I would like to introduce you to an initiative supported by Aj Laura, Aj Connelly and myself:
the creation and administration of a cinema club in the architecture faculty, by the students, for the students.
As we think of it now, one film would be shown every week, with the possibility of inviting a lecturer (film-maker, architect, writer, photographer or other) to introduce the film and further discuss its meaning and influence.
We would like to have this set up and rolling pretty soon, and are asking for students who would be interested in running it.
Administrative work, such as timetable and room booking will be done with our help.
As well as the decisions on which films to show, which themes to create and who to invite.
You will be in charge of advertising the event, every week, by creating posters and flyers and by sending a newsletter to all students through the INDA mail list.
Proposed monthly themes
HOUSE/HOME
_ Eraserhead, by David Lynch, 1976, USA
_ Mon Oncle, by Jaques Tati, 1958, France
_ Last Life in the Universe, by Pen-Ek Ratanaruang, 2003, Thailande
_ Shorts films by Buster Keaton, 1917-1937, USA
PANOPTICAL SPACE - THE TECHNOLOGY OF VOYEURISM
_ Videodrome, by David Cronenberg, 1983, Canada
_ Rear Window, by Alfred Hitchcock, 1997, USA
_ The Tenant, by Roman Polansky, 1976, France
_ Peeping Tom, by Michael Powell, 1960, UK
SUBURBAN DYSTOPIA
_ Blue Velvet, by David Lynch, 1986, USA
_ Edward Scissorhands, by Tim Burton, 1990, USA
_ Elephant, by Gus Van Sant, 2003, USA
_ Two or Three Things I Know About Her, by Jean-Luc Godart, 1967, France
HUIS CLOS
etc.
Proposed film-makers
Michelangelo Antonioni
Jacques Audiard
Ingmar Bergman
Luis Bunuel
Tim Burton
John Cassavetes
Charlie Chaplin
Joel and Ethan Coen
Francis Ford Coppola
David Cronenberg
Chris Cunningham
Virginie Despentes
Charles and Ray Eames
Sergei Eisenstein
Rainer Fassbinder
Frederico Fellini
David Fincher
Milos Forman
Georges Franju
Terry Gilliam
Jean-Luc Godart
Michel Gondry
Peter Greenaway
Michael Haneke
Werner Herzog
Alfred Hitchcock
Alejandro Gonzales Inarritu
Spike Jonze
Buster Keaton
Abbas Kiarostami
Kim Ki-Duk
Stanley Kubrick
Akira Kurosawa
Emir Kusturica
Fritz Lang
Richard Linklater
Sidney Lumet
Auguste and Louis Lumiere
David Lynch
Georges Melies
Hayao Miyazaki
Nanni Moretti
Mamoru Oshii
Katsuhiro Otomo
Francois Ozon
Pier Paolo Pasolini
Roman Polanski
Michael Powell
Pen-Ek Ratanaruang
Satyajit Ray
Alain Resnais
Roberto Rossellini
Gus Van Sant
Ridley Scott
Martin Scorcese
Vittorio De Sica
Jan Svankmajer
Quentin Tarantino
Andrei Tarkovsky
Bela Tarr
Jacques Tati
Hiroshi Teshighara
Francois Truffaut
Lars Von Trier
Peter Watkins
Apichatpong Weerasethakul
Orson Welles
Feel free to make suggestions, to ask around you who else would be interested. All years are welcomed, from INDA and Thai program.
20101030
Review comments and directions
Ok, so..
All of you have to work drastically on your presentations!
Work on the coherence between your presentation and your project, your idea, your design.
Do not use group researches for your personal presentation unless you have distilled and re-interpreted the information in order for it to suit your personal views on the project.
Choose the paper on which you are printing, and use the same all along (unless not doing so is meaningful to you and/or your project).
Choosing one format will help you laying out on the wall. Think and plan your wall layout ahead.
Choose a font and stick with it (unless not doing so is meaningful to you and/or your project) - colours have to be employed only if the differences are actually telling something - font-size relates to the importance of what you are writing.
Do not write if we cannot read. (from a distance)
All of you have to work drastically on your presentations!
Work on the coherence between your presentation and your project, your idea, your design.
Do not use group researches for your personal presentation unless you have distilled and re-interpreted the information in order for it to suit your personal views on the project.
Choose the paper on which you are printing, and use the same all along (unless not doing so is meaningful to you and/or your project).
Choosing one format will help you laying out on the wall. Think and plan your wall layout ahead.
