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Expert help when you need it- Q1: الأصالة ALASALA FINAL PROJECT: BUDGETING College of Engineering Prepared b 1 2 3 B 5 2 0.91 10,52 2.04 3.55 0.98 0.78 3.06 1.29 1.05 3.82- 0.61-1.50 -0.49 Reception Living Room Bed Room (В -1.62 -3.82 10.62 B -3.00 -3.39 Bath Room C -1-1.50 -1.58 -3.00 10.62 -3.06 3.11 Entrance Kitchen Bed Room ARCHITECTURAL PLAN D 1.50-0.6 -3.06 2.16 0.91 1.50 9.92 3.55 10 3.06 1 2 3 B 4 5 Procedure 1- Knowing that the height of the floor is 3 meters, calculate the following: a. Number of blooks required to make this floor b. Doors c. Windows 2- List all the materials in one table named bill of material (BOM) and the quantities and the specifications. 3- Give a rough per unit quotation of each material. 4- Give a rough quotation of the labor cost for building this floor Report components This is a report not a presentation Introduction In the introduction explain what budgeting is and describe the floor you are doing budgeting to. Methodology Explain how you got the quantities and the specification of the materials Results List all the quantities and the pricesSee Answer
- Q2: Resource: www.archdaily.com 1. Log on to www.archdaily.com and find an architectural building style that appeals to you. Research your chosen style category and write notes on the characteristics that are unique to that style as well as names of buildings that are examples of this style. You may research this information on other websites. 2. Write a two-page paper that answers at least the following questions: What is the name of the architectural style you selected? What is it about the architectural style that appeals to you? What are the characteristics of that architectural style? What well known buildings are examples of this architectural style? List the building name, architect, location and date built of at least five buildings. Are there any local buildings in this style? If so, what is the name and address of the local building you selected? What characteristics classify the local building as an example of the style you selected? 3. Use APA format (cover page, references page, etc.). If you have any questions about the format for APA, check out this template: APA Template 7th ed. student papers.docx the template includes some tips in the body of the paper. If you use it, just be sure to replace the text with your own. Stay organized and clear in your purpose. Don't forget - introductions and conclusions are important. Pay careful attention to formatting, spelling and grammar. Do not rely on spellcheck to correct your errors. Proofread your work or run it through the free version of grammarly.com for second opinion. Upload your completed paper here.See Answer
- Q3:2. Write a two-page paper that answers at least the following questions: • What is the name of the architectural style you selected? • What is it about the architectural style that appeals to you? • What are the characteristics of that architectural style? What well known buildings are examples of this architectural style? List the building name, architect, location and date built of at least five buildings. • Are there any local buildings in this style? If so, what is the name and address of the local building you selected? What characteristics classify the local building as an example of the style you selected?See Answer
- Q4:3. Use APA format (cover page, references page, etc.). If you have any questions about the format for APA, check out this template: APA Template 7th ed. student_papers.docx - the template includes some tips in the body of the paper. If you use it, just be sure to replace the text with your own. Stay organized and clear in your purpose. Don't forget - introductions and conclusions are important. Pay careful attention to formatting, spelling and grammar. Do not rely on spellcheck to correct your errors. Proofread your work or run it through the free version of grammarly.com for second opinion. Upload your completed paper here.See Answer
- Q5:University of Westminster, Department of Architecture / DEGREE/ YEAR ONE / 2023 PS1 Sketchbook Studies - Workshop 1 Communication - Describe and Draw, Mediums Aims: The objective of the exercise is to learn how to describe, imagine and draw. This exercise tests our descriptive and interpretation skills. It is intended to encourage you to be clear and precise in your description and creative with the techniques and methods you use to represent. You should develop your skills both in quick sketching and in more detailed refined drawing techniques. How you describe space is important; think about the qualities and not just the objects, these may include light, movement, atmosphere, time etc. describing your proposals within your design studios is an essential skill, both to your peers and your tutors. Develop techniques using mixed media to create expressive, layered drawings. Students are to try drawing with at least 5 different things implements. Process You are to work in pairs for this exercise and refer to the three images provided in the session. One of the pair is to view and describe (but not show) the image it to their partner. The second of the pair should not look at their screen, but must use the. description from the other to draw it in their sketchbook in a way he/she feels suitable. You will have a designated amount of time to complete the sketch. Swap over after each timed session so person two is now describing whilst person one is drawing. Deliverables: Incorporate all describe and draw attempts in your A4 design sketchbook. (Include the original image and any key words used in the description). Include the media & techniques exercise undertaken during the workshop session. Exercise out of class In your sketchbook, complete 2 pages of drawings of plant life from observation, using a range of media and techniques. INSee Answer
