11 D5 D11 E5

material/hapZc JA A6 A12 B6 B12 C6 C12 D6 D12 E6

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Issues

1. Context • fit / contrast / connecTons • adjacent buildings / flows • nature / orientaTon • topography / horizon

2. Order / proporTon • paOern • scaled to the person • composiTon • whole to part

3. Transparency / view • reveal / conceal • frame • percepTon / opTcs • prospect / aspect

4. crab / producTon • in situ / factory • work of risk / of certainty • prototype / off-the-shelf • how much does the building weigh?

Venturi+Scott-Brown-BenjaminFranklinMemorial H.H.Richardson-AustinHall,Harvard

WalterGropius-CopperHousesJacquesTati-Playtime(film)

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5. approach / sequence • spaTal variaTon • spaTal overlap • entry / orientaTon • viewer / viewed

6. material qualiTes / hapTc • tacTlity / texture • light • sound • cast / extruded / assembled

FrankLloydWright-Johnson’sWaxHeadquarters AntonioGaudi-SangradaFamiliaDaycare

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3. Community Building Project OrganizaTon This assignment is the design studio project. There are five studios. You have been assigned to one of the five design groups and will work on that project. There are mandatory requirements common to all studios. In addiTon, there are parTcular requirements for each of five individual studios (found the five studio descripTons aOached). All students are required to be present at all Tmes during all the reviews. In order to provide more wall space for individual work, studio groups will be pinning up for reviews at different Tmes. In order to ensure that all work for pin-up is completed simultaneously, you will all submit your work at the same Tme for the Round Robin and the Final Reviews, in the evening prior to the presentaTons. For the Final Review, take a photograph of the work submiOed and pinned up. You will not be able to present in the end-of-term reviews if this is not submiOed by July 14. This is not graded; it is simply a record of work completed. This includes photos of models, images of drawings, renderings/photoshopped images, etc. Forma�ng is not important. The sheet will include your name and your studio instructor’s name.

Assignment DescripTon The project is to design a public building based on one of the five project descripTons. Review the “addiTonal descripTon” and “learning objecTves” at the beginning of this course outline, these form part of this assignment. For example, create “… work at the scale of the neighbourhood, the building, and the detail” demonstraTng the subsequent bulleted points. AddiTonally, include explicit invesTgaTons and design response to as many as possible of the ‘issues’ explored in the case studies. Remember that your design must demonstrate understanding of the public nature of buildings, consideraTons of public safety and universal access, how the building program represents social acTvity from large gatherings to casual encounters, and how design relates to the physical and social nature of the immediate community context.

Pin up - preliminary design, design statement, and ‘issue’ invesTgaTons ( Thursday, June 6, 2pm - 5.30pm ) Pin-up: Present your preliminary design ( up to three process porjolio pages plus models — two-minute oral presentaTons ). Be explicit about your design intenTons and concept. Include a drab design statement ( one leOer-size page ). One of the process porjolio pages must focus on at least two of the ‘issues’ from the case study and as outlined in the learning objecTves. In addiTon, describe your planned invesTgaTons into these issues (one leOer-size page). This a class-wide review of each student design project. Two parallel sessions.

Review - Round Robin ( Thursday, June 13, 2pm - 5.30pm ) — [pin up Wednesday, June 12] This a class-wide review of all design projects by other students and instructors in the class. Round-Robin format. Preliminary design - statement, plan, secTon, sketch model, materiality, and issue-based representaTons. Hand-in for evaluaTon; instructor suggests the likely final grade based on progress to date. Document the presentaTon and the comments by reviewers and send to your design instructor by 8pm, June 13.

Review - Mock up ( Thursday, July 8, 2pm - 5.30pm ) Mock-up your Final PresentaTon. Layout with sketch place-holders of incomplete work. Studio swap – feedback from another instructor who suggests the likely final grade based on progress to date. Prepare your work, containing drabs of final presentaTon drawings, models, photos, renderings, etc. Have at least one presentaTon-quality drawing available for discussion, as well as a mockup sketch of your final deliverables.

