INTERIM CRITS

We are now in the run-up to the interim crits, where we are asking you to present your whole scheme, worked out in reasonable detail in sketch form.  That means we want to see the whole story of the project: plans, sections, models, at various scales from the detailed and occupied to the urban, with some fragments worked out in detail explaining the special ‘behaviour changing’ features of the scheme, and the ‘narrative’ fully described.   In particular, make sure you include; present, develop
1 Present the whole story of the project, from the behaviour change elements on.  You should have your full Sem 1 foiio with you for back up, but the pin-up should include all the key pieces.  Most of the critics will not have seen any of the year’s work.  In particular, don’t forget models and behaviour change comments; both should be key in developing the projects. We’d expect to see equivalent bits of your proposal worked out in the same way.
2 Make sure the ‘narrative’ of your project is clearly expressed and developed.  Many of you are trying to ‘tell the story’ without communicating or drawing key ideas.  You can use a mixture of sketches, diagrams, models, site photos, notes, text.  You should be doing this alongside your development of plans, sections etc. Many of you are missing out on developing key ideas which you have already designed, simply because you are not drawing them in.  i.e.; if water is a key feature of your strategy, have you drawn where the water is? Tanks, gutters, pools, gargoyles? If two or more programmes interact (e.g. Tourism/hotel/bus stop; tourism/theatre/housing) have you considered how both work and drawn how and where they interact?  Even on the simplest level, e.g. they’re separate, but you can see from one to the other, and here are some of the vies….etc
3 Your key drawings and models should be becoming fairly well advanced, and they MUST be tested against each other.  You MUST test plans against sections, models, details, etc as you go along.  There’s no point working out a plan in detail only to discover it doesn’t work in section and needs completely redeveloping.  These drawings can be sketchy, but they should be developed at a proper scale and in detail
4 Details are key.  How does your proposal deal with its precious and powerful context?  Does it crash into things? sit delicately against things? Counterbalance things?  Is it made of the same stuff? What is the architectural idea and how is it expressed?  If you know how your building touches its monumental site it will become much easier to figure out plans and sections, and draw them well from the start.  Look for good precedents; if you want suggestions, ask us.
5)  What’s it made of? How does the technology/ materiality help develop the story?  How does it relate to the narrative?  How does it relate to the environmental/ behaviour changing aspects of the project?  How does it relate to the specific aspects of the site — say, solar gain, passive cooling, water use, direct ventilation?  Some of these things may be simple (its brick, its ventilated by windows, its got shutters); some may come from other parts of the project
6)  How is is used?  How do people live?  How do the ideas in say the narratives or the brief generally change the way you design the place where people sleep, where they cook or do their laundry?
You should be able to answer all these questions — if you don’t already know the answers, think through them, find references, test them out as you are designing.  Work them out!
KR

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