- Q6:Desta Sketchbook Studies - Workshop 2 The Barbican site visit Aims: The objective of this exercise is to visit a successful completed built project and study it in detail through the process of sketching. Apply the skills and techniques we have discussed in the previous session to record what you see. Demonstrate the use of a range of mixed media techniques. Create a series of drawings which respond to 3 of the following 5 themes: Patterns and textures Make a catalogue of patterns and textures. Record through a series of quick sketches, the material surfaces and patterns that you experience on your journey. Use a range of media and techniques. Process ● ● . . Soft and hard landscaping Find a point where soft and hard landscaping meet. Produce a detailed drawing(s) of this threshold. Habitation Observe how a range of people interact and engage with the architecture. Record these scenes through detailed drawings. Light and shadow Produce sketches/drawings capturing the qualities of light and shade. Draw surfaces and gradients, not outlines. Form and expression Create a drawing, which you feel represents or captures an essential aspect or characteristic of the Barbican complex. Deliverables: We would like these to be quality drawings rather than quick loose sketches. Tools required-sketchbooks and drawing equipment. At least 4 different mediums. Pencil (different grades), pen (different grades), pastel, charcoal, coloured pencils. Deliverables: Incorporate all sketches in your A4 design sketchbook.See Answer
- Q7:Perspective and Collage Aims: Workshop 3 The objective of the session is to convey the principles of 1 and 2 point perspective. We would like you to be able to incorporate these principles into your sketches within your sketchbook. The workshop is also intended to develop your awareness and skill in composing a collage. The exercise is intended to encourage this form of visual communication to be used within the design studio. Develop techniques using mixed media to create expressive, layered drawings. Process 1. one point perspective Based on the principles of one-point perspective presented in the workshop construct an interior perspective in your sketchbook. Add furniture, objects and a person, paying special attention to the scale and height of elements to keep everything coherent with the perspective. Concept Collage - Food of the Future We would like you to produce a concept collage, inspired by advertising hoardings, movie posters etc. You are to make an advert or image for food representing food of the future. It is to be a quick and punchy image, made from 3 or 4 images plus an image of reconstructed text (do not hand write the text). For homework, complete the one point perspective giving life to the image by using collage and different media. Add people into the perspective. Produce a second collage on food of the future. Deliverables: Incorporate all attempts in your A4 design sketchbook. Include different drawing mediums, don't be limited to pencil.See Answer
- Q8:Des1A Sketchbook Studies - Workshop 5 Time in Architecture 01st December Aims: 2. The objective of this session is to consider the aspect of time and its influence on architecture. The workshop looks at how some architects have been influenced by time on the design process and we consider people, habitation and activity within a building. We would like you to keep developing techniques using mixed media to create expressive, layered drawings. Process 1. Practice drawing people We ask you to develop techniques for drawing people and capturing movement- within a space. Include all attempts your sketchbook. Storyboard a key experience at the Marylebone campus The storyboard should: -consist of 6 frames -show the architecture of the campus and how it is activated by people. -Include at least one POV drawing (showing a person's hands or head in the foreground). -Include at least one layered drawing showing how a space changes over time. Complete and enrich your drawings for homework. Deliverables: Incorporate all habitation and storyboard drawings in your design sketchbook. Include different drawing mediums, don't be limited to pencil.See Answer
- Q9:ID 170756 New Assignment Description: NAME Jessy56 Website2 -web SUBJECT CFD Building Acoustics Suggested subject DEADLINE 04-01-24 01:57 PM edit FILES Breakdowns TASKS Review Status - Multiple Of Five 04-01-24 01:58 pm 50 (0) (0) (0)See Answer
- Q10:Studies Workshop 3 Perspective and Collage Aims: Process 1. The objective of the session is to convey the principles of 1 and 2 point perspective. We would like you to be able to incorporate these principles into your sketches within your sketchbook. The workshop is also intended to develop your awareness and skill in composing a collage. The exercise is intended to encourage this form of visual communication to be used within the design studio. Develop techniques using mixed media to create expressive, layered drawings. one point perspective Based on the principles of one-point perspective presented in the workshop construct an interior perspective in your sketchbook. Add furniture, objects and a person, paying special attention to the scale and height of elements to keep everything coherent with the perspective. Concept Collage - Food of the Future We would like you to produce a concept collage, inspired by advertising hoardings, movie posters etc. You are to make an advert or image for food representing food of the future. It is to be a quick and punchy image, made from 3 or 4 images plus an image of reconstructed text (do not hand write the text). For homework, complete the one point perspective giving life to the image by using collage and different media. Add people into the perspective. Produce a second collage on food of the future. Deliverables: Incorporate all attempts in your A4 design sketchbook. Include different drawing mediums, don't be limited to pencil.See Answer