Final Review ( Monday, July 15 and Tuesday, July 16 ) — [pin-up Sunday, July 14] Minimum presentaTon requirements are outlined below. 9am - 10.30am [9]; 11am - 12.30pm [9]; 1.30pm - 3.30pm [12]; 4pm - 5.30pm [9] :: [39 projects] 9am - 11am [12]; 11.30am - 1.30pm [12] :: [24 projects]

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The presentaTon of the design for the final review should include as a minimum (scales are indicated as a guideline only and indicate a level of content and resoluTon):

Main floor plan of the building. 1:100 or 1:200 scale. Main secTon of the building. 1:50 scale. Main elevaTon of the building. 1:100 scale. Drawings and model(s) of the building and outdoor urban spaces. 1:200 or 1:500 scale. A study of site relaTonships that might include: flexible use, related adjacencies, allied programs, landscape, services, solar paths, climate. 1:500 scale. A study of details, components, assemblies to demonstrate the concept and intent of the project. 1:20 scale. A clear drawing(s) of the structure and the construcTon appropriate to a public building. The Hybrid drawing. A design statement.

opTonal A neighbourhood plan and separate diagrams as necessary for clarity or emphasis. A simple graphic representaTon of the concept and its translaTon. Key reference images. A clear diagram of program; fixed + flexible spaTal organizaTon, circulaTon for the building and site PerspecTve study of a criTcal interior space (the great room) and of the building in its site context clearly showing community character and use

References Architecture and Community Jacobs, Jane. The Death and Life of Great American CiTes. New York: Random House, 1961. Gehl, Jan. Life Between Buildings: Using Public Space. Copenhagen: Island Press, 2011. Pérez-Gómez, Alberto. AOunement: Architectural Meaning aber the Crisis of Modern Science. Cambridge: MIT Press, 2016. Architectural Program Garcia, Mark. ed. The Diagrams of Architecture. New York: Wiley, 2010. Lawrence, Amanda Reeser, Ana Miljacki, and Ashley Schafer. “2 Architects 10 QuesTons on Program, Rem Koolhaas+ Bernard Tschumi.” Praxis 8 (2006): 6-15. Tschumi, Bernard. The ManhaOan Transcripts. New York: Wiley, 1994.Site and Context Parry, Eric. Context: Architecture and the Genius of Place. New York: Wiley, 2015. DeKay, Mark, and G. Z. Brown. Sun, Wind, and Light: Architectural Design Strategies. New York: Wiley, 2014. Architecture and Structure Ferrater, Borja. Ideographic Resources: Synchronizing Geometry. Barcelona: Actar, 2006. Sandaker, Bjørn Normann, and Arne PeOer Eggen. The Structural Basis of Architecture. New York: Whitney Library of Design, 2011. Architectural TranslaTon and AestheTcs Ching, Francis. Architecture: Form, Space, and Order; 4th ed. Hoboken NJ: Wiley, 2015. Forty, Adrian. Words and Buildings. New York: Thames and Hudson, 2000. Social Work Degree Center. hOp://www.socialworkdegreecenter.com/30-beauTful-modern-community-centersworld/

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EvaluaTon EvaluaTon of Assignments 1 and 3 are done collecTvely by the B3 design instructors on the basis of how effecTvely the learning objecTves have been addressed, in both the design process and the final design project. The process porjolio is evaluated by those present at the review (your instructor and at least one other). Your design tutor will give either verbal or wriOen feedback on your progress in addressing the studio objecTves, during the regular tutorial sessions on Monday and Thursday abernoons. Aber the feedback at the Round Robin Review on Thursday June 20, students will be informed of their projected grade for Assignment 3 by their tutor in a simple statement “Given that your work conTnues at its current pace and degree of development, and based on the evidence presented, I advise you that your work at the end of term will be (leOer grade).” This grade advice is non-binding and does not consTtute a parTal grade. Individual instructors may have consulted other instructors for their advice. Except for a documented medical reason, late submissions will be deducted 1/3 leOer grade (e.g., from A to A-) aber the first 24-hour period, and an addiTonal 1/3 leOer grade every third weekday aber that. Please contact the B3 Design course coordinator and/or the Undergraduate Coordinator if this situaTon arises. There are resources at Dalhousie that can provide support. The School also can provide advice.

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Students Rights and ResponsibiliTes Before traveling off-campus, students must complete a Student Travel InformaTon form - hOp://Tnyurl.com/offcampus-forms - and submit it to Ken Rice in the Faculty office (ken.rice@dal.ca) .

