two zero two b - usc school of architecture · · 2017-12-20information without necessarily being...

two zero two b

ARCH 202B | SPRING 2015USC Architecture

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professors Valery Augustin Laurel Broughton John Frane Kris Mun Eric Nulman [coordinator] Jose Sanchez Scott Uriu Roland Wahlroos-Ritter [coordinator]

schedule Mondays, Wednesdays, and Fridays 2-6pm

prerequisites ARCH 202aL

2011 catalogue course description Continuing development of principles and processes; sequence of projects selected to broaden awareness of design issues at various scales in the urban context. Arch 202bL focuses on material exploration and fabrication skills.

course goals and objectives This studio is the fourth in a design sequence developing the relationship between materials and architectural design. The translation of an idea into architecture is a complex process emerging out of site, mediated by program and budget, and executed to join the larger network of daily actions and events intrinsic to the city as a complete organism. Its expression ultimately comes through the presence, performance and built tectonics of material. The focus of this studio is to develop an in-depth understanding of how a material -steel- and its tectonic systems of assembly are intertwined with the design process to generate the performance, form, experience and ultimately cultural relevance of architecture. Building on the fundamental principles accumulated over the past three semesters, this studio will continue to develop the complexity and sophistication of your architectural design process. Throughout the semester we will explore the formal and spatial implications of material and representational composition through conceptual modeling, design drawing, graphic capabilities and physical modeling. The call will be to fabricate an architectural composition, working with a wide palette of tools for representation and design development, that employs and investigates the potential of the material and media in both its projected and tangible form.

course topical outline This semester is structured into two interrelated projects that sucessively build upon each other - [1] Material Transformation and [2] Material Architecture - and conclude with the design of a complex building project. Throughout the semester there will be readings, lectures, and class discussions that require your participation. At the end of the semester you will submit a portfolio of your semester’s work that will demonstrate your ability and understanding of the course’s goals and objectives.

[1] Material Transformation The first project engages the relationship of materials, connections, and larger systems of assembly towards the design of a free standing folly at the Barnsdale Art Park as an integrated steel framing (bones) and steel cladding (skin) system. Students will link their folly conceptually by using their Transformational Model from Project 02 of last semester as a point of departure. Students will develop two tectonic systems: one to perform as the structural framing or “bones” of the folie, the other to perform as the envelope or “skin” of the pavilion. These two systems will be unique in that they have different performance criteria, but related in their utilization of the material’s -steel- attributes and limitations. Students will conduct an intensive research into material logics, processes, or methodologies (such as casting, bending, stamping, welding bolting, riveting etc) to develop a material system, tectonic units and joint conditions. Both framing (bones) and the envelope (skin), as well as the resulting joint conditions of the folly design will be build as a 1:6 model in steel or other, similar metal, as well as thoughtfully represented to illustrate the collective effect of the assembly. (40% of Semester)

[2] Material Architecture The final project will integrate process, material, and program within a specifically sited context. The project will involve the research and design of a public library at the Silverlake Meadow. Varied uses, programmatic diversity, movement of both animate and inanimate objects establish protocols and sequences that govern the building’s organization and spatial sequencing. Primary material-systems establish the formational logic and identity of the architecture. The practical durability, character, unit size, fabrication constraints and performance of materials combined with the raw functional and physical interaction drive the articulation of the architecture of the building. Each student will organize the program, site and the material response. (50% of Semester)


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[4] Lectures, Readings, Discussions Parallel to the design projects, a series of field trips, material and farbrication lectures and workshops will take place. These lectures, in combination with the technical information provided through the parallel lecture class of ARCH 211 [Materials and Methods of Construction] will provide a holistic engagement of the relationship of design to material. The introduction of these diverse themes and complexities will overlay on the sequential development of each student’s individual design proposition. Each lecture and workshop will have associated readings and excersises that will be discussed within studio. (5% of Semester)

[5] Portfolio and Digital Submission The portfolio will be used as a printed record of the students’ projects for project review, discussion and coordination of grading. The digital submittal is an organized record of students’ achievements during the semester for personal archiving, use in publications, promotion, and accreditation. (5% of Semester)

national architectural accreditation board (naab) accreditation The USC School of Architecture’s five year BARCH degree and the two year M.ARCH degree are accredited professional architectural degree programs. All students can access and review the NAAB Conditions of Accreditation (including the Student Performance Criteria) on the NAAB Website, http://www.naab.org/accreditation/2009_Conditions.aspx.