- Q11: Initial Report Introduction Your consultancy has been asked to design a new accommodation block to accommodate students in the University of Bradford. You need to produce two conceptual designs, taking into account the shape and appearance of the structure, the internal room layout, choice of building material and structural system. The two schemes should be distinct from one another Main Requirements 1. A new accommodation situated on the university campus, including bedrooms, bathrooms and kitchen facilities. 2. The accommodation block needs to facilitate at least 100 students. 3. The land area available for the building is 40 m x 30 m. 4. The total height of the building cannot exceed 14.0 m 5. Additional facilities (storage, communal areas for socialising, study areas...etc) may also be provided as appropriate. 6. The consulting engineers should identify a suitable location on the campus (see campus map in Figure 1). 7. No columns are permitted within any bedroom, or other small rooms. 8. Each floor is to have a minimum clear floor to ceiling height of 2.5 m. General Information for design purposes Imposed loading Roof Floors 1.0 kN/m² 3.0 kN/m² Imposed loading includes allowances for finishes, services and partitions. Ground Conditions Ground - 1.0 m 1.0 m 3.0 m 3.0 m 8.0 m Below 8.0 m Top soil and fill Alluvial deposits, C = 10 kN/m² Sand and gravel, N = 15 Firm to stiff clay, C = 200 kN/m² Ground water was encountered at 4.0 m below ground level. Requirements for submission: For your interim report, you will 1. Develop at least 2 distinct design schemes to meet the client's requirements 2. For each scheme, identify a suitable size and shape for the required new building. 3. Select a suitable site on the campus for each scheme, 4. By considering a range of possible structural configurations, materials and construction methods, select an appropriate structural form and materials for the building in each scheme, including the cladding of the structure. Indicate clearly the functional framing, load transfer and stability aspects of the proposed scheme. Justify the reasons for your solution. 5. Produce good-quality hand sketches for each scheme, showing the above. 6. As a responsible publicly funded organisation, your client requires that the building should embody the principles of sustainable development. SW LAISTE RIDGE LANE SYMBOLS KEY To Laisteridge Free city bushes Baap br the number Eve Lane Campu Repl aor Site Sat Nav Plangi & Car Plongee Shawnder Car Park Street Car Park PSaria Management Car Park Postcode 807 AZ their cat which they ca RBRIDGE ROAD LISTERHILLS ROAD CAMPUS ROAD Bus stop to School of Management GREAT HORTON ROAD 20 PEMBERTON A647 EASBY ROAD LONG SOY LANE TUMBLING HPS TALLY 10 GREAT HORTON ROAD PO. A647 MONERY STREET W North + S LISTERHILLS ROAD BANDALL WILL STREET GREAT HORTON ROAD To Alhambra Theatre & City Hall 1. Richmond Building 12. 2. Atrium, Richmond Building 13. Sports and Amenities Carlton Building Pemberton Building 3. Richmond Building Workshop Block 14. Ashfield Building 4. ICT Building 15. Phoenix Building South West 5. Norcroft Building 16. Phoenix Building North East 6. The Green 17. Bright Building 7. Horton A Building 18. Cavendish Building 8. Horton D Building 19. Forster Building 9. Chesham B Building 20. Peace Garden 10. Chesham C Building 21. No 21. Claremont 11. Student Central and J. B. Priestley Building Note: Despite the realistic nature of the proposed project, it is important to appreciate that the brief is a hypothetical one that has been specifically written for this module and does not reflect past or current intentions of the University. Your learning activities will be a combination of workshops and lectures. Each week, during the workshop, you will update the tutor(s) on your progress, showing them what you have completed so far. Each group should keep a log-book showing their weekly progress and clearly indicating which tasks have been allocated to each member of the group. After submitting the final report, each member of the group will need to fill a specific peer review form to identify the contribution of each member of the group to the team report. Reports will be marked on a group basis in the first instance, but an adjustment will be made for individual contribution when appropriate, if the need is indicated by the peer review process. Assessment For the interim report, worth 20% the breakdown of marks will be as follows Report element Architectural design Conceptual structural design Choice of site Quality of hand sketches Sustainability Marks (% of component grade) 20 20 20 20 20/n Instructions - 1. design calculations of selected scheme (one slab, kne beam, one column) - 2. select suitable foundation & some preliminary design calculations - 3. Prepare general arrangement plans. sections and elevations to show the dimensions and layout of the structural elements. drawings can produced using Autodesk/Revit or drawn by hand. - 4. consider method of construction and make construction plan with a gantt chart of the order and duration of activities - 5. risk assessment for the construction process -6. Assess the sustainability of your design decisions, considering issues such as (but not limited to) embodied carbon, waste produced during the construction/use/end of life of the building. 7. Prepare a reflective statement about how the principles of BIM could be used in completing this type of project. report should be 5000-10000 words diagrams and appendices needed include table of contentsSee Answer