University Policies and Resources This course is governed by the academic rules and regulaTons set forth in the University Calendar and the Senate. See the School’s “Academic RegulaTons” page (Tnyurl.com/dal-arch-regulaTons ) for links to university policies and resources:• Academic integrity • Accessibility • Code of student conduct • Diversity and inclusion; culture of respect • Student declaraTon of absence • RecogniTon of Mi'kmaq territory

• Work safety • Services available to students, including wriTng support • Fair dealing guidelines (copyright) • Dalhousie University Library

the AGNX an exhibition space for contemporary art tutors: Jane Abbott and Alec Brown, Abbott Brown Architects email: jane@abbottbrown.ca

The AGNX is an affiliate art space to the AGNS (the Art Gallery of Nova Scotia located on Hollis Street). Like the MOMA PS1 in New York City, MOCA in Toronto, the AGNX is a gallery for the exhibition and experience of contemporary art, from Nova Scotia, Canada and international artists. The AGNX offers a diversity of spaces for art of all mediums: film, mixed mediums, sculpture, painting and installations. This new architecture will support collaborative exhibitions, site specific installations as well as offer space for community gathering. The gallery rooms are for temporary, hence changing eXhibits. The AGNX mission is to nurture innovation in contemporary art practice; to “engage and address issues and themes relevant to our times”; ultimately to “shape cultural discourse” through contemporary art. Programme The three main gallery spaces should offer a diversity of environments for eXhibiting art and experiencing space; consider north versus southern light, natural versus artificial light, size and shape of the gallery rooms in both plan and section. These galleries will be further supported by a public foyer, bookshop, and café, as well as outdoor space for art and gathering. Public Areas Outdoor X Space : 125m2 (art and public gathering) Lobby and entry: +/- 40 m2 X Gallery #1: +/- 300 m2 double height space, large span no columns X Gallery #2: +/- 150 m2 double height space X Gallery #3: +/- 80 m2 (9m x 9mx 9m cube) Film auditorium: +/-70 m2- acoustics to be considered Café/ Bookshop/Prints: +/- 50 m2 Support Areas Archive: +/- 50 m2 Public Washrooms non gendered: 50 m2 Administration offices: 35 m2

Mechanical and Electrical Services: 50 m2 Circulation: +/- 25% Total: +/- 1100 m2 Case Studies The design of an art gallery hinges on an exploration of light and space (the section) and is ultimately about the relationship of architecture to art and the artist. Case studies allow students to study how these ideas are explored in precedent buildings. These ideas, as well as the integration of materiality and envelope, procession, threshold, views and structural strategies, can inform the work of the entire studio. ▫ The New Museum of Contemporary Art New York City, USA by Sanaa ▫ Institute of Contemporary Art, Boston USA, Diller Scofidio + Renfro Other Precedents ▫ The White Cube, London, UK by Casper Mueller Kneer ( ▫ Louisiana Museum of Modern Art, Humlebaek, Denmark by Wohlert and Bo (outdoor sculpture gallery) ▫ Centre Pompidou Paris by Richard Rogers and Renzo Piano (exposed services, public space) ▫ Kimball Art Museum Piano Pavilion Fort Worth USA, by Renzo Piano (light/section) Site The site is a +/- 740 m2 corner lot fronting the Commons and Cornwallis Street in central Halifax. The site has been empty since the closing of an existing autobody shop. Recently it has been partially landscaped, but remains unused. The existing autobody shop can be demolished for this project. The topography is generally flat with a gradual rise to the north side. There are residential buildings to the east with open south and western exposure at the corner. The site faces two streets and is on a central bicycle and pedestrian route. It also faces the Halifax Commons- a central gathering place supporting recreational activities. Site analysis by the group should consider the following: ▫ the history of the site and its role in the city with respect to the military and Commons evolution ▫ the sun and wind patterns on the site ▫ vehicular and pedestrian movement ▫ noise ▫ topography ▫ documentation of adjacent gathering places ▫ documentation of city fabric and materiality Analysis should be undertaken by the studio group in the form of a group model (scale TBD), photography, montage, analytical site sections and site elevations, on site sketching.