naab student performance criteria addressed (course identified on spc matrix for criteria) In the context of the overall design sequence of the Bachelor of Architecture curriculum, this course contributes to the graduate attributes in the following areas. Note there are two levels of expected competence that apply to each skill: ability and understanding. Ability: skill in relating specific information to the accomplishment of tasks; students can correctly select the information that is appropriate to a situation and apply it to the solution of specific problems. Understanding: assimilation and comprehension of information; students can correctly paraphrase or summarize information without necessarily being able to relate it to other material or see its fullest implications.

A.3 Visual Communication Skills: Ability to use appropriate representational media, such as traditional graphic and digital technology skills, to convey essential formal elements at each stage of the programming and design process. (20% of Semester)A.5 Investigative Skills: Ability to gather, assess, record, apply, and comparatively evaluate relevant information within architectural coursework and design processes. (10% of Semester)A.7 Use of Precedents: Ability to examine and comprehend the fundamental principles present in relevant precedents and to make choices regarding the incorporation of such principles into architecture and urban design projects. (15% of Semester)A.8 Ordering Systems Skills: Understanding of the fundamentals of both natural and formal ordering systems and the capacity of each to inform two- and three-dimensional design. (25% of Semester)B.12 Bldg Materials/Assemblies: Understanding of the basic principles utilized in the appropriate selection of construction materials, products, components, and assemblies, based on their inherent characteristics and performance, including their environmental impact and reuse. (30% of Semester)


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Grading

Each design exercise will be evaluated, reviewed and graded by your instructor. Projects will be weighted according to their length and depth of investigation. All work will be periodically evaluated so that you will have a clear understanding of your progress. Unsatisfactory reports will be issued to students whose work is not satisfactory. Incomplete grades are regulated by the University and may only be given in cases of extended documented illness or family emergencies. Please discuss either of these directly with your instructor.

Course evaluation is based on the following:Quality of design conceptAbility to develop design conceptQuality of presentation and representationCompletion of workProgress, process, and improvementParticipation and attendance

General grade criteria:A Excellence in every wayB Good quality work that may be deficient in some areasC Average work that is satisfactory with some obvious deficienciesC- or below Unsatisfactory/failing work, not passing

Final grade evaluations for this studio will be based on the following breakdown:Project 01 40%Project 02 50%Participation / Readings 5%Portfolio (Meeting NAAB SPC) 5%

plagiarism University guidelines pertaining to plagiarism also pertain to original design work. You are expected to do all of your own design and presentation work. Assistance in the form of model construction, drawings, or the flagrant appropriation of other designs will be considered non-original work and will be treated as plagiarism

attendance Because essential course materials and concepts are discussed during studio time, attendance at all studio meetings, class lectures and reviews is essential and required. More than three absences during the course of the semester will jeopardize successful completion of the course and will certainly reflect negatively in the student’s final course grade. Your studio instructor must approve any excused absences in writing.Participation in the studio clean up day is mandotory to receive a passing grade. Schedule you travels accordingly.

academic accommodations for disabilities and religious observation Any student requesting academic accommodations based on a disability is required to register with the Disability Services Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me as early in the semester as possible. DSP is located in STU 301 and is open from 8:30 – 5:00, Monday through Friday. The phone number fro DSP is (213) 740 – 0776.

The university recognizes the diversity of our community and the potential for conflicts involving academic activities and personal religious observation. The university provides a guide to such observances for reference and suggests that any concerns about lack of attendance or inability to participate fully in the course activity be fully aired at the start of the term. As a general principle students should be excused from class for these events if properly documented and if provisions can be made to accommodate the absence and make up the lost work. Constraints on participation that conflict with adequate participation in the course and cannot be resolved to the satisfaction of the faculty and the student need to be identified prior to the drop/add date for registration. After the drop/add date the University and the School of Architecture shall be the sole arbiter of what constitutes appropriate attendance and participation in a given course. A list of university recognized religious holidays can be found at: http://www.usc.edu/programs/religious_life/calendar/


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Portfolio and Digital Archive Submittals

The portfolio and digital archive is a graded submittal, and required for the satisfactory completion of the semester. The portfolio will be used as a printed record of the students’ projects for project review, discussion and coordination of grading. The digital submittal is generates an organized record of students’ achievements during the semester for personal archiving, use in publications, promotion, and accreditation. Submit at the front desk in the main office on the second floor.

