Project II - Exercise 11

Thursday October 3:
Desk critiques / working session. Please continue to model iterations on your design in class (and beyond, as instructed)

As you continue to develop your proposal for Project II, refer to the following parameters:

•  Develop a scheme that negotiates between two distinct spaces accommodating contrasting modes of inhabitation.
•  Identify spatial qualities of each area and how they are differentiated (views, light, transitions, etc.)
•  Explore approach and context (e.g. how does your construct meet the ground?)
•  Consider sequence of movement to and through the design
•  Understand scale differences and employ varying levels of detail at different scales
•  Determine relationships: between spaces, between people, between landscape and construction

Exercise 11 due Monday October 7:
Write a concept statement.
A well-written concept statement is crucial not only to communicate the intent, motivations, and goals for a design project, but to guide the design process as well. Please write a concept statement and post it to the blog, along with a title. These may seem like unnecessary flourishes to your work, but really they can help encapsulate your ideas. When you link your motivations to a word, phrase, or concept, you can then develop a succinct understanding of your process.

Write the terms of critique.
Critics of your work should be made aware of how to judge your work. The concept statement is one way that critics can evaluate if you met your own goals, and terms of critique are another. These may be reflective questions, and should focus our attention not on the successes alone, but on your concerns, and unresolved questions. In short, these are the topics of your project that you want feedback on.

Take a sequence of photographs that explores the visual approach to your design.  Imagine how you might want people to see your structure from afar, and how, through visual proximity, the experience changes.  Try to get down at “eye” level with the camera and gradually move closer to the model in order to simulate the approach. Now draw over these photographs, adding a level of detail (such as materials and refinement) and occupation (people in the scenes).

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