Tutor Schedule (subject to adjustment) Week 1 May 6-9 Jane/ Alec Week 2 May 13-16 Jane Week 3 May 20-23 Jane Week 4 May 27-30 Alec/Jane Week 5 June 3-6 Alec/Jane Week 6 June 10-13 Alec/Jane Week 7 June 17-20 Alec/Alec Week 8 June 24 -27 Alec/Jane Week 9 July 1-8 Jane/Jane Week 10 July 8 – 11 Alec/Jane Week 11 July 15-16 Alec/Jane

B3 Studio — Ted Cavanagh Section may 6, 2019

Program: Imagine that there is funding, the ins4tu4onal backing and community support to build a public facility that aims to facilitate learning in cra; and making for children and adults. To support this, the building is to house a drop-in daycare and a;er-school program for school-age children.

Site: West side Falkland from GoCngen to Creighton (approx. 5000 m2) All buildings must be replaced. The park may be relocated on the site. The minimum size of the park is half of the site. The maximum footprint of the building is half the site.

Studio: More than the design project, this studio seeks to explore possibili4es. This studio is about making. Early on in the design process we will use models and full-scale construc4on as a method of exploring and resolving architectural detail that contributes to the whole. There is an expected rela4onship between the program of making and the building design.

Every week we will use part of our studio 4me to review a focused exercise. These exercises are risky and they might not work – they are explora4ons. Sugges4ons welcome. These are intended to contribute to your design project but might not involve your design explicitly. In other words, keep working on your design.

Exercise one: Explore the site and adjacent sites. Record video ‘footage’ of the site with feet (or hands) in it. Show your spa4al and/or temporal interpreta4on of the site in a 20-second video or video mash up. Be able to explain your interpreta4on. Serious and fun.

Brief: Workshop space – electronics/robo4cs, fiber, metal (welding) 300 square meters for three workshops 100 square meters storage with street access

Mul4-purpose assembly exhibi4on space 200 square meters high-bay, column-free room

Daycare for 21 three- to four-year-olds and 18 school-age children Daycare regula4ons -- h^ps://www.novasco4a.ca/just/regula4ons/regs/dayregs.htm#TOC3_23

150 square meters indoor play 100 square meters support spaces 350 square meters outdoor play (100 of that covered) Addi4onal space for café, ar4st in residence studios A community water park

Allow for an addi4on beside/on the building of equal floor area.

Final (in addi4on to the class-wide requirements): a teaching moment a winter exhibi4on in the building

a summer exhibi4on on the grounds a parcours a built building fragment

COMMUNITY CENTRE Dalhousie School of Architecture ARCH 4003.03

B3 DESIGN STUDIOInstructor:Thomas Evans

Summer 2019

BACKGROUND

Findlay Community Centre is a small community facility operated by the city of Halifax and located in downtown Dartmouth. The facil-ity and park borders Elliot Street, Hawthorne Street and Prince Al-bert Road and the property is lo-cated adjacent to Sullivan’s Pond Park. Findlay Community Centre acts as a neighbourhood locus for a variety of programmed ac-tivities, while simultaneously pro-viding flexible gathering space for a variety of civic functions.The

building was originallly construct-ed as Findlay elementary school in 1932 and served the area in this capacity until it became a com-munity centre in 1971. Both the building and the site itself have been subject to various ad hoc and improvised solutions that do not necessarily engage well with the surrounding neighbourhood or amenities. Accessibility is a key issue for the current building as retrofit solutions have proven par-ticularly challenging.

Dalhousie School of Architecture ARCH 4003.03

Ku.Be House of Culture and Movement/ MVRDV AND Adept Architects

CONTEXT

In recent years many municipal-ities have sought to decrease expenditures by closing smaller community and recreation cen-tres and consolidating their pro-grammes into larger - often less accessible facilities. In March of 2014 Halifax municipal staff made a recommendation to close the Findlay Centre citing build-ing maintenance costs and over-lapping programmatic features at the nearby Dartmouth Sports-plex. This recommendation was ultimately rejected by council but the long term future of the Find-lay Centre is still largely undeter-mined.

This studio envisions a modern, purpose built community centre on the site of the existing Find-lay Community Centre. Students will be expected to engage in a contextual analysis of the site and surrounding neighbourhood ex-ploring social, historical, environ-mental, topgraphical and urban design perspectives.

River Building at Grace Farms/ SANAA

Dalhousie School of Architecture ARCH 4003.03

PROGRAMME One of the primary challenges of the studio will be to identify the strengths and unique aspects of the existing facility - particularly in relation to the Dartmouth Sports-plex, and build on these aspects with the development of a new building and site programme. Students will be encouraged to develop creative solutions to pro-grammatic requirements through architectural interventions.