There are three components to this submittal: 1. Portfolio (Hard copy + Digitial Copy), metal spiral binding, 200gr cover and back cover. 2. Accreditation CD Digital Archive of all semester projects portfolio Your work and process should be thoughtfully presented in a portfolio sized at 8.5” x 11” horizontal. Please take care and consideration of your work and regularly document it throughout the semester. The portfolio is a design submittal, layout must be clear, with a strong sense of graphic organization. Reformat all content for legibility at the portfolio scale. Consider what elements contribute to the positive presentation of your work. Here, quantity is not always an asset. Better to show measured deliberate, intelligent progress, than simply “how much work you did”. Due to the time frame, students will turn in portfolios as high resolution final mockups that can be produced “in-house”. This means bond paper and staples are acceptable. Instructors will not be returning these portfolios. While material deficits (binding, cover, paper quality, etc) will be acceptable, compromises in content representation will not be allowed. Prints should be high resolution, with excellent legibility, and clarity. Content must Include the following chapters:

Project: All components of the four project requirements including model photographs. Process: Models, sketches.

The digitial copy submission will be burned onto a CD/DVD and should include both a PDF and a “packaged” InDesign Folder that includes all the document links.

accreditation cd digital archive The accredittion digital submission is an archive of your work as it was presented throughout the semester in it’s original format. Each project will have its own folder (see below).

Label CD: write with permanent marker on the CD itself: 202b, Instructor Last Name, Your Last Name, SP 14

Main Folder for all content: “202b_Instructor Last Name_Your Last Name_SP 14” Note: All last names can be reduced to the first 6 letters

Content by required folders:Folder: “Final Boards”

Final Project Boards 202bLastnameProject 01FinBoard1.pdf(for subsequent boards: ...board2 etc) PDFs with illustrator editing enabled and images embedded. This will allow us to extract images for stand alone use. Full size 200 dpi.

Folder: “Mid Boards”Mid-term Project Boards 202bLastnameProject 04MidBoard1.pdf(for subsequent boards: ...board2 etc, see note with “Final Boards”. This requirement only applies to the final project)

Folder “Process”

Model Photos/Process Images of materials not on the boards useful in explaining your project. Must include any precedent studies, can include process drawings, sketches, research, diagrams, even slideshows. Model photographs must be included. Please label in a manner similar to the other files.

Folder “Portfolio” Digital Portfolio 202bSP14LastnamePort.pdf (this is your portfolio as a single multi-page pdf)


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Schedule

date

week 0101-12

01-14

01-16

week 0201-19

01-21

01-23

week 0301-26

01-28

01-30

week 0402-02

02-04

02-06

week 0502-09

02-11

02-13

week 0602-16

02-18

02-20

studio

OrientationProject 01-a AssignedProject 01-a

Project 01-a

No Class, Holiday

Project 01-a

Project 01-a

Project 01-a Duereview

Project 01-b

Project 01-b

Project 01-b

Project 01-b

Project 01-b

Project 01-b due

review

Project 01-c

Project 01-c

No Class, Holiday

Project 01-c DueReview EASTProject 01-c DueReview NORTH

lectures

Site Visit Barnsdale Art Park

Lecture 01 - Material - Algorythmns I

Lecture 02 - Material - Algorythmns II

Lecture 03 - Material - Visualization I

readings

Reading 01

Reading 02

Reading 03

Reading 04

arch211 (for reference only)

