If the only form of tradition, of handing down, consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes, tradition should positively be discouragedTradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour. T.S. Elliot, 1920.
The traditions of Architecture have evolved since the beginnings of civilisation. Architectural grammar such as spatial typologies, that transcend cultures, time and styles, have emerged as part of this tradition. By looking at historical precedents we can discern certain formative patterns that can not only be used to analyse and interpret existing buildings but also as a means to create new responses.
You are asked to explore a series of spatial types, developed into small dwellings intended for domestic habitation; spaces to live in. In the first instance you are to imagine living in a small habitat of 40m2 including space for living, cooking, washing (body and clothes) eating and sleeping. Then you are asked to develop six spatial systems that articulate six different possibilities for living.
A straight forward task? Perhaps! What though, if you are expected to transform this ordinary domestic spatial program into a poetic architectural language - works that demonstrate how well you understand the six spatial typologies, works that may affect the minds of an audience and bring forth an emotional response. Then the task becomes more complex, formal and aesthetic - more architectural. You will be required to work with, explore and understand a series of six spatial orders. You will have to develop and control a set of prescribed principles in order to make abstract spatial figures that resonate as architectural projects. To achieve this you will need to use your imagination, sensibilities, knowledge and determination.
Every small house is to be considered as an independent entity, like an organism that is distinct from its surroundings because of its internal constitution (its figure). There is no specific location for the project, simply assume that the site is a flat plain and has a generic Perth climate. Each dwelling relies on its own special order to create a sense of beauty and should be compelling in its own right a unique example of how each spatial typology can influence the creation of a distinct place to live.
So what seems like a simple task suddenly becomes demanding - something that requires imagination, thought and effort in order to realise a convincing project. Constraints You shall develop all of the six formal spatial patterns identified below: Centric, Courtyard, Cloister, Serial Progression, Spine and Linear.
Working Methods You should work consistently with models, diagrams and drawings to represent your ideas. Use these tools to explore spatial arrangements and to create different spatial typologies (You will be required to submit your sketchbook, process drawings and models)
A Sketch drawings/diagrams To explore multiple possible arrangements. Using lead pencils (experiment with hard & soft) , draw ideas, diagrams sketch perspectives in your sketchbook and make scale drawings on paper (try different paper types drafting, trace, detail, film etc).
B Models 1:200 Form models - to explore spatial arrangements and to create the different spatial typologies. 1:100 Spatial models - to develop qualitative properties materiality, light & shade and the experiential.
C Hardline drawings To describe plan & section. Use 2H or HB pencil on drafting paper or trace. Draw at scale 1:200 and 1:100. Use the photocopier to create underlay drawings from which variations to the original can be made.
D Photographic studies To test, analyse and describe the spatial qualities of your project using a variety of lighting conditions time & season.
Final Presentation You are to present your process work as a series of studies. The format of the studies will be digital prints on A5. The studies should be developed using a chronological and thematic framework for each of the six spatial typologies. This will require selection; editing and formatting from the work you have produced using the four working methods over the duration of the project.
Assessment Criteria In assessing this project we will review the body of work produced over the duration of the assessment period. The criteria for assessment will include the following: Exploration & testing of ideas Is there evidence of depth in relevant research? Has there been rigorous testing of ideas through the process work? Is there evidence of development and evolution of ideas through the process work? Does the project engage with principles of environmental responsibilities? How well has the student made use of time in developing the project? Project Implementation Have the conceptual idea/s been clearly stated and realised? What level of inventiveness, interpretation and integration in the generation of architectural design propositions are evident in the project? How well have the formal aspects of the project been developed in regards to form, space, light, orientation and purpose? Communication How well has the project been expressed visually & verbally? What level of craft & skill is evident in the visual presentation of the project? Is there evidence of reflexivity What was done well? What could be done better?
References Neille, S. 1998. A Rambler's Gallery - Spatial Propositions in Architecture. In Interstitial Modernism, ed. L. van Schaik. Melbourne: RMIT University.
Purves, A. 2004. The Persistence of Formal Patterns, in [Re]Perspecta: The First fifty Years of the Yale Architectural Journal, eds. R. Stern, A. Plattus and P. Deamer, 444-445. Cambridge, MA: MIT Press.
Clark, R. and M. Pause. 2005. Precedents in Architecture: Analytical Diagrams, Formative Ideas, and Parts. Hoboken, New J ersey: J ohn Wiley & Sons, Inc. (Held in the reserve collection, Robertson Library)
Acknowledgement The brief for this project has been adopted and adapted from a programme Dr. Stephen Neille began developing in 1997.