EXISTING PROGRAMMEone meeting roomkitchen facilitiesfitness centremale and female washrooms with shower facilities four program roomspottery studiosmall gymnasiumhorseshoe pitsplaygroundcommunity gardenoutdoor film screening walloutdoor rink

ADDITIONAL PROGRAMME OPTIONS

pool/splashpadclimbing wallskateparkbeach volleyballbasketballbox hockey/ice hockeyetc…

Seattle Public Library/ OMA

Gleneagles Community Centre/ Patkau Architects

House of Assembly

Arch 4003.03 B3 Design 2019Studio Outline – Chad Jamiesonjamiesoc@dal.ca

NarrativeAt no time in the past generation have the acts of public assembly and protest been more effective tools for political and cultural discourse than they are today. This studio will focus on the design of an assembly space for free speech. While the hypothetical building would be owned by the people via our local elected government, and operate in a non-partisan fashion, the speech of the assembled citizenry may, in fact, be wholly partisan.

At its base, the space should accommodate a speaker and an audience, and should be designed with the needs of oratory in mind. Some uses of the assembly space may be for:

· Public gatherings for community support and advocacy groups · Political gatherings, all levels of government · Gatherings for the goal of cultural reconciliation · Public engagement sessions · Townhall forums · An election polling station

Programme · Primary Assembly Hall: +/- 400 m2 (double height, clear span) · Secondary Assembly Hall: +/- 100 m2 (may open up to primary hall) · Entrance Hall: +/- 100 m2 (may be used for smaller gatherings) · Breakout Engagement Rooms: Three rooms of 15m2-20m2 each · Administration/Information: 20 m2

· Public Washrooms: 60m2

· Refreshment Preparation Space: 40m2

· Mechanical / Electrical rooms: 40m2

· Storage: 40m2

· Circulation: 15%-20% of overall area · Total Building Area: +/-1000m2

· Exterior Assembly Area: +/-200m2

Five Assembly Typologies: Classroom, Horseshoe, Opposing, Semi-Circle, Circle Source: ‘Parliament,’ XML

Case Study The notion of democratic assembly has influenced architectural spatial form and typology for centuries, and universal principles can be identified and serve as reference points for your project.

The course syllabus describes the Case Study exercise and deliverables that will encompass the first part of our term. The Case Study buildings related to this studio are:

- Säynätsalo Town Hall, by Alvar Aalto, built in 1951.- Suzhou Chapel, by Neri & Hu, built in 2016

These buildings were chosen to represent some of archetypal themes that should be explored in your final design projects - assembly & oratory, progression & threshold, site stewardship, and structural integration.

Other projects that students may find useful to reference for this studio are:

· Brown Sugar Factory, Xu Tianhan, DnA_Design and Architecture 2016 · Church on the Water, Tadao Ando 1988 · Friends House, John McAslan + Partners 2014 Sharon Temple, Ebenezer Doan 1832 · Newbern Town Hall, The Rural Studio, Richard Hudgens Architect of Record 2011 · Quaker Meeting House and Arts Center, Kieren Timberlake 2011 · Kgotla Chiefs House in Gaborone, Botswana

Friends Meeting House assembly hall

Suzhou Chapel Interior (Photo: Pedro Pedenaute)

Säynätsalo Town Hall

Suzhou Chapel Exterior Palette (Photo: Pedro Pedenaute)

SiteThe proposed site for the building is a +/- 2100m2 vacant lot at 2215 Gottingen Street. The corner site is curently used as a parking lot and is bounded by three streets: Gottin-gen, Prince William & Maitland. It is a thru-block site and is oriented along a north east axis, has south and west sunlight exposure, and has more than a storey drop in grade from Gottingen Street to Maitland Street. The site is on a main transportation route to downtown and is served well by mass transit.

Analysis of the site will be expected early in your design process. The group will collec-tively be expected to review and study the site context through the multiple lenses of:

· Urban design and neighborhood typology · Historic significance and relationship to adjacent urban landmarks · Cultural diversity & global perspectives · Accessibility · Environmental factors such as sun, wind, climate, acoustics · Material culture of the immediate neighborhood and greater region. · Site topography

Tools for this analysis will include scale models and drawings such as site plan, site sec-tion, street elevation, and diagrammatic sketches.