- Q12: Initial Report Introduction Your consultancy has been asked to design a new accommodation block to accommodate students in the University of Bradford. You need to produce two conceptual designs, taking into account the shape and appearance of the structure, the internal room layout, choice of building material and structural system. The two schemes should be distinct from one another Main Requirements 1. A new accommodation situated on the university campus, including bedrooms, bathrooms and kitchen facilities. 2. The accommodation block needs to facilitate at least 100 students. 3. The land area available for the building is 40 m x 30 m. 4. The total height of the building cannot exceed 14.0 m 5. Additional facilities (storage, communal areas for socialising, study areas...etc) may also be provided as appropriate. 6. The consulting engineers should identify a suitable location on the campus (see campus map in Figure 1). 7. No columns are permitted within any bedroom, or other small rooms. 8. Each floor is to have a minimum clear floor to ceiling height of 2.5 m. General Information for design purposes Imposed loading Roof Floors 1.0 kN/m² 3.0 kN/m² Imposed loading includes allowances for finishes, services and partitions. Ground Conditions Ground - 1.0 m 1.0 m 3.0 m 3.0 m 8.0 m Below 8.0 m Top soil and fill Alluvial deposits, C = 10 kN/m² Sand and gravel, N = 15 Firm to stiff clay, C = 200 kN/m² Ground water was encountered at 4.0 m below ground level. Requirements for submission: For your interim report, you will 1. Develop at least 2 distinct design schemes to meet the client's requirements 2. For each scheme, identify a suitable size and shape for the required new building. 3. Select a suitable site on the campus for each scheme, 4. By considering a range of possible structural configurations, materials and construction methods, select an appropriate structural form and materials for the building in each scheme, including the cladding of the structure. Indicate clearly the functional framing, load transfer and stability aspects of the proposed scheme. Justify the reasons for your solution. 5. Produce good-quality hand sketches for each scheme, showing the above. 6. As a responsible publicly funded organisation, your client requires that the building should embody the principles of sustainable development. SW LAISTE RIDGE LANE SYMBOLS KEY To Laisteridge Free city bushes Baap br the number Eve Lane Campu Repl aor Site Sat Nav Plangi & Car Plongee Shawnder Car Park Street Car Park PSaria Management Car Park Postcode 807 AZ their cat which they ca RBRIDGE ROAD LISTERHILLS ROAD CAMPUS ROAD Bus stop to School of Management GREAT HORTON ROAD 20 PEMBERTON A647 EASBY ROAD LONG SOY LANE TUMBLING HPS TALLY 10 GREAT HORTON ROAD PO. A647 MONERY STREET W North + S LISTERHILLS ROAD BANDALL WILL STREET GREAT HORTON ROAD To Alhambra Theatre & City Hall 1. Richmond Building 12. 2. Atrium, Richmond Building 13. Sports and Amenities Carlton Building Pemberton Building 3. Richmond Building Workshop Block 14. Ashfield Building 4. ICT Building 15. Phoenix Building South West 5. Norcroft Building 16. Phoenix Building North East 6. The Green 17. Bright Building 7. Horton A Building 18. Cavendish Building 8. Horton D Building 19. Forster Building 9. Chesham B Building 20. Peace Garden 10. Chesham C Building 21. No 21. Claremont 11. Student Central and J. B. Priestley Building Note: Despite the realistic nature of the proposed project, it is important to appreciate that the brief is a hypothetical one that has been specifically written for this module and does not reflect past or current intentions of the University. Your learning activities will be a combination of workshops and lectures. Each week, during the workshop, you will update the tutor(s) on your progress, showing them what you have completed so far. Each group should keep a log-book showing their weekly progress and clearly indicating which tasks have been allocated to each member of the group. After submitting the final report, each member of the group will need to fill a specific peer review form to identify the contribution of each member of the group to the team report. Reports will be marked on a group basis in the first instance, but an adjustment will be made for individual contribution when appropriate, if the need is indicated by the peer review process. Assessment For the interim report, worth 20% the breakdown of marks will be as follows Report element Architectural design Conceptual structural design Choice of site Quality of hand sketches Sustainability Marks (% of component grade) 20 20 20 20 20/n Instructions • You have to do 3 drawings one for the first floor and the second one for the studios and the last one for the building, 3 sketches and 2 design (one expensive and 1 cheap design) • Report is also needed • The expensive one is needed in the lobby gym and study room • The cheap one, In the first floor no gym no anything just elevator and stairsSee Answer
