tools for archit ecture · then constructing architecture to deliver it. // architectural context...
TRANSCRIPT
TOOLS FOR
A R C H I TE C T U R EH U M A N B E H A V I O U R
A A I N T E R M E D I A T E O N E
L A R A L E S M E S + F R E D R I K H E L L B E R G POWERED BY SPACE POPULAR
ARCHITECTURAL ASSOCIATION SCHOOL OF ARCHITECTURE
INT
ER
ME
DIA
TE
O
NE
04 \ / 05
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
What we design ends
up designing us back.
Intermediate 1 –
Tools for Architecture – designs
from the inside–out, beginning
with the psychological effects of
architecture, working our way
towards the immediate space
around the body, then towards
elements of a building system
that can generate experience
across multiple places and for
different purposes.
This year we will look at the
relationship between space and
behaviour, focusing in ontological
terms on the feedback loop that
exists between us and what we
design. From the first primitive
hut to the ISS, it is increasingly
difficult to draw the line between
us and architecture. The
boundaries get blurred. Maybe
we are the architecture we
design. With this in mind – and
with a firm belief that to design
for humans we must understand
ourselves – our investigations will
emphasise how humans inhabit
space and speculate on its many
possible alterations.
Simulating the spatial
experience in real-time using
virtual digital models will give us
insight into our mental and bodily
understanding of architecture.
Building a vocabulary that
can objectively describe
architectural experiences
will enable us to accurately
design them. Designing and
resolving building systems to
deliver such experiences will
give us the chance to learn
from the past and imagine the
future of construction. And our
collaborations with professionals
in the fields of psychology,
neurology, VR and sense-analysis
technologies will give us insight
into the worlds to come.
A A I N T E R M E D I A T E O N E
T O O L S F O R
A R C H I T E C T U R E
H U M A N
B E H A V I O U R
Cover Image: The Invisible City of Overlapping Realities. Max Celar.
INT
ER
ME
DIA
TE
O
NE
06 \ / 07
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
TFA believes that
ideas are formed in
words and will work
towards a new and
more accurate linguistic
system to describe and
create space
TFA recognizes
that architecture as a
discipline is a collective
continuum and believes
that our visions of the
future are deeply rooted
in our knowledge from
the past
TFA supports
architectural ideas to
exist in their own right
and without restriction
by focussing on tools
(building systems) rather
than ends (buildings)
TFA understands that
the most fundamental
purpose of architecture
is to protect and comfort
the human body but
believes that its driving
force is to serve the
human mind
TFA believes that
the mastering of
geometry is imperative
for the making of
meaningful and efficient
architecture
TFA considers
virtual inhabitation as
relevant as its physical
counterpart, and the
psychology of spatial
perception our final
frontier as architects
TFA believes that
the perception of
architecture will always
be stronger than its
reality and will explore
the power of ideology in
architecture
TFA believes that
what lies within the
thickening section of
modern buildings is
a fascinating world of
increasing complexity
ultimately responsible
for the qualities of space
TFA embraces and
celebrates the potential
in the new nearly urban-
sized megastructures
as the contemporary
pioneers of immersive
experiences
Isotropic Space of Freedom. Yana Kushpitovska.
INT
ER
ME
DIA
TE
O
NE
08 \ / 09
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
// HUMAN BEHAVIOUR //
Behaviour is a part of
architecture, just as much as
architecture plays a role in how we
behave. Often architecture finds its
limit to evolve where the limit of
acceptable behaviour is.
In renaissance Italy, homes
with numerous connections
between rooms
were the ideal; with
bedrooms having as
many as four doors
connecting to other
parts of the house1.
Until the early middle ages
in northern Europe entire tribes
slept in the same room with a tall
pitched roof above to collect the
smoke from the fire. The way we
live and the way we build are both in
constant parallel change. In order
for architecture to evolve, human
behaviour has to evolve.
// MIND AS SITE //
As perceived through the
senses, architecture is ultimately
an experience. Beyond plans and
sections, narratives, construction
details and beyond materials;
architecture is an accumulation
of perceived sensations brought
together in each of our minds.
Thus, if we focus on designing
the experience of architecture,
the human mind is the site, and
designing for human experience
means designing architecture
according to cognitive principles.