Choose a font and stick with it (unless not doing so is meaningful to you and/or your project) - colours have to be employed only if the differences are actually telling something - font-size relates to the importance of what you are writing.
Do not write if we cannot read. (from a distance)
Generally prefer a good diagram or summary to a long paragraph.
As a side note, after having seen the projects of today, i recommend to most of you to work now in section, from the building to the strip.
Grace
Study the art of story-telling. Learn the techniques and transform them, apply them to architecture.
What are the story(ies) you could tell in this specific place - where specifically - in relation to what - how - and for what reasons?
What are the stories already being told there? Any narrative being displayed? Is the façade not presenting still mysterious signs?
Remember that architecture is not experienced only in a physical way.
Fa
Finish your analytical work - complete and detailed. Each sheet should address a question, a subject, an issue that you analyse and understand the best you can.
Define your position, according to what you actually want to say, to change, at least to address here and now. But do it in response to the brief.
One simple question that comes in mind to achieve that would be: Is the evolution of Thai society (and its materialisation in the city of Bangkok) reflected in the way the faculty is constructed / experienced / used?
Ong
I guess you know that showing only pictures and texts is not enough for an analysis, even less for the first step of a design proposal.
I guess you know you had to manipulate the data from group researches in order to support your personal approach.
I guess you know we are not here to dictate to you what to do at every step.
So i guess i won't give you much until you start giving yourself.
Amy ?
Best
Finish your plan and photographs presentation for Tuesday - add as much details as you can, even if you do not know now what use to give to it (you can ask Cherry how to do that, she's very good at it): people, directions, activities, changes in time, in space, etc.
You will have to answer the question WHY - why the reflection? and of what?
spatial experiences (to be defined) + programmatic experiences (to be defined)
Shane?
Ton
Congratulations for your presentation improvements! Still some clarity could be gained.
How can you transform the strip into the rabbit? How to invite people? To intrigue them into coming in?
Then what is actually happening inside? how do you end the hole? what is it leading to?
The existing hidden spaces have to be well-studied and their possibilities explored through design.
Eiab
Work on your presentation! (unity - titles, subtitles, font, size, colours, labels ...)
Draw diagrams of the relations between shade and walking patterns - understand the relations - then consider what you can do:
How can you modify the walking patterns with a shading device? For what reasons?
How can you invite other activities (and host/improve the existing ones) with the shading device?
Inversely, would it be of interest to create a shading device which would respond to the walking pattern (receptive in real time)?
Besides, if you are interested in the reasons why people walk in straight lines, and would like to work along with or challenge this fact, document yourself on the subject.
Besides, if you are interested in the reasons why people walk in straight lines, and would like to work along with or challenge this fact, document yourself on the subject.
Cherry
Any drawing you will produce from now on has to have a clear intention behind it (a reason behind each line) and should enable you to study/discover something. All drawings produced so far have to be re-worked with this exigency (in the case of those seen yesterday, establishing the difference between the actual physical field of vision and the human perception/sensation/consciousness of space).
You can change subject but whatever you will introduce on Tuesday will be the subject you will work on and you have to make the decision yourself.
Since you like drawing so much, i suggest that you create a framework of parameters (from your analysis and your main intention) in which you would be able to develop your design through drawing, quite freely.
By the way, you should really get the book: Drawing the motive force of architecture by Peter Cook.
Enn
Make at least one sheet to explain your programmatic creation. Why those two activities? How do they function? etc.
Before moving back to Metabolism, do consider on what criteria can you choose what the most suitable system is.
And you can only establish this if you work on the programmatic conditions, as well as the site conditions.
Is transformability really necessary? If not, what can it produce that is beyond those two programs?
Illustrate your researches in detail, explain what made you take on one system over the other(s).
Golfe
Re-work your presentation (think about it for next time!).
Do not focus too much on the idea of identity now, for the expression of an identity is much more complex than the display of symbolic letters evoking a name. The identity of the school should be revealed in the process of making your intervention, in its very existence and in the way students can get involved in it.
An architect working a lot with paper (tubes generally) is Shigeru Ban. Do look at his splendid work.
You have to work step by step now - define the usages, the purposes, the forces in place.
In parallel to that work, start investigating and experimenting with what one can do with the materials collected. This work is about transforming an object. That is, firstly, understanding what it can do that is not related to its original function. It is a detournement. Combination of materials might be interesting.
The final products have to be well-manufactured! We expect a good quality of craft here. Look at the superuse website for a lot of examples.
