STUDY GUIDE 2018/2019 -TILBURG

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Academic year

Course name

Ects

Study year

Semester

Sessions

 

Tutors

 

Examinations

 

 

Work form

EU Qualifications

2018-2019

CORE 2

5

2

1

8 weeks, Fridays from 09:30 – 17:30 pm

David Rademacher

Nasim Razavian

SKILLS TEST AND ARCHITECTUAL DESIGN PROJECT

STUDIO

a, b, c, e, g, h, i

 

 

CONTENT

Studio Constraints

Architectural thought operates on two different levels of analytical and synthetical: the analytical being concerned with the way we analyze our surrounding and our existing knowledge, while the synthetical dealing with the creation of something which is not yet there. Architectural production is the result of a constant back and forth shift between these two modes of thought. Generally, architectural students face assignments which are formulated around similar problems being oriented towards programmatic, functional, economic, and practical interests. As both the analysis and synthesis are derived from and oriented around similar problems, the projects operate relatively similar to each other. Designing, however, is not a solution to a similar problem, but it is also challenging the problem which is at stake. It is a crucial to educate both of these modes of thought and to experiment with the development of new modes of production of space.

In this course the intention is to challenge our conventions of perceiving, analyzing, and designing space through simple constraints applied in advance; to unlearn the dogmas in architectural design through the introduction of this specific method. The constraint allows to think in abstraction, it activates a system which requires the development of new modes of analysis, synthesis, and production of space.

The studio has three different phases:

The first phase is concerned with perception, data collection, measurement and documentation. Starting from a specific location in Tilburg, each student will practice a different walk within the same area, one walking a straight line, the other a circular, or one has to walk too fast and the other too slow and so on. This will already provide multiple readings of the similar location. The walk itself is a particular way to perceive our surrounding as it places the body in direct contact with the actual location. The second series of constraints are applied to their documentation tools. The tools we understand our environment with is no longer the smart phone or the camera, but it can be a clock for instance. Facing such constraints, one has to rethink the way they perceived, measured, and documented the space before and will come up with unique ideas how to solve the new obstructions.

The second phase of the studio is representation. In this phase the students will develop new notation systems based on their previous analysis and make analytical drawings, models, objects, or installations out of their findings. If the metric system is no longer the way we understand scale and it is replaced with time, how should one draw it? Thus, one has to rethink the conventions of architectural representation.

In the third phase the students will work on projection. The ideas and findings developed through their unique systems of analysis and representation will be materialized to an architectural project. The questions of program, site, scale, elements, and materiality will be experimented in this phase through the design of the architectural project. Finally, the materials developed during the whole process will be presented in a final exhibition.

In architectural education, theory and design are generally treated as detached themes where the former is mainly concerned with learning the existing knowledge on architectural theory (and history) and the latter focusing on the development of design skills through specific assignments. The problem of such a detachment is that the knowledge gained through theoretical courses is hardly activated in the design process. This might be one of the reasons why such a knowledge disappears in architectural practice despite its crucial relevance. Departing from such a position, the pedagogic intention behind this course is not concerned with theory and design as two separated phenomena but with the development of the theoretical thought through design and vice versa.

In this course we will focus on the notion of the constraint. We will introduce certain literary works by a peculiar group called Oulipo consisting of figures such as Raymond Queneau, Georges Perec, François Le Lionnais, Italo Calvino, and Jacques Roubaud among others. Oulipeans were speculating with new literary structures and systems to rethink the conventions of literature. Through imposing arbitrary constraints, they liberated creativity and searched for new forms of literature. We will study together how such works can be relevant for architecture. In the end of the course the student will reflect their understanding of the discussed notions and their application on their design project through a text.

 

LITERATURE

- Burkhardt, Lucius. Strollological observations and perception of the environment and the tasks facing our generations. In: Lucius Burkhardt writings

- Certeau, Michel de. 1984. "Walking in the city". Spatial stories. In: The practice of everyday life. Vol 1.

- Von Trier, Lars; Leth, Jørgen, 2003, "The Five Obstructions" (movie)

- Walker, Enrique. 2010. "Under constraint". In: Architecture as a craft: Architecture, drawing, model and position

 

EXAMINATION

Skills test and architectural design project

 

COMPETENCES

Design, Level 2

Research, Level 2

Communicating, Level 2