- Q13: 9.02 SPECIAL CONSTRUCTION 17 This chapter discusses those elements of a building that have unique characteristics and that therefore should be considered as separate entities. While not always affecting the exterior form of a building, they do influence the internal organization of spaces, the pattern of the structural system, and in some cases, the layout of heating, plumbing, and electrical systems. Stairs provide means for moving from one level to another and are therefore important links in the overall circulation scheme of a building. Whether punctuating a two-story volume or rising through a narrow shaft, a stairway takes up a significant amount of space. The landings of a stairway should be logically integrated with the structural system to avoid overly complicated framing conditions. Safety and ease of travel are, in the end, the most important considerations in the design and placement of stairs. Multistory buildings require elevators to move people, equipment, and freight from one floor to another. For accessibility to multistory public and commercial facilities by persons with disabilities, federal regulations mandate their installation. An alternative to elevators is the escalator, which can move a large number of people efficiently and comfortably between a limited number of floors. Fireplaces and woodburning stoves are sources of heat and visual points of interest for any interior space. The placement and size of a fireplace or stove in a room should be related to the scale and use of the space. Both fireplaces and stoves must be located and constructed to draft properly. The damper and flue sizes should correspond to the size and proportions of the firebox and precautions should be taken against fire hazards and heat loss. Kitchens and bathrooms are unique areas of a building that demand the careful integration of plumbing, electrical, and heating/ventilating systems with the functional and aesthetic requirements of the spaces. These areas also require special fixtures and equipment, as well as durability, ease of maintenance, and sanitary surfaces and finishes. The dimensions of risers and treads in a stairway should be proportioned to accommodate our body movement. Their pitch, if steep, can make ascent physically tiring as well as psychologically forbidding, and can make descent precarious. If the pitch of a stairway is shallow, its treads should be deep enough to fit our stride. Building codes regulate the minimum and maximum dimensions of risers and treads; see 9.04-9.05. For comfort, the riser and tread dimensions can be proportioned according to either of the following formulas: Tread (inches) + 2x riser (inches) = 24 to 25 Ladders • R= 12" (395) o.c. typical Step Ladders . 123/4" (325) riser; 3" (75) tread For private stairs only: 73/4" (195) maximum riser; 10" (255) minimum tread STAIR DESIGN 9.03 • Riser (inches) tread (inches) = 72 to 75 Exterior stairs are generally not as steep as interior stairs, especially where dangerous conditions such as snow and ice exist. The proportioning formula can therefore be adjusted to yield a sum of 26. For safety, all risers in a flight of stairs should be the same rise and all treads should have the same run. Building codes limit the allowable variation in riser height or tread run to 3/8" (9.5 mm). Consult the building code to verify the dimensional guidelines outlined on this and the following page. Stairs Ramps 7" (180) maximum riser and 11" (280) minimum tread 4" (100) minimum riser 1:8 maximum 1:12 maximum when part of an accessible route or an emergency egress system . • • . The actual riser and tread dimensions for a set of stairs are determined by dividing the total rise or floor-to-floor height by the desired riser height. The result is rounded off to arrive at a whole number of risers. The total rise is then redivided by this whole number to arrive at the actual riser height. This riser height must be checked against the maximum riser height allowed by the building code. If necessary, the number of risers can be increased by one and the actual riser height recalculated. Once the actual riser height is fixed, the tread run can be determined by using the riser:tread proportioning formula. Since in any flight of stairs, there is always one less tread than the number of risers, the total number of treads and the total run can be easily determined. Tread Riser and Tread Dimensions Riser inches (mm) inches (mm) 5(125) 15 (380) 514 (135) 1412 (370) 51/2 (140) 14 (355) 534 (145) 132 (340) 6(150) 13 (330) 614 (160) 122 (320) 61/2 (165) 12(305) 634 (170) 112 (290) 7(180) 11 (280)- 714 (185) 1012 (265) 71/2 (190) 10(255) Maximum riser height; minimum tread depth for accessible stairs and emergency egress 9.04 STAIR REQUIREMENTS 12' 0" (3660) maximum rise between landings • 6'8" (2030) minimum overhead clearance- . Guardrails • . . . Guardrails are required to protect the open or glazed sides of stairways, ramps, porches, and unenclosed floor and roof openings. Guardrails should be at least 42" (1070) high; guardrails in dwellings may be 36" (915) high. Guardrails protecting the open or glazed side of a stairway may have the same height as the stair handrails. A 4" (100) sphere must not be able to pass through any opening in the railing from the floor up to 34" (865); from 34" to 42" (865 to 1070), the pattern may allow a sphere up to 8" (205) in diameter to pass. Guardrails should be able to withstand a concentrated load applied nonconcurrently to their top rails in both vertical and horizontal directions. Consult the building code for detailed requirements. 34" to 38" (865 to 965) height above the leading edge of the stair treads or nosings. Stairway design is strictly regulated by the building code, especially when a stairway is an essential part of an emergency egress system. Because an accessible stairway should also serve as a means of egress during an emergency, the ADA accessibility requirements illustrated on the next page are similar to those of an emergency egress stairway. Stairway Width The occupant load, which is based on the use group and the floor area served, determines the required width of an exit stairway. Consult the building code for details. 