GOTTINGEN

MAITLAND

PRINCE WILL

IAM

2215

S T U D I O C R C U S Aaron Fotheringham , 2016

Circus Program A performance space with all necessary support, embedded in the city.

The Big Room Circus performance is not bound to the floor but explores every dimension of bodily experience. The word is circular: our audience sits in the round. Circus is a universe. Circus arts bump into and borrow from athletics, dance, domestication of animals, music, drama, illusion, and other endeav-ors. The circus universe is magic.

How big? Our performance volume must be able to accommodate two rings and a pair of flying trapezes. We need to host audience of 500 persons, perhaps more. Circus is not modest. And as at many specialized performance spaces, the big room is also the heart of a training facility. In the Circus, learning and doing are one.

Circus celebrates the informal and merges with the street: parkour, busking, window-washing, graffiti, BMX, skating. Circus welcomes allied disciplines without prejudice of class or taste. The Circus may be happier in an industrial wasteland than in a baroque palace or sci-fi saucer.

Indoors or out, circus embraces performance technologies: high-wires, masts, guys, projectors, nets, loudspeakers. Circus sound comes from all directions and encompasses live or recorded mu-sic and effects as well as the actions and vocalizations of the performance itself. Circus remembers the architecture of tents and transportability. It continues the inventive tradition of props and ef-fects. In Circus, technical systems integrate with – and as – creative ends.

Support Space For the audience: a progression from distant views and outdoor rooms through a threshold into a lobby giving onto washrooms, coat-check, and concessions, and thence to their seats. People will be arriving by taxi, wheelchair, bike, bus, and on foot; out-of-towners will want to park their cars.

For performers: a changing / green room sequence. Where animals are included, they’ll need their own spaces, their own paths. Technicians will need to store, repair, and build apparatus, ward-robe, and props. There’s always administration. People who tend to the concessions and to the building also need room to work and places to put things. Maybe there are “back of house” wash-rooms. We know that a building like this needs machine space and must provide for service distri-bution.

Emanuel Jannasch B3 Design Summer 2019 6 May 2019

Site The triangular block just north of the Citadel, currently hosting the Centennial Pool and the Red Cross, is said to be “difficult” because it demands thought. The site sits on North-South and East-West boundaries that can energize an institution or leave it stranded in a no-man’s land – depend-ing on your urban design. But it’s really an easy site to do well on because it rewards spatial imag-ination and decisiveness. The high wire is real.

Dollars and Cents Cooper Union is a great school that doesn’t need to charge tuition because it owns the land on which the Chrysler Building stands. The Canadian National Institute for the Blind owned and occu-pied a low-rise building in Halifax that was torn down by a developer and replaced with a taller building. The CNIB now occupies the ground floor at lower cost than ever before. We have a huge site that we won’t design in detail but that we will design to the level of an urban figure-ground, perhaps with some occupancies in mind. This will be our Chrysler Building. Circus is resourceful.

Communities B3 addresses community in the singular and the particular. But circus is many things: a category of Art endorsed by the Canada Council and nurtured through black-tie fundraisers; an industry subsi-dized as economic development and sanctified by commerce; a vehicle for social outreach. Eeach of these worlds has its patrons, its experts, its stars, its acolytes, its teachers, its impresarios. Cir-cus is universal – in part because circus transgresses all formality. We run away with the circus.

Circus Rigging - Various

Concept, Image, and Attitude What presence do you give the building? What present do you give the city? An assemblage of cir-cus props? A reimagination of the tent? A fully flexible “black box” providing attachment points, vantage points, lighting points, access points throughout? An orchestration of abstract forms enact-ing a performance in their own right? The deck and sails and rigging of a tall ship? A random heap of Industrial scrap pregnant with drama? A modest and perfectly built barn focusing resources and attention on the actual inhabiting circus? Alladin’s cave? A vacant lot among abandoned factories? A wilderness of cliffs and chasms? Your studio tutor (and surrogate client) haven’t decided on any-thing. What they’re looking for is bold ideas carried out with conviction: they want nothing more to be swept up in your dream.

Emanuel Jannasch B3 Design Summer 2019 6 May 2019

Circus Pedagogy: Mastery Through Exercise Circus artists devote countless focused hours to honing core abilities. Not by performance run-throughs or scrimmages but through carefully designed exercises repeated under experienced guidance. Because rehearsing thonhgs for which one doesn’t have the skills is not an effective means of building the skills. As well as working toward a final project, therefore, this studio will spend time on developing explicit and widely applicable design fluencies. Taking this time may cause short-term anxiety. But Circus takes risks.