// ONTOLOGY //
Furthermore, the built
environment is central to the
formation of our identities2. Our
memories are attached to spaces
and our minds change as we learn
and respond to the places we
occupy.
This creates a
loop, particularly
interesting in those
who both design
and inhabit spaces,
that is referred to as
ontological design. What
ontological design defines is the
idea that what we create has an
effect on us and on what we would
consequently create, how we would
behave or how we feel and develop.
The way we live and the way we build are both in constant parallel change.
If we focus on designing the experience of architecture, the human mind is the site.
Blur. Taek Gyun Won
INT
ER
ME
DIA
TE
O
NE
10 \ / 11
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
// INSIDE OUT //
Such claims have been
considered too subjective,
oversimplifications and
overgeneralisations of the complex
individuals we are. This often leaves
the issue of how architecture is
experienced out of the discussion
and prioritises arguments for how
architecture is designed following
other narratives. Yet, advances in
environmental neuroscience and
psychology are proving that at a
basic level as humans we share
our cognitive capacities. Therefore
a design criteria for experience-
based design can be developed,
leading to the inside out approach:
designing an experience first and
then constructing architecture to
deliver it.
// ARCHITECTURAL CONTEXT //
We are inhabiting and creating
architecture simultaneously, this
is an unbroken process several
thousand years old. Every new
building is a child of its elders no
matter how radical. Our past is
constantly present in the buildings
and cities we live in, reminding us
of who we are and who we were but
seldom who we could be.
We will study existing and past
architectural styles and typologies
to understand its implications on
the present and the future. An
architectural proposition always has
ancestors, the more we know about
them the better we will understand
our visions.
// UNKNOWN MIND UNKNOWN
HUMAN //
In order to design for humans
we need to understand humans.
This means not only learning from
existing studies but also developing
our own. As humans ourselves
there is a great deal to be learnt
just from reflecting upon our own
experience of spaces and from
observing others. Most of our
experience of the built environment
is nonconscious. Nonconscious
refers to cognitions that we could
access consciously, but mostly
don’t. Stopping to observe spaces
and how they affect how we feel and
behave means developing enhanced
spatial awareness applicable to later
designs.
// LINGUISTIC RELATIVITY //
Such observations can be
enhanced further by being
articulated. Our world of cognition
is affected by language, therefore
if we can name it we can better
perceive it. A good example of this is
the experience of colour. Numerous
studies show that lacking the words
for describing shades would prevent
us from being able to perceive them
at all. In the same way, having a
vocabulary for spatial experience
would enhance our awareness and
allow us to develop criteria for
designing them.
// BUILDING SYSTEMS //
We propose to develop building
systems rather than particular
instances (buildings). In doing
so, the usual factors that drive
architectural discourse such
as program or context become
less relevant and we can refocus
attention towards the architectural
experience achieved through
tectonic means as the main purpose
of architecture. If the architect was
responsible for bringing in content
not in the form of programs but as
experiential intent, spaces would
then be filled with architecture first,
to then accommodate programs,
respond to context and so on.
// SIMULATION //
Architects do not build, they
communicate. Drawings, models
and views are our main tools when
transmitting designs from our
minds to the physical world -where
“I thought we were actually misplaced to deal with the present, but what we offer the present is memory.” 3
In order to design for humans we need to understand humans.
INT
ER
ME
DIA
TE
O
NE
12 \ / 13
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
it manifests in structures by the
hand of humans and machines. Over
centuries, strong conventions have
been established as the introduction
of orthographic projections
(plans, sections, elevations) and
the development of perspective
projection (rendering) during
the renaissance gave architects
powerful tools to communicate
across the canyon between virtual
and physical. Today we are on
the verge of a new technological
revolution in the representation of
architecture as digital real-time
rendering and immersive VR devices
are improving. We can now inhabit a
virtual simulation of a space before
it is constructed, we can be inside
the space as we are designing
it. We propose a new creative
process where the design of
space and its experience
are not separated by
mystical alchemical
techniques with
unpredictable
outcomes, but
inseparably and
simultaneously
one and the same.
// CONCLUSION //
The aim of the studio is to design
experiences delivered through
adaptive building systems, in which
all structural and infrastructural
details are purpose-designed to
trigger the human mind; and to
develop design criteria and methods
that taking
the
human mind as site are tailored
to and trigger specific human
behaviour. There will be absolute
freedom with regards to the type
of architecture that the system
creates and there is no site or
program restrictions since the aim
is not to design a singular product
but a versatile system: a Tool for
Architecture.