The Domus Winery by Herzog & De Meuron (the project Aj Taylor was talking about) has been studied by Grace for the Encyclopaedia.
The Domus Winery by Herzog & De Meuron (the project Aj Taylor was talking about) has been studied by Grace for the Encyclopaedia.
Geng
Do you want to change the journeys people make on this strip or does your shading device go with the existing ones? Why? How could you suggest more activities?
Think about the shading device as a tool. What are the parameters of this tool (form, density of shade, relation to the ground etc.) How can the manipulation of those parameters allow for new behaviours?
N
Define for yourself what you call a sculpture. What are the qualities you expect (mean) when you talk about a sculpture-like structure? What is its relation to the ground? Is it a continuous piece (surface)?
Then the main question to actually begin the design process will be: what are the parameters which are going to sculpt? What are the forces in place from which the form can be derived? Then we will ask ourselves how, this will also depend on the material(s) you choose.
Go to TCDC and find the book Catalytic Formations by Ali Rahim, as suggested Aj Taylor.
Then the main question to actually begin the design process will be: what are the parameters which are going to sculpt? What are the forces in place from which the form can be derived? Then we will ask ourselves how, this will also depend on the material(s) you choose.
Go to TCDC and find the book Catalytic Formations by Ali Rahim, as suggested Aj Taylor.
Pun
Be careful with your presentation! (titles location, subtitles, image position etc.)
Do you intend the information to be understood? Is it about an abstraction (an intellectual understanding) or an experience (a bodily absorption)? Can you involve other senses? Smell / touch / sound are rather related to a direct (sensual, even animal) experience, whereas vision is far more educated and therefore interpreted, perceived in a less direct process.
Work on the depths, depth of the strip, and depth of the technology you are dealing with.
Define what are the inputs and possible feedback.
You could study both the Institut du Monde Arabe by Jean Nouvel in Paris and GreenPix by Simone Giostra and Partners with Arup (on this particular project though be careful with the "green" and sustainable labels, often attempting to justify the operation of a technology totally unecessary in the first place...)
That's it for now!
Questions?
See you on Tuesday for the 2nd part of the pin-up.
Oh.. and just for the pleasure of seeing a beautiful project being realised, look at the latest post on boiteaoutils, the Truffle House.
Be careful with your presentation! (titles location, subtitles, image position etc.)
Do you intend the information to be understood? Is it about an abstraction (an intellectual understanding) or an experience (a bodily absorption)? Can you involve other senses? Smell / touch / sound are rather related to a direct (sensual, even animal) experience, whereas vision is far more educated and therefore interpreted, perceived in a less direct process.
Work on the depths, depth of the strip, and depth of the technology you are dealing with.
Define what are the inputs and possible feedback.
You could study both the Institut du Monde Arabe by Jean Nouvel in Paris and GreenPix by Simone Giostra and Partners with Arup (on this particular project though be careful with the "green" and sustainable labels, often attempting to justify the operation of a technology totally unecessary in the first place...)
That's it for now!
Questions?
See you on Tuesday for the 2nd part of the pin-up.
Oh.. and just for the pleasure of seeing a beautiful project being realised, look at the latest post on boiteaoutils, the Truffle House.
20101027
references and review preparation
Dear all
Make best use of digital and physical models for Friday.
Both in your analytical and design work.
Establish a unity in your presentation.
Visual and oral presentations should actually follow your concept. Be playful and consistent with them!
Drawings have to be at a specified scale and labelled,
views have to be identified,
ground line - roads - trees - human figure,
north direction indicated,
etc. (by now all this should be automatic)
Grace
House after 5 years of living by Charles and Ray Eames
Impossible to find on the net - did you get the film form Aj. Moe last year?
If yes please show it to Cherry.
Otherwise, please find description here, and snapshots here.
And have a look at the work of the film-maker Chris Maker.
Fa
Following the introduction to the concept of a palimpsest in architecture (or more appropriate, in urban design), read this text by Bernard Tschumi. You might completely disagree with this design strategy, yet it is important for you to know it. Besides i am sure it will bring light onto some issues you are having.
I recommend you to watch all films by the Thai director Apichatpong Weerasethakul.
I'll pass you those books we talked about tomorrow.
Golfe
Have a look at the superuse website.
Ong
Work!
Document yourself on wood construction and self-construction. (example of the gridshell by Frei Otto)
You are going to make use of those machines in a much more extensive way! I hope you understand the potential of such an idea.
Amy
Define your proposal, and post your researches please. The sections are very important. Draw them at scale 1/100. And gather all necessary information.