Activity 01: Steel Exercise Overview, Shop Demo

Activity 02: Steel Exercise

Activity 03: Steel Exercise

Activity 02: Steel Exercise DUE

Activity 05: Timber Exercise

Activity 06: Timber Exercise


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Schedule

date

week 0702-23

02-25

02-27

week 0803-02

03-04

03-06

week 0903-09

03-11

03-13

week 1003-16

03-18

03-20

week 1103-23

03-25

03-27

week 1203-30

04-01

04-03

studio

Project 02-x assigned

Project 02-x

Project 02-x

Project 02-x

Project 02-x

Project 02-x

Project 02-x

review

Project 02-a

Project 02-a

No Class, Spring Break



Project 02-a

Project 02-a

Project 02-a

Mid-project Review

Project 02-b

Project 02-b

Project 02-b

lectures

Site Visit Silverlake Meadow

Lecture 04 - Material - Visualization II

Lecture 05 - Material - Structure

Lecture 06 - Material - Fabrication

readings

Reading 05

Reading 06

Reading 07

Reading 08

arch211 (for reference only)

Activity 07: Field trip to Smith Emory Testing Lab

Activity 08: Timber Exercise Due

Activity 09: Masonry Exercise

Activity 10: Masonry Exercise

Activity 11: Masonry Exercise Due


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Schedule

date

week 1304-06

04-08

04-10

week 1404-13

04-15

04-17

week 1504-20

04-22

04-24

week 1604-27

04-30

05-01

week 1705-04

05-06

05-08

week 1805-11

05-13

studio

Project 02-b

Project 02-b

Project 02-b

Project 02-b DueProject ReviewProject 02-c

Project 02-c

Project 02-c

Project 02-c

Project 02-c

Project 02-c

EXPO Project 02-c DueProject 02 Exhibition + ReviewEXPO (continued)

no class

no class

Portfolio and Digital Archive DUEStudio Clean Out Day

Exhibition Take Down

lectures readings arch211 (for reference only)

Activity 12: Concrete Exercise

Activity 13: Concrete Exercise

Activity 14: Concrete Exercise DueConcrete CASTING


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Project 01 Material Transformation - Bones | Skin | Synthesis

The first project engages the relationship between materials, tectonics, and larger systems of assembly towards the design of a free standing folly at the Barnsdale Art Parkl as an integrated steel framing (bones) and steel cladding (skin) system. Students will link their folly conceptually by using their Transformational Model from Project 02 of last semester as a point of departure. Students will develop two tectonic systems: one to perform as the structural framing or “bones” of the folly, the other to perform as the envelope or “skin” of the folly. These two systems will be unique in that they have different performance criteria, but related in their utilization of the material’s -steel- attributes and limitations. Students will conduct an intensive research into the material’s -steel- performance, fabrication processes and manufacturing methodologies (such as casting, bending, stamping, welding bolting, riveting etc) to develop a protocol of material manipulation, tectonic units and joint conditions. Both framing (bones) and the envelope (skin), as well as the resulting joint conditions of the folly design will be build as a 1:6 model in steel or other similar metal, as well as thoughtfully represented to illustrate the collective effect of the assembly.

site Barnsdale Art Park, folly location to be determined by instructors

program None. The folly must transcend the normal range of landscape elements, be delightful and extravagant.

size Maximum bounding box is 15’x10’x15’

note Monocoque structures are strongly discouraged. [Monocoques work well on a smaller scales, but become problematic to translate later to a larger building scale, and run counter to the educational goals of the studio]

material logics To begin your research, multiple process logics should be engaged. Each method will require a working methodology and modeling appropriate to the primary material and its tectonic logic. The investigation will be about the evolutionary qualities of form and the associated tectonic solutions of detail. Each student will develop two interrelated processes that articulate the framing -bones- and the cladding -skins- of the folly. The process logics should focus on:

[1] line [aggregate, bend, shorten, twist, tear, cut, sever, knot, droop, curve, swirl, felt, bundle, tie, bind, weave, etc.] [2] plane [roll, crease, fold, crumple, cut, impress, group, layer, heap, wrap, laminate, expand, wave, reflect, etc.] [3] volume [cast*, shave, chip, split, cut, remove, bond, void etc.].

*the formational logic of cast volumes is driven by formal desires but limited by material constraints of its formwork. Thus the process logic of plane and volume, casting and mold/ die making have to be considered synergistically.

deliverables This investigation will occur through three exercises: [1-a] an iterative series of models and drawings that analyze and represent the folly’s bones (steel framing assembly, and/or system) [1-b] an iterative series of models and drawings that analyze and represent the folly’s skin (steel cladding assembly, and/or system) [1-c] an iterative series of models and drawings that synthezise and represent the folly’s comlex assembly of skin and bones as an integrated assembly.