Circus Lighting, Panyu Laser Effects. Guangzhou – 2017

Risk and Safety Net Circus students, like skateboarders, are always working on what they can’t yet do. So, sometimes they fall. Where the aspiration is high, nets and tethers become really important. In the Circus Stu-dio, the safety net is a set of deliverables closely defined in terms of form and content. Students adhering to these will be guaranteed a good mark. Excellence, of course, is something more – or perhaps different. So you may do something spectacular without this net: but this does entail a cer-tain risk.

Stomp - NYC - 2007

Emanuel Jannasch B3 Design Summer 2019 6 May 2019

Design Exercises We deal with one building type per term, but there are many more types than half a dozen. So

we need to build a set of general design skills: techniques that will allow us to tackle new build-ing types with confidence. In the earlier part of the term, about half our studio time will be de-voted to this long-range learning.

POETICS OF SPACE We’ll develop a dozen different ways of creating space besides floor+wall+ceiling. We’ll borrow

ideas from nature, from the microscope, from fiction, from civil infrastructure, from humble building, wherever our imagination can flourish. Each of us will build one model of one dream.

BUILDING AT NIGHT Applying pale pigments to dark paper it’s hard not to portray night life. TRULY NOLLI The surface language of Nolli is powerful, the deeper language is rich. We will use this tool to

develop strong improvements to the found condition.

Piazza Navona, Rome, built on foundations of Domitian’s Circus (85 BCE)

MODELING ORGANIZATION The whole can be more than the sum of its parts, sometimes by a small margin, and sometimes

to an astounding extent. Using a simple arithmetic of design, students will compete to generate the most value from limited resources.

CIRCULATION The group will define as many forms of circulation as we can think of: corridor, lobby, covered

bridge, arcade, stair-hall, portal, ramp… and turn each of them into a building block. The set will be available for any group member to work with.

MATERIALS This pair of exercises was developed to help set designers create dramatic context. It can easily

be transferred to architecture. The first challenge is to create the richest possible space using only beige drywall and standard openings. The second is to take the simplest possible room and to give it character through material selection and detailed design.

TALKING WITH PEOPLE Going unprepared, you won’t learn much. Going with prepared questions will earn you explicit

answers and will stimulate further contributions. Going with your own proposals will stimulate passionate engagement with your work. We will run a program workshop whose results you will present to circus professionals in Halifax.

DRAW LIKE SCARPA Architecture contains myriad interconnected ideas and you can’t develop them one drawing at a

time. And to think you can work them out first and re-present them at the end cost you time you can’t afford and strips important layers from your work. Scarpa is renowned for drawings that explore and resolve multipole ideas in parallel. His own approach is not really recommend-ed for students, but you’ll learn a method that is.

CONSTRUCTING VIEW Architecture for performance demands careful attention to view. The case studies pay attention

to it (perhaps twice) and in Rep you’ll undertake the Sequence Drawing, and in the Circus studio we’ll look carefully at performance sight lines.

AUTHORITY You are the author of your own project, with your own hopes and intentions. Very possibly,

none of the exercises above capture or convey your own spirit as well as you’d like. So we’ll wok hard to define those motivations and define a way of bringing them into architecture.

Group Site Study The group will distribute specific site studies among individuals and small teams. These could in-cluse

SETTING BOUNDARIES The extent of the site is negotiable, so the group may build more than one context model LOCAL MASSING; THICK TERRAIN We will experiment with different ways of modeling “hard” and “soft” terrain. Underground in-

frastructure will be considered along with geology. PLAN AND SECTION

Two-dimensional studies will emphasize the separation of thematic layers chosen by the group.

CW from left: Emera Oval, Armories, Maitland St., Cogswell Interchange, Scotiabank Centre, Ft. George, Citadel High

Allied Case Studies 1. Chisinau State Circus, Moldova

We don’t often study a building beyond the boundary of our own tastes, but circus was so im-portant in the Soviet Union, that we will have to look at this building - among its cousins.

2. Centre Nationale des Arts de Cirque, Châlons-en-Champagne. Matthieu Poitevin Architecture

This is an adaptive re-use - like the majority of circus spaces. On the large end, but the clean ar-ticulation and the straightforward organization make it a doable case study.