44" (1120) min. width; 48" (1220) minimum between handrails for accessible means of egress stairways; 36" (915) min. for stairways serving an occupant load of 49 or less. Handrails may project a maximum of 41/2" (115) into the required width; stringers and trim may project a maximum of 11/2" (38). Landings •Landings should be as least as wide as the stairway they serve and have a minimum length equal to the stair width, measured in the direction of travel. Landings serving straight-run stairs need not be longer than 48" (1220). Door should swing in the direction of egress. Door swing must not reduce the landing to less than one-half of its required width. • When fully open, the door must not intrude into required width by more than 7" (180). Handrails Handrails are required on both sides of the stair. The building code allows exceptions for stairs in individual dwelling units. Handrails should be continuous without interruption by a newel post or other obstruction. Handrails should extend at least 12" (305) horizontally beyond the top riser of a stair flight and extend at the slope of the stair run for a horizontal distance of at least one tread depth beyond the last riser nosing of the flight. The ends should return smoothly to a wall or walking surface, or continue to the handrail of an adjacent stair flight. ADA standards require an additional 12" (305) of horizontal extension at bottom of stair flight. • See the next page for detailed handrail requirements. Treads, Risers, and Nosings ⚫ A minimum of three risers per flight is recommended to prevent tripping and may be required by the building code. See the next page for detailed tread, riser, and nosing requirements. See 9.03 for tread and riser proportions. STAIR REQUIREMENTS 9.05 ADA Accessibility Guidelines Accessible stairs should also serve as a means of egress during an emergency, or lead to an accessible area of refuge where people who are unable to use stairs may remain temporarily in safety to await assistance during an emergency evacuation. Handrails Handrails should be free of sharp or abrasive elements and have a circular cross section with an outside diameter of 11/4" (32) minimum and 2" (51) maximum; other shapes are allowable if they provide equivalent graspability and have a maximum cross-sectional dimension of 21/4" (57). 11/2" (38) minimum clearance between handrail and wall Risers and Treads . Tread depth: 11" (280) minimum - Riser height: 4" (100) minimum; 7" (180) · 30° maximum maximum . Uniform riser and tread dimensions are required. • Open risers are not permitted. Nosings 11/2" (38) maximum protrusion 1/2" (13) maximum radius Risers should be sloped or the undersides of the nosings should have a 60° angle minimum from the horizontal. Ramps Ramps provide smooth transitions between the floor levels of a building. To have comfortable low slopes, they require relatively long runs. They are typically used to accommodate a change in level along an accessible route or to provide access for wheeled equipment. Short, straight ramps act as beams and may be constructed as wood, steel, or concrete floor systems. Long or curvilinear ramps are usually of . steel or reinforced concrete. . 1:12 maximum slope- 30" (760) maximum rise between landings 36" (915) minimum clear width between curbs or guardrails Ramp surface should be stable, firm, and slip-resistant. Curbs, guardrails, or walls are required to prevent people from slipping off of the ramp; 4" (100) minimum curb or barrier height. Landings •Ramps should have level landings at each end with a 60" (1525) minimum length. Landing should be as wide as the widest ramp leading to it. • 60" x 60" (1525 × 1525) minimum landing where ramp changes direction Handrails Ramps having a rise greater than 6" (150) or a run greater than 72" (1830) should have handrails along both sides. Handrail requirements are the same as for stairways. Extend handrails at least 12" (305) horizontally beyond the top and bottom of ramp runs. 9.06 STAIR PLANS Straight-Run Stair • A straight-run stair extends from one level to another without turns or winders. Building codes generally limit the vertical rise between landings to 12' (3660). . . . A stairway may be approached or departed either axially or perpendicular to the stair run. Quarter-Turn Stair A quarter-turn or L-shaped stair makes a right-angled turn in the path of travel. The two flights connected by an intervening landing may be equal or unequal, depending on the desired proportion of the stairway opening. . Landings that are below normal eye level and provide a place to rest or pause are inviting. Half-Turn Stair • A half-turn stair turns 180° or through two right angles at an intervening landing. ⚫ A half-return stair is more compact than a single straight-run stair. The two flights connected by the landing may be equal or unequal, depending on the desired proportion of the stairway opening./n• Follow USA codes • Use the pdf file to answer the questions • Typed answers ⚫ For Ques 14 and 15 detailed answer is required/nFrancis D K Ching Stairs-2.docx✓ Some questions require research and not Google to answer questions on the assignment.See Answer