FOOTNOTES
1. Robin Evans. Translation from Drawing to Building.
1997. Architectural Association
2. Sarah Williams Goldhagen. Welcome to Your World:
How the Built Environment Shapes Our Lives. 2017.
Harper Collins.
3. Rem Koolhaas interviewed by Dianna Budds
Architecture has a serious problem today. 2016.
FastCoDesign
4. Sarah Williams Goldhagen interviewed by Martin
Pedersen How Architecture Affects Your Brain: the Link
Between Neuriscience and the Built Environment. 2017.
ArchDaily
“There’s no such thing as a neutral environment: your built environment is either helping you, or it’s hurting you.” 4
Yewen Jin.
INT
ER
ME
DIA
TE
O
NE
14 \ / 15
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
TThe first term will be
dedicated to constructing
architectural agendas
through the study, design and
visualization of spaces.
We will begin the project from
the inside, designing the experiential
qualities of the spaces that the building
system will generate. This will be
done through a series of scenes that
communicate the atmosphere that the
space will evoke. Such experiences will
also be described in words, developing a
vocabulary specific to each project.
The scenes will serve as models for
a project to take shape as we work our
way from viscera to skin, and be the
means for analysing the psychological
response in the user and speculate on
their behaviour. From the scenes we will
develop behavioural patterns in space,
defined first through plans, indicating
circulation and movement, use,
arrangements, densities, subdivision
and interconnectedness.
During term one we will also journey
to Bavaria were we will see a wide range
of canonical buildings from present and
past.
Establishing a research framework
is key for the project to develop.
Possible categories to indicate what
defines your research field are:
Architectural Style, Spatial Typology,
Architectural Element. The spaces
researched will serve as reference for
spatial composition, surface treatment,
material strategy, structural type,
behavioural precedent and other
qualities of each project, as well as
place it within the larger architectural
context. The final weeks of term 1
will be dedicated to constructing
an experiential simulation. The
atmospheric qualities of architecture
are commonly represented in frozen
frames representing a moment in time.
We use fully immersive design and
representation techniques were both
time and space are present throughout.
T E R M 1
SCENES
SPACES
TRIP
CASE STUDIES
SIMULATION
INT
ER
ME
DIA
TE
O
NE
16 \ / 17
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
During the second term the
building system proposal
will be fully resolved. By
focussing on the fragment, the larger
spatial goal can be subdivided into
smaller pieces each of them taking care
of different effects and contributing to a
collective end. The fragment approach
also opens to a wider scope of
references since each
element or part can
be informed by
completely
different sets of precedents.
We will begin by developing
spatial and structural prototypes that
demonstrate volume, organisation,
structural principles and detailing,
whilst retaining the experiential
qualities of the project. This will be
followed by the design of building
elements, parts or details that are
capable of delivering the experience
in physical reality. Elements might be
structural, spatial or infrastructural.
Each project might transform, evolve
or hybridize existing elements, rescue
obsolete ones or invent completely new
ones. Understanding architecture as
parts that perform together towards
a whole -rather than a whole
that needs to be resolved in
parts- will bring issues
pertaining to fabrication
and assembly into the
core design process,
thus loading them
with architectural
and
experiential
value. A
variety of
users must be able to
benefit from the building
system. This implies that the user group
is defined not only as those who will
experience the architecture but also
those who will design it or build it.
T E R M 2
PROTOTYPES
BUILDING ELEMENTS
FABRICATION & ASSEMBLY
Hyunjun Kim.
INT
ER
ME
DIA
TE
O
NE
18 \ / 19
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
The third term will be
occupied by concluding
speculation on the
applications of the building system and
project-specific representations.
In order to demonstrate versatility, a
series of speculative scenarios will be
presented as examples peculiar enough
to portray the maximum potential of
the system in how it can be used and
assembled in a confined variety of ways.
Considering not only the end product
that can be achieved but also the means
to construct it will serve as vehicle for
reflection upon what the system is good
for, where it belongs, how can it make
a difference or better fit in. Different
situations will lead to different results
yet the core spatial values must be
constant, thus retaining the intended
experiential properties even when
implemented for different situations.
Finding the most suitable
representation formats for the project
will ensure better communication
and help others and yourself reflect
upon the proposal, its meaning and
consequences.
T E R M 3
SCENARIOS
REPRESENTATION
The Mechanisms of Spatial Awe
INT
ER
ME
DIA
TE
O
NE
20 \ / 21
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
TECHNICAL STUDIES
The technical studies will be an
inherent part of the project from the
very early stages of design. Already in
term 1 the projects will benefit from the
advice of technical studies tutors and
consultants to find relevant precedents
to study and inquire into material
and structural principles. During the
second term we will work together to
design Building Systems that provide
architectural solutions coherent with
the Visceral Scenes and Vocabulary.
Through physical prototypes and virtual
simulations we will test the atmospheric
capacity of each project and refine them
until they align with the intended spatial
qualities, and perhaps implement them
in unanticipated ways.
The technical studies submission
will consist of: large scale prototypes
and drawings of different elements of
the building system; documentation
of the testing that led to their design;
parameter charts that define the
versatility of the system; and images
and diagrams linking the technical
resolution of the elements to the
psychological effects they generate.
A summary document will be crucial
for concluding your technical studies
submission: a manual illustrating
the building system fabrication and
assembly procedures through drawings,
diagrams and animations.
U N I T P R O G R A M M E
TECHINICAL STUDIESLECTURESWORKSHOPS & COLLABS.TOOLSPORTFOLIOWEBSITESUBMISSIONSBIBLIOGRAPHY
Isotropic Space of Freedom. Yana Kushpitovska.
Isotropic Space of Freedom. Yana Kushpitovska.
INT
ER
ME
DIA
TE
O
NE
22 \ / 23
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
LECTURES
Term 1:
L.1 - The Capriccio and the Veduta: A brief history of Architectural Representation
L.2 - Architecture from Above: Plans through the ages
L.3- Humans in Architecture: Human Perception and Behaviour
L.4 - Architectural Communication: Canonical Graphics in Books and Plates
Term 2:
L.5 - A brief history of Building Systems
L.6 - Dictionaries of Architecture
Term 3:
L.7 - Portfolio Structure
WORKSHOPS & COLLABORATIONS
Term 1:
W.1 - Order in the Drive: File structure and file security using Google Drive
W.2 - Digital Real-Time: Unreal Engine 4 introductions
W.3 - Designing in Plan: Constructing space in 2D digitally and by hand.
W.4 - Digital Real-Time: Unreal Engine 4 with Sergio Irigoyen
W.5 - Digital Humans: Animating human figures in Adobe Fuse with Mixamo
W.6 - Scanning the World: Photogrammetric Scanning with AutoDesk Remake
W.7 - Virtual Reality: HTC Vive and Unreal Engine 4
W.8 - Constructing a Book: Layout in Adobe Indesign
TOOLS
TFA embraces experimental tools
to both represent and construct
architecture. You will be encouraged to
find the tools to best fit the project and
throughout the three terms you will be
introduced to a wide range of digital
tools, which you will be expected to use.
No prior knowledge is required as unit-
specific tutorials will be available.
The unit will provide tutorials on the
following software:
Animations / Simulations
Unreal Engine 4
Adobe Fuse / Mixamo
C4D / Cineware
Generative
Grasshopper
Autodesk Remake
Modelling
Rhinoceros 3D
Diagrams
Adobe Illustrator
Adobe After Effects
Portfolio/Books
Adobe Indesign
BLOG & WEBSITE
TFA believes in sharing. Our site
www.toolsforarchitecture.org will
function both as a communication
tool to the world outside as well as an
internal platform where everyone’s
work is regularly updated. You will all
be uploading work in tandem with our
pinups and juries.
PORTFOLIO
TFA supports varied and innovative
representation methods that express
each project uniquely and does
therefore not have any technical or
stylistic restrictions. Your final project
will be represented with a wide range of
media ranging from text to immersive
digital simulations. You will therefore
be expected to consider your project
portfolio from the very beginning of
the year. Each phase of the project will
be presented in sub-briefs outlining
specific deliverables and in some cases
limitations regarding format and size
might apply in order to help you form a
structured set of presentation material.
These sub-briefs will be handed out at
the start of each new phase.
SUBMISSIONS
TFA values punctuality and
professionalism. You will be asked
to submit both digital and physical
presentation material on the day before
pinups and juries. This will encourage
you to reflect upon your work and rest
before important events where you
are not only expected to present your
arguments with focus but also listen
and participate in the presentations of
your fellow unit members.
Xuecheng Wang
INT
ER
ME
DIA
TE
O
NE
24 \ / 25
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
BIBLIOGRAPHY
Hogarth, William. The Analysis of Beauty. 1753
Wölfflin, Heinrich. Prolegomena to a Psychology of Architecture. 1886
Gombrich, Ernst. Art and Illusion. 1960
Vernon, Magdalen Dorothea. Psychology of perception. 1965
Gregory, Richard. Eye and the brain: the psychology of seeing. 1966
Hall, Edward T. The Hidden Dimension. 1966
Bloomer, Kent & Moore, Charles. Body, Memory and Architecture. 1977
Gombrich, Ernst. The Sense of Order: A Study in the Psychology of Decorative Art.
1979
Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. 1996
Evans, Robin. Translations from drawing to building. 1997
Batchelor, David. Chromophobia. 2000
Frank, Isabelle. The Theory of Decorative Art, 1750-1940. 2000
Grosz, Elizabeth. Architecture from the Outside, Essays on Virtual and Real
Space. 2001
Solso, Robert L.. Psychology of art and the evolution of the conscious brain. 2003
Deplazes, Andrea. Constructing Architecture. 2008
Latour, Bruno. A Cautious Prometheus? A Few Steps Toward a Philosophy of
Design. 2008
Koolhaas, Rem. Elements. 2014
Sussman, Ann. Cognitive Architecture: Designing for How We Respond to the
Built Environment. 2014
Robinson, Sarah. Mind in Architecture: Neuroscience, Embodiment, and the
Future of Design. 2015
Ellard, Colin. Places of the Heart: The Psychogeography of Everyday Life. 2015
Urist, Jacoba. The Psychological Cost of Boring Buildings. 2016
Colomina, Beatriz & Wigley, Mark. Are We Human?: The Archeology of Design.
2016
Williams Goldhagen, Sarah. Welcome to Your World: How the Built Environment
Shapes Our Lives. 2017
INT
ER
ME
DIA
TE
O
NE
26 \ / 27
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
U N I T S C H E D U L E
TERM ONE
SCENES
SPACES
CASE STUDIES
SIMMULATION
THU
TUE
FRI
TUE
THU
FRI
TUE
FRI
TUE
THU
WED
FRI
TUE
FRI
MON
TUE
FRI
TUE
FRI
TUE
FRI
TUE
FRI
MON
TUE
FRI
WEEK 1
WEEK 2
WEEK 3
WEEK 4
WEEK 5
WEEK 6
WEEK 7
WEEK 8
WEEK 9
WEEK 10
WEEK 11
WEEK 12
SEP 28
OCT 03
OCT 06
OCT 10
OCT 12
OCT 13
OCT 17
OCT 20
OCT 24
OCT 26
NOV 01
NOV 03
NOV 07
NOV 10
NOV 13
NOV 14
NOV 17
NOV 21
NOV 24
NOV 28
DEC 01
DEC 05
DEC 08
DEC 11
DEC 12
DEC 15
1.1 UNIT INTRO + W.1
1.1 PIN UP + L.1
1.1 TUTORIAL
1.1 W.2 UE4 + TUTORIALS
1.1 EARLY SUBMISSION
1.1 JURY
1.2 INTRODUCTION - L.2, L.4, W.3 & W.8
1.2 TUTORIALS
1.2 PINUP + UNIT TRIP INTRO + L.3, W.6
1.3 UNIT TRIP DEPARTURE (EVENING)
1.3 UNIT TRIP RETURN
UNDERGRADUATE OPEN JURY
1.3 TURORIAL
1.3 W.4 UE4 TRANING. SERGIO IRIGOYEN
EARLY SUBMISSION
1.3 JURY
1.4 W.4 UE4 TRANING. SERGIO IRIGOYEN + FUSE MIXAMO W.5
1.4 TUTORIALS
1.4 TUTORIALS + W.7
1.4 TUTORIALS
1.4 TUTORIALS
1.4 TUTORIALS
1.4 TUTORIALS
EARLY SUBMISSION
END OF TERM JURY
DEBRIEFING
INT
ER
ME
DIA
TE
O
NE
28 \ / 29
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
U N I T S C H E D U L E
TERM TWO
PROTOTYPES
BUILDING ELEMENTS
FABRICATION & ASSEMBLY
MON
TUE
TUE
FRI
SAT
THU
FRI
MON
TUE
FRI
MON
TUE
MON
TUE
FRI
MON
TUE
FRI
MON
TUE
FRI
MON
TUE
MON
TUE
MON
TUE
FRI
WEEK 1
WEEK 2
WEEK 3
WEEK 4
WEEK 5
WEEK 6
WEEK 7
WEEK 8
WEEK 9
WEEK 10
WEEK 11
JAN 08
JAN 09
JAN 16
JAN 19
JAN 20
JAN 25
JAN 26
JAN 29
JAN 30
FEB 02
FEB 05
FEB 06
FEB 12
FEB 13
FEB 16
FEB 19
FEB 20
FEB 23
FEB 26
FEB 27
MAR 02
MAR 05
MAR 06
MAR 12
MAR 13
MAR 19
MAR 20
MAR 23
2.1 BRIEF INTRO + L.5 + TUTORIALS
2.1 TUTORIALS
2.1 PINUP (PROTOTYPES) + L.6
2.1 TUTORIALS (TS Y3)
2.1 TUTORIALS (Y2)
EARLY SUBMISSION
2.1 JURY
2.2 TUTORIALS
2.2 TUTORIALS
2.2 GROUP SESSION
2.2 TUTORIALS
2.2 TUTORIALS
2.2 TUTORIALS
2.2 TUTORIALS
TS INTERIM JURY Y3 + PINUP Y2
2.2 TUTORIALS
2.2 TUTORIALS
2.2 GROUP SESSION
2.2 TUTORIALS
2.2 TUTORIALS
2.2 PINUP
2.3 TUTORIALS
2.3 TUTORIALS
Y2 PREVIEWS
Y2 PREVIEWS
Y3 PREVIEWS
Y3 PREVIEWS
DEBRIEFING
INT
ER
ME
DIA
TE
O
NE
30 \ / 31
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
U N I T S C H E D U L E
TERM THREE
SCENARIOS
REPRESENTATION
MON
TUE
FRI
MON
TUE
MON
TUE
MON
TUE
FRI
TUE
WED
THU
TUE
MON
TUE
WED
MON
TUE
TUE
WEEK 1
WEEK 2
WEEK 3
WEEK 4
WEEK 5
WEEK 6
WEEK 7
WEEK 8
WEEK 9
APR 23
APR 24
APR 27
APR 30
MAY 01
MAY 07
MAY 08
MAY 14
MAY 15
MAY 18
MAY 22
MAY 23
MAY 24
MAY 29
JUN 04
JUN 05
JUN 06
JUN 11
JUN 12
JUN 19
3.1 BRIEF INTRO + L.7 + TUTORIALS
3.1 TUTORIALS
3.1 GROUP SESSION
3.1 VR PINUP - GROUP ONE
3.1 VR PINUP - GROUP TWO
3.1 TUTORIALS (SCENARIO WRAP UP)
3.1 TUTORIALS (SCENARIO WRAP UP)
3.2 TUTORIALS
3.2 TUTORIALS
3.2 TUTORIALS (OPTIONAL)
EARLY SUBMISSION
FINAL JURY
TUTORIALS - JURY DEBRIEF
Y2 FINAL TABLE REHEARSAL
Y2 END OF YEAR REVIEWS
Y2 END OF YEAR REVIEWS
Y3 FINAL TABLE REHEARSAL
INTERMEDIATE PART 1 FINAL CHECK
INTERMEDIATE PART 1 FINAL CHECK
ARB/RIBA PART 1
INT
ER
ME
DIA
TE
O
NE
32 \ / 33
H u m a nB e h a v i o u r
T O O L S F O R A R C H I T E C T U R E2
01
7
|
20
18
Tools for Architecture investigates the psychological and environmental effects of architecture via large scale prototyping and advanced virtual simulations. With an agenda focussed on experience, atmosphere and aesthetics, our projects are as concerned with theory as they are with practice and we are as fascinated by the teachings from the past as by the visions of the future.
www.TOOLS FOR ARCHITECTURE.org Ezgi Terzioglu