Making use of those strange resulting spaces is a great idea. Do not forget that you are not restricted in terms of height.
Best
Watch the film Dogville, by Lars Von Trier.
Shane
Draw at a much bigger scale. You can also start working on physical models.
Prepare at least two A2s explaining your formal researches and explorations, as well as your references.
Ton
Work hard on the precision and the presentation of your idea - both orally and visually.
What is the mystery you are talking about? What are its effects? its causes? Any reference??
Eiab
Concentrate your energy and focus on developing that original idea of stripes.
Go back to your drawings of the walking patterns and start sketching the rhythm and dynamics of those stripes from them.
Ultimately all your ambitions will converge and shape themselves into the system you will establish.
Step by step!
Make the list and study of the existing features (site condition) and the ones you intend to add.
Are they permanent? temporary? transforming?
Cherry
See if Grace has Ray and Charles Eames' film.
Read this short text about Anish Kapoor's Memory.
The work of the painter Giorgio de Chirico might insterest you as well.
Enn
Starbrick by Olafur Eliasson (studied by Golfe for the Encyclopaedia)
Explore the AA Emergent Technologies and Design website.
I believe the great work of Erwin Hauer will also inspire you (to bring into 3D though!).
Geng
Develop your design process in plans (first) step by step, as discussed today.
Then move into the elevation, then in section.
You need to work in detail and subtlety now!
Experiment with shadows (density, rhythm, material, colour, etc.)
N
Develop a precise language and coded diagrams with the terms temporary / permanent / adaptation / relocation/ ... specific to your project
Look at Fonction Oblique by Claude Parent.and Paul Virilio
Pun
Hall of Fragments, installation at the entrance of the Arsenale for the 2008 Venice Biennale.
Also, explore the field of augmented reality. I believe you'll be interested.
Good luck to all!
as usual feel free to ask any question
Make best use of digital and physical models for Friday.
Both in your analytical and design work.
Establish a unity in your presentation.
Visual and oral presentations should actually follow your concept. Be playful and consistent with them!
Drawings have to be at a specified scale and labelled,
views have to be identified,
ground line - roads - trees - human figure,
north direction indicated,
etc. (by now all this should be automatic)
Encyclopaedia work should now be strongly related to your proposal. Look for references!
Grace
House after 5 years of living by Charles and Ray Eames
Impossible to find on the net - did you get the film form Aj. Moe last year?
If yes please show it to Cherry.
Otherwise, please find description here, and snapshots here.
And have a look at the work of the film-maker Chris Maker.
Fa
Following the introduction to the concept of a palimpsest in architecture (or more appropriate, in urban design), read this text by Bernard Tschumi. You might completely disagree with this design strategy, yet it is important for you to know it. Besides i am sure it will bring light onto some issues you are having.
I recommend you to watch all films by the Thai director Apichatpong Weerasethakul.
I'll pass you those books we talked about tomorrow.
Golfe
Have a look at the superuse website.
Ong
Work!
Document yourself on wood construction and self-construction. (example of the gridshell by Frei Otto)
You are going to make use of those machines in a much more extensive way! I hope you understand the potential of such an idea.
Amy
Define your proposal, and post your researches please. The sections are very important. Draw them at scale 1/100. And gather all necessary information.
Making use of those strange resulting spaces is a great idea. Do not forget that you are not restricted in terms of height.
Best
Shane
Draw at a much bigger scale. You can also start working on physical models.
Prepare at least two A2s explaining your formal researches and explorations, as well as your references.
Ton
Work hard on the precision and the presentation of your idea - both orally and visually.
What is the mystery you are talking about? What are its effects? its causes? Any reference??
Eiab
Concentrate your energy and focus on developing that original idea of stripes.
Go back to your drawings of the walking patterns and start sketching the rhythm and dynamics of those stripes from them.
Ultimately all your ambitions will converge and shape themselves into the system you will establish.
Step by step!
Make the list and study of the existing features (site condition) and the ones you intend to add.
Are they permanent? temporary? transforming?
Cherry
See if Grace has Ray and Charles Eames' film.
Read this short text about Anish Kapoor's Memory.
The work of the painter Giorgio de Chirico might insterest you as well.
Enn
Starbrick by Olafur Eliasson (studied by Golfe for the Encyclopaedia)
Explore the AA Emergent Technologies and Design website.
I believe the great work of Erwin Hauer will also inspire you (to bring into 3D though!).
Geng
Develop your design process in plans (first) step by step, as discussed today.
Then move into the elevation, then in section.