- Q14: edited PETER COOK WARREN CHALK ARCHIGRAM Princeton Architectural Press New York DENNIS CROMPTON RWAY N DAVID GREENE MIKE RON WEBB HERRON PUBLISHED BY Princeton Architectural Press 37 East 7th Street New York, NY 10003 212.995.9620 © 1999 Princeton Architectural Press isbn 1-56898-194-5 All rights reserved. 03 02 01 00 99 5 4 3 2 1 PRINTED AND BOUND IN CANADA. REVISED EDITION No part of this book may be reproduced in any manner without written permission from the publisher except in the context of reviews. Project editor: Eugenia Bell Special thanks: Ann Alter, Jan Cigliano, Jane Garvie, Caroline Green, Beth Harrison, Clare Jacobson, Mirjana Javornik, Leslie Ann Kent, Mark Lamster, Sara Moss, Annie Nitschke, Lottchen Shivers, Sara Stemen, and Jennifer Thompson of Princeton Architectural Press -Kevin C. Lippert, publisher For a free catalog of books published by Princeton Architectural Press, call 800.722.6657 or visit www.papress.com LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Archigram/ edited by Peter Cook; with a new foreword by Mike Webb. New York: Princeton Architectural Press, 1999. p. cm. NA680.A68 1999 1568981945 (alk. paper) Originally published: Basel ; Boston Birkhäuser, 1972. Archigram. Archigram (Group) Architecture, Modern-20th century. Architecture-Research. Other authors: Cook, Peter. Other authors: Archigram (Group) L 99039255 LC SCOBOL PLATERRA) PLAY 1200 REW SCHOOL A comment from Arata Isozaki It was during the mid-1960s. Living in this confused, swelling city of the Far East, I was struck by a series of extraordinary and not undisturbing shock waves emanating from London. I did not resist them, and they lulled me into a pleasant intoxication. There was Pinter's drama, the pop music of the Beatles and Pink Floyd, and the miniskirts of Carnaby Street. But above all there was the enormous destructive power carried to me on the wings of an underground magazine called Archigram. Like artistic movements of the past, these shock waves of the 60s were characterized by their imprecations against the means and ends of the Establishment, but unlike past movements this one had no manifesto. Nor does it seem possible that the Estab- lishment, with the heart of the data- manipulating mechanism of our age resting firmly in its grip, might be shaken by the static act of manifesto manufacture. No, the Establishment is clever: it is a master of disguise, pervading every corner of our daily lives, at times even posing as our- selves. No direct blow, however fierce, can disturb this situation. What is necessary is to exchange our old methods and material for pulses capable of beaming complex stimuli to the senses over a pro- longed period of time. In this society, where information is privi- leged above all else, Archigram has created possibly the only style capable of inducing radical change. To compose a manifesto is a relatively easy task. To direct a virtual shower of projects at the entire world and to maintain that shower over a period of ten years, however, is an achievement of no such mean dimensions. Behind it lies almost inconceivable effort. The reason I value Archigram's work over all that which has been performed during the last ten years to dismantle the apparatus of Modern Architecture is that it has been consistently counter-cultural in character. Archigram has not limited its area of plan- ning to architecture alone. At times its work has been graphic. At times it has been plastic. And at times it has taken the form of new technical proposals. In each case, however, the work done has been totally divorced from the patterned logic architecture has created within itself. When all values have thus been turned topsy- turvy, Archigram has established a new structure of values, a new syntax, and demonstrated the possibility of an inde- pendent subculture. Japan's Metabolism Group, in contrast to Archigram, lacked this perspective on the necessity of dis- covering counter-cultural values. As a result, it made the easy identification with the ideas of managerial planning in the rapidly expanding city economy, and ultimately found itself being manipulated in the interests of the government's mere- tricious policies. Archigram's work is being assessed and appreciated anew today because, not merely in architecture, but in a far broader sphere, pre-established systems of every kind are disintegrating before our eyes. What Archigram has done is to demonstrate clearly one part of this process. It is my hope that with the publication of Archi- gram's work of the last ten years an ever more intense exchange of communication will take place, that the malignant cells of the counter culture will be transplanted to every part of the world, to every area of culture, and that the process of disinte- gration will become increasingly violent and universal. FREDS A comment from Peter Blake I can't think of any one, identifiable event that broadened my own perceptions as drastically as the advent of Archigram. At least in the area of architecture and related matters. Until the day when the first Archigram manifesto appeared on my desk, I had been working and thinking pretty much in the standard, establishment fashion of the 1950s: Great Form Makers, the pure Miesian tradition, everything neat and nice. It is true that I had long been interested in peripheral areas: Charles Eames got me excited over marine hard- ware, Giedion told me about nineteenth- century Patent Office drawings and models of various kinds of equipment, and Philip Johnson lead me to Machine Art. But, on the whole, architecture and urban design, to my mind, had to do with the Great Form Makers - Wright, Corbu, Mies, Grope, with occasional explorations of De Stijl and Rietveld, of the Russian Constructivists, of the Italian Futurists, and so on. Then Archigram struck, and my world hasn't been the same since. I took off for Cape Kennedy (and I've gone there several times since) and saw that 'walking build- ings' easily the size of Seagram were, in fact, a reality; that plug-in capsules con- taining highly sophisticated workshops, and unpluggable at any time, were, in fact, a daily reality in the huge gantries that service the Saturn rockets; that mega- structures with floors that slide up and down and sideways were not something that Harvard students did when they wanted to cop out, but were, in fact, a stunning reality in the largest building on earth the Vehicle Assembly Building, a structure so vast that it could have some- thing like eight Seagrams wheeled into it, and plug those Seagrams into capsules and mobile floors and all the rest; a structure So vast that, under certain weather conditions, clouds sometimes form near its ceiling, 500 ft-plus above sea- level; and it sometimes rains inside. - I really would not have known where to look if it hadn't been for Archigram. Oh, well, I might have got there sooner or later, but life is short and so I owe Archigram half a dozen years. Everything, absolutely everything, suddenly became architecture: I saw an ad in Time magazine, I think, and it showed an aerial view of a completely prefabricated town, with its own roads, heliport, offices, housing, fac- tory, and built-in mobility. It also happened to be afloat about ten miles due South of Shreveport, Louisiana, and it was one of dozens of such science-fiction 'towns' in the Gulf that mined the bottom of the ocean. (That same day somebody an- nounced one of those US 'New Towns' that look like a slicked-up Welwyn Garden City.) It seemed to me that John Johansen would be somebody to com- mission to write for the Architectural Forum about that floating city - and I called him and he flew down there and his life was changed a bit, too. So we all owe something very important to Archigram: the dramatic broadening of our perceptions, our visions. Since Archigram, some of the things that have really in- terested me are, for example, Disney World an absolutely staggering New Town twice the size of Manhattan, with capsulated hotels traversed by monorail trains, and a navy that ranks ninth in the world, and a submarine fleet that ranks fifth, right after the US, the USSR, Britain and France. It has cost $400 million so far, and that is only 10 per cent of it: when its STOL Port and its jetport and its four addi- tional US-Steel-prefabbed hotels and its satellite EPCOT (Experimental Prototype Community Of Tomorrow) are completed, Walt Disney World will run into the billions and it will be by far the most ambitious New Town on earth. Before Archigram, I I would have sneered - as, indeed, I did at Disneyland, California (Charlie Eames bawled me out for that); since Archigram, and its consciousness-raising manifestoes, I no longer sneer. When I think about what Archigram did for me and for some of my contemporaries, I am suddenly reminded of Le Corbusier's Vers Une Architecture - a pamphlet that, in the early 1920s, spelled out visions of a new world through images of automobiles and ships and planes, and of silos and factories, and of plumbing fixtures. The pamphlet has a quaint look about it now, and it needed up-dating. My friends at Archigram have done that job - and a great deal more. And, because of what they have done, the world of architecture in this century and the next will never again be quite as projected. P.S. Critics of Archigram, especially after reading the above, are sure to ask: 'What about the human factor?' - or something like that. The answer, I think, is this: Le Corbusier's most widely-quoted dictum was: 'A house is a machine for living in.' And the same question was asked of him. None of his questioners really understood, for Corbu was talking about French machines machines that are ravishingly beautiful, but don't necessarily work terri- fically well. Corbu's machines were poetic machines; and Archigram's machines are equally poetic. 'What about the human factor? Well, I cannot think of a more humanistic language than the language of poetry; and whether they like it or not, the Archigram gang is a gang of wild-eyed poets. גוב ARCHIGRAM BEYOND ARCHITECTURE | Architecture Archigram 1 In late 1960, in various flats in Hampstead, a loose group of people started to meet: to criticize projects, to concoct letters to the press, to combine to make competition pro- jects, and generally prop one another up against the boredom of working in London architectural offices. The inevitable 'grape- vine' accounted for the dispersed origins: the 'AA', the Regent Street Polytechnic, Bristol, Nottingham. The instinct was to continue the polemic and enthusiasm of architecture school (all were recent graduates), and it became obvious that some publication would help. The main British magazines did not at that time publish student work, so that Archigram was reacting to this as well as the general sterility of the scene. The title came from the notion of a more urgent and simple item than a journal, like a 'telegram' or 'aero- gramme, hence 'architecture)-gram'. The large discussion group began to disinte- grate with the realization that within it was a wide divergence of outlook. By this time Peter Cook, David Greene and Mike Webb, in making a broadsheet; had started a new Group. It was as important to break down real and imagined barriers of form and statement on the page as in built form on the ground, as in these poems by David Greene: The love is gone. The poetry in bricks is lost. We want to drag into building some of the poetry of countdown, orbital helmets, discord of mechanical body transportation methods and leg walking Love gone. Lost our fascinating intricate movings are trapped in soggen brown packets all hidden all art and front, no bone no love. A new generation of architecture must arise with forms and spaces which seems to reject the precepts of 'Modern' yet in fact retains these precepts. WE HAVE CHOSEN TO BYPASS THE DECAYING BAUHAUS IMAGE WHICH IS AN INSULT TO FUNCTIONALISM. You can