[1] folly: framing The (two) framing “bone” drawings will be on 32”x32” panels mounted on 1/4” foam board. Student are asked to produce 1 Unfolded Framing Plan (Analysis) and 1 Framing Detail Axonometry (Representation), as a combination of material system analysis and material unit representation. Produce 1 framing model scale 1:6 in steel or similar metal.Some examples of material system analysis include: form, order, grid, size, unit, joint, edge, proportion, axis, rhythm etc. The material unit representation should be focused on documenting the material unit’s depiction and material effect: texture, color, weight, light, etc. Each drawing should be centered laterally and vertically on the panel unless otherwise appropriate.


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[2] folly: caldding The (two) cladding “skin” drawings will be on 32”x32” panels mounted on 1/4” foam board. Student are asked to produce 1 Unfolded Cladding Plan (Analysis) and 1 Caldding Detail Axonometry (Representation), as a combination of material system analysis and material unit representation. Produce 1 cladding model scale 1:6 in steel or similar metal [utilize the framing model as a suport]. Some examples of material system analysis include: form, order, grid, size, unit, joint, edge, proportion, axis, rhythm etc. The material unit representation should be focused on documenting the material unit’s depiction and material effect: texture, color, weight, light, etc. Each drawing should be centered laterally and vertically on the panel unless otherwise appropriate.

[3] folly: synthesis Student are asked to synthesize their framing (bones) and cladding (skin) into one integrated material system [skin+bones]. Produce 1 Unfolded Synthesis Plan (Analysis) and 1 Synthesis Detail Axonometry (Representation), as a combination of material system analysis and material unit representation. The (two) synthezised drawings will be on 32”x32” panels mounted on 1/4” foam board.

[4] scale model Similar to the Vitra miniatures, students will produce their folly in a reduced size at a scale of 1:6 (2”=1’) in steel or similar metal. The model will be mounted on a Model Base 20”x30”x5” plywood, painted white. True to your proposed design in structure and materials, the miniatures should be precision-crafted to best represent your pavilion.

schedule Project 01-a 06 classes Project 01-b 06 classes Project 01-c 03 classes

important dates 2015-01-12 = Project 01-a Assigned 2015-01-26 = Project 01-a DUE - Review 2015-01-26 = Project 01-b Assigned 2015-02-09 = Project 01-b DUE 2015-02-09 = Project 01-c Assigned 2015-02-18 = Project 01-c DUE (East Review) 2015-02-20 = Project 01-c DUE (North Review)


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project 01-a bones layout diagram

[1] framing detail axonometry, 32”x32”

[2] unfolded framing plan, 32”x32”

[3] scale model 1:6 20”x30”x20”; Model Base 22”x32”x5” plywood, painted white


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project 01-b skin layout diagram

[1] cladding detail axonometry, 32”x32”

[2] unfolded cladding plan, 32”x32”



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project 01-c synthesis layout diagram

[1] synthetic detail axonometry, 32”x32”

[2] unfolded synthetic plan, 32”x32”



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Project 02 Material/Architecture

The final project will integrate process, material, and program within a specifically sited context. The project will involve the research and design of a public library. Varied uses, programmatic diversity, movement of both animate and inanimate objects establish protocols and sequences that govern the building’s organization and spatial sequencing. Primary material-systems establish the formational logic and identity of the architecture. The practical durability, character, unit size, fabrication constraints and performance of materials combined with the raw functional and physical interaction drive the articulation of the architecture of the building. Each student will organize the program, site and the material response.

material logic The design process should begin with the material system of the folly design. Your evolved system must now respond to the site conditions and perform as a two-story building. One -underground- story will hold the book collection and one -above ground- story will hold the reading hall and reception. While the above ground part will be articulated in steel framing and cladding, the below ground part of the builging will be -necessarly- articulated in concrete. Thus students will have to develop a responding material process logic and operational drivers for the concrete part of the building based, on the inherent properties of the material -concrete-. Each method will require a working methodology and modeling techniques appropriate to the primary material [steel or concrete] and its tectonic logic. The investigation will be about the evolutionary qualities of form and the associated tectonic solutions of detail. Each student will develop two interrelated processes that articulate the structure -bones- and the cladding -skin- of the building design. Depending on the material, the process logics should focus on:

[1] line [aggregate, bend, shorten, twist, tear, cut, sever, knot, droop, curve, swirl, felt, bundle, tie, bind, weave, etc.] [2] plane [roll, crease, fold, crumple, cut, impress, group, layer, heap, wrap, laminate, expand, wave, reflect, etc.] [3] volume [cast*, shave, chip, split, cut, remove, bond, void etc.]. *the formational logic of cast volumes is driven by formal desires, but limited by material constraints of its formwork, which is in some cases a sheet material. Thus the process logic of plane and volume have to be considered synergistically.

methodology The program will require a constant interrogation of the material process logic in relation to site and program to develop a clear formational logic of design through making. Resolving the complex integration of structure, materials, program, site, and experience -organized with a clarity and cohesiveness- the scheme will require a critical aggregation of tectonics, culture, history, and representation through design. The final segment of the project will synthezise interrelated systems into an architecture of complexity. The design will emerge from material properties and culturally relevant tectonic formations: a critical material logic.

program Reading Areas 2,050 sqf Above groundCollection Area 2,050 sqf Under ground

Included within the Reading Area squarefootage areMain Lobby 680 sqf Client service point, “book bar”, meeting and lounge areaCafe 500 sqf Incl. a 200 sqf kitchen and service area

Included in both Reading and Collection Area squarefootage areBathrooms tbd 4 female fixtures, 4 male fixtures, 4 urinals, 2 fountains/ floor Service Spaces 100 sqf Technical spaces, janitors spaces, IT

Total 4,100 sqf

site location Silverlake Meadow, LA, CA 90026, lot size 60’ x 120’’


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design and representation Deliverables include a collection of analytical and representative drawings and physical models that illustrate thequantitative and qualitative aspects of their material architecture. Employing the same presentation format as previously developed throughout the semester, students should produce in four exercises:

deliverables [2-x] a series of models and drawings that investigate and represent the library’s formal potential, programtic organization and site relationship. [2-a] a series of models and drawings that analyze and represent the library’s bones (steel framing assembly and concrete shell formation) and a nodal prototype 24”x24”x36” investigating the detailing of a joint condition within the framing system. [2-b] a series of models and drawings that analyze and represent the library’s skin (steel cladding assembly, and/or system) and a nodal prototype 24”x24”x36” investigating the detailing of a joint condition within the cladding system. [2-c] a series of models and drawings that synthezise and represent the library’s comlex assembly of skin and bones as an integrated assembly and a final nodal prototype 24”x24”x36” investigating the detailing of a joint condition within the integrated system.

[1] library: framing The primary framing “bone” drawings will be a unfold framing plan and a framing detail. Investigate the framing -bones- logic in a series of models in scale 1:50. The framing detail will investigate a nodal point in the framing system. The representational panel [rendering] should be focused on documenting the material unit’s depiction and material effect; some examples include: texture, color, weight, light, field, etc. Each drawing should be centered laterally and vertically on the panel unless otherwise appropriate.

[2] library: cladding The primary cladding “skin” drawings will be unfold cladding plan and a cladding detail. Investigate the cladding logic in a series of models in scale 1:50. The cladding detail will investigate a nodal point in the cladding system. The cladding system will respond to the establish framing logic in terms of form, order, grid, unit sizes, connections, edge, proportion, axis, rhythm etc. The representational panel [rendering] should be focused on documenting the material unit’s depiction and material effect. The drawing should be centered laterally and vertically on the panel unless otherwise appropriate.

[3] library: synthesis This phase synthezises shell formation, framing assembly and cladding systems into an integrated, complex building design.

[4] library: orthographic drawings A collection of analytical and representative drawings that illustrate the quantitative and qualitative aspects of their material architecture. Plans and sections respond to the establish framing logic by delineating grid, order, unit sizes, axis and rythm.

plan The plan drawing is a horizontal section that cuts through the primary levels of the project. The drawing should include the adjacent context, ground material, and information above the cut line. The plans should be on a 24”x48” panel, and printed at a scale of 1:50.

section and elevation The section and elevation drawings should be on two 12”x48” panels and printed at a scale of 1:50. The drawings should include the adjacent context, and information beyond the cut line.