You need to work in detail and subtlety now!
Experiment with shadows (density, rhythm, material, colour, etc.)
N
Develop a precise language and coded diagrams with the terms temporary / permanent / adaptation / relocation/ ... specific to your project
Look at Fonction Oblique by Claude Parent.and Paul Virilio
Pun
Hall of Fragments, installation at the entrance of the Arsenale for the 2008 Venice Biennale.
Also, explore the field of augmented reality. I believe you'll be interested.
Good luck to all!
as usual feel free to ask any question
20101025
Identity - Statistic
A statistic number of student who currently studied in Faculty of Architecture in year 2010, including Master degree and Ph.D
20101024
site analysis
this diagram is showing the direction/movement of the people on a different time of the day as well as the animals
20101022
Site Analysis - Tradition of Architecture Faculty
20101021
Identity
We did a survey to observe that what people think about our faculty both insider and outsider as a list in order to find our identity through Chula's people.
Above- first three thing that people think of our faculty!
Above- Here are what we usually see around our faculty.
20101020
Facade Analysis
The Facade
A facade is generally one side of the exterior of a building, usually the front facing the public way or space.
In architecture, the facade is extremely important since it sets the tone for the rest of the building.
Documentation of the Facade Elements
This includes the three entrances or "threshold" of the building and the different patterns along the facade.
Seen from the panorama of the Faculty of Architecture, three distinct facades exists as the three buildings stand along side each other. The abrupt changes in the facade – the different materials, patterns, and forms – separates the three buildings from one another as one can clearly see the boundary of each building. There seem to be no considerations or attempts of blending the facades of the three buildings together.
Moreover from looking at the differences between these facades, one can conjecture the different time periods when each building was built or the parts that were added, taken away, or renovated. Facades can also represent an institute as one can see the logo of the Faculty of Architecture installed next the main entrance.
Facade Materials
This represents the materials that exist in the facade of each of the three buildings. Through the grid, one can compare the similarity and difference between each facade as the images are juxtaposed with one another. One can also see what materials exist in one facade and not in others. Additionally, one can tell the difference in materials affected by the developing technology (i.e. synthetic wood and timber).
The columns corresponds to the panoramic image above. The materials in the columns are those found in the parts of the building above.
The rows arrange the materials into categories:
1st row: concrete, brick
2nd row: stones
3rd row: wood, natural effects
4th row: steel
5th & 6th row: reflective surfaces
A facade is generally one side of the exterior of a building, usually the front facing the public way or space.
In architecture, the facade is extremely important since it sets the tone for the rest of the building.
Documentation of the Facade Elements
This includes the three entrances or "threshold" of the building and the different patterns along the facade.Seen from the panorama of the Faculty of Architecture, three distinct facades exists as the three buildings stand along side each other. The abrupt changes in the facade – the different materials, patterns, and forms – separates the three buildings from one another as one can clearly see the boundary of each building. There seem to be no considerations or attempts of blending the facades of the three buildings together.
Moreover from looking at the differences between these facades, one can conjecture the different time periods when each building was built or the parts that were added, taken away, or renovated. Facades can also represent an institute as one can see the logo of the Faculty of Architecture installed next the main entrance.
Facade Materials
This represents the materials that exist in the facade of each of the three buildings. Through the grid, one can compare the similarity and difference between each facade as the images are juxtaposed with one another. One can also see what materials exist in one facade and not in others. Additionally, one can tell the difference in materials affected by the developing technology (i.e. synthetic wood and timber).The columns corresponds to the panoramic image above. The materials in the columns are those found in the parts of the building above.
The rows arrange the materials into categories:
1st row: concrete, brick
2nd row: stones
3rd row: wood, natural effects
4th row: steel
5th & 6th row: reflective surfaces
Revolution of the Architecture building; Chulalongkorn University
IMAGE: Faculty of Architecture building 1
DESCRIPTION: The First building of faculty of Architecture, consisted of only 2 floors. There is a canal running in front of the Faculty with few trees along the side.
IMAGE: Faculty of Architecture building
Camera Position:
Year: 2583 or 1940
DESCRIPTION: The trees grown
IMAGE: Faculty of Architecture building
DESCRIPTION: To the original building (Faculty of Architecture building 1 ) there were extension of 3rd floor completed with roof.Along the top of each window has shading devices. And from the Images you can notice the existance of car park shelter. In addition, at that time, the cars were allowed to park on the side of the opposite road in front of the faculty of architecture.
IMAGE: Faculty of Architecture building
Camera Position: Infront faculty of science
DESCRIPTION: wide road running straight from the main door of faculty of architecture
to faculty of science
IMAGE: Faculty of Architecture building
Camera Position: In front of the 2 Kings statues
DESCRIPTION: huge space (the field ) with small road for human circulation
Addition picture
IMAGE: Faculty of Architecture building
Camera Position: In fron of Architecture building
DESCRIPTION: Our senior group photo with Faculty of architecture behind.
DESCRIPTION: Closer look at the facade details.
IMAGE: Faculty of Architecture building
DESCRIPTION: Architecture faculty symbol on (on the left) and "faculty of Architecture" (on the right)
IMAGE: Faculty of Architecture building
Camera Position: In fron of Architecture building
DESCRIPTION: Our senior group photo with Faculty of architecture behind.
IMAGE: Faculty of Architecture building
DESCRIPTION: Architecture faculty symbol on (on the left) and "faculty of Architecture" (on the right
IMAGE: Bird eye view with faculty of architecture on the left.
Camera Position: Bird eye view
DESCRIPTION: Overall space (take a big notice of the existance of the canal running in front of faculty of architecture.)
IMAGE: Faculty of architecture
Camera Position: Bird eye view
DESCRIPTION: Overall space
DESCRIPTION: Our senior group photo with Faculty of architecture.
PLAN
FRONT FACADE
BACK FACADE
SECTION
20101019
we are working on site model : )
good work today people!!
now we have some part of building
: )
fightingggggggg!!!
susu susu
we will working on MODEL this thursday after review with aj. camillee.
(like after 4 pm) ask Cherry again !!
please come
analysis...
Generally, the documents you been producing still show a distance to the site we are dealing with.
From now on, you will all be working at a minimum scale of 1/100, for all plans, sections and elevations.
This will force you to get into detail, and to better understand what the site actually is.
All the analysis have to be posted now, under the theme they belong to, and with detailed explanations. Agree on a layout that all of you can use in order to present those informations efficiently and in order to prepare for the 1st review, which will happen next week.
This way, you should all have a global understanding of the site and context in order to proceed now to your design proposal.
On Thursday, we will have individual tutorials, where we will mainly discuss your personal approach to the project.
TIMETABLE
12.00- Pun
12.15- Grace
12.30- Fa
-----------
16.00- Enn
16.15- Shane
16.30- Golfe
16.45- Ong
17.00- N
17.15- Eiab
17.30- Geng
17.45- Cherry
18.00- Best
18.15- Ton
I will have to leave at 18.30.
For the afternoon people, if your allotted time does not suit you, exchange with one another, or come at 12.45.
Do let me know in advance!
reminders:
Pun & Grace
Time to produce seriously! A simple catalogue of photographs is far from being enough.
Draw the façade in detail - all elevations - unfolded. Relate the elevation to the plan.
Study the inside/outside relationship - you can team up with Cherry who is also interested in this.
What is the façade telling the viewer about the inside of the faculty? Is it always corresponding?
Ton
Zoom in! show details and understanding of how those thresholds are being used.
Document your investigations and chose the faculties intelligently, for a specific reason.
A combination of plans and elevations / sections is necessary.
Zoom in! show details and understanding of how those thresholds are being used.
Document your investigations and chose the faculties intelligently, for a specific reason.
A combination of plans and elevations / sections is necessary.
Fa
Present and interpret visually all your investigations and discoveries.
N & Ong
Refine the calender and how it shows the simultaneity of events.
And be specific in the description of those events: features, dimensions, number of people involved, time, details etc. Zoom in!
Cherry & Best
Continue the survey in plan, scale 1/100. This drawing should work with the elevations that Pun and Grace are doing.
Complete your diagrams and establish the relations between them.
+ 3 sections models of the 2 sides of the façade (with scaled figures showing the activities happening on both sides at those 3 specifically determined places)
Eiab & Geng
A report of the activities happening daily on the site is missing! Idem for animals (this is serious).
Your theme, usages and behaviours, covers much more than you showed today.
Last time we discussed to possibility to show your analysis in axonometric projection instead of plan &/or section. Where is this gone???
Golfe, Enn & Shane
Interpret all your information through diagrams, charts ... visuals!
Establish meaningful connections between them.
Complete your investigations on the identities and the way they are displayed, in the past and the present.
The seats study seems extremely specific (it belongs more to a personal research than a group study of the theme identities), i believe more general information has to be addressed before.
Amy?
Subscribe to:
Posts (Atom)