[5] library: scale model Built at a scale of 1:50 with a base size of 24”x48”. The model base should be cast in plaster and include sidewalks and adjacent context. The framing and clading part will be built in steel or similar metal.

[6] library: nodal prototype Built at a scale of 1:1 in steel, occuping a bounding box of 24”x24”x36”. The nodal prototype should be built sturdy enough for an exterior exhibtion.

schedule 27 classes

important dates 2014-02-23 = Project 02-x Assigned 2014-03-09 = Project 02-x DUE and Review 2014-03-27 = Project 02-A DUE and Review 2014-04-13 = Project 02-B DUE and Review 2014-04-30 = Project 02-C DUE and EXPO 2014-05-01 = EXPO


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site location Silverlake Meadow, LA, CA 90026, lot size 60’ x 120’’

naab student performance criteria addressed (if Bold: Course Identified on SPC Matrix for Criteria): In the context of the overall design sequence of the Bachelor of Architecture curriculum, this project contributes to the graduate attributes in the following areas

A.2 Design Thinking Skills: Ability to raise clear and precise questions, use abstract ideas to interpret information, consider diverse points of view, reach well-reasoned conclusions, and test alternative outcomes against relevant criteria and standards.A.3 Visual Communication Skills: Ability to use appropriate representational media, such as traditional graphic and digital technology skills, to convey essential formal elements at each stage of the programming and design process.A.5 Investigative Skills: Ability to gather, assess, record, apply, and comparatively evaluate relevant information within architectural coursework and design processes.A.6 Fundamental Design Skills: Ability to effectively use basic architectural and environmental principles in design.A.8 Ordering Systems Skills: Understanding of the fundamentals of both natural and formal ordering systems and the capacity of each to inform two- and three-dimensional design.B.12 Bldg Materials/Assemblies: Understanding of the basic principles utilized in the appropriate selection of construction materials, products, components, and assemblies, based on their inherent characteristics and performance, including their environmental impact and reuse.

Library siteExtended site to be included in site model


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[1] exterior rendering 1 panel, 32”x32”

[8] basement and ground floor plan, 1:50 1 panel, 24”x48”

[9] section, 1:50 1 panel, 12”x48”

[7] elevation 1 panel, 1:50 12”x48”

project 02-x form layout diagram

[10] scale model, 1:50; Model Base 24”x48”x5” plywood, plaster


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[2] unfolded framing plan 1 panels, 16”x16”

[4] framing detail axonometry, 32”x32”

project 02-a bones layout diagram


[11] nodal prototype, 1:1; 24”x24”x36” steel (not shown in diagram)


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[3] unfolded cladding plan 1 panel, 16”x16”

[5] cladding detail axonometry, 32”x32”

project 02-b skin layout diagram




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[1] exterior rendering 1 panel, 32”x32” [2] unfolded framing plan 1 panels, 16”x16”[3] unfolded cladding plan 1 panel, 16”x16”

[4] framing detail axonometry, 32”x32”[5] cladding detail axonometry, 32”x32”[6] synthetic detail axonometry, 32”x32”

[8] basement and ground floor plan, 1:50 1 panel, 24”x48”

[9] section, 1:50 1 panel, 12”x48”

[7] elevation 1 panel, 1:50 12”x48”

project 02-c synthesis layout diagram




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Faculty Contact Information

Valery [email protected] 881 9807

Laurel [email protected] 913 0096

John [email protected] 666 8178

Kris [email protected] 418 7914

Eric Nulman [coordinator][email protected] 570 9090

Jose [email protected] 550 3831

Scot [email protected] 524 1225

Roland Wahlroos-Ritter [coordinator][email protected] 704 6604


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Faculty Studio Locations

Roland Wahlroos-Ritter EAST 1Scott Uriu EAST 2Jose Sanchez EAST 3Valery Augustin EAST 4

John Frane NORTH 1Eric Nulman NORTH 2Kris Mun NORTH 3Laurel Broughton NORTH 4

NORTH 1Frane

NORTH 2Nulman

NORTH 3Mun

NORTH 4Broughton

EAST 1Wahlroos-

Ritter

EAST 2Uriu

EAST 3Sanchez

EAST 4Augustin

two zero two b - usc school of architecture · · 2017-12-20information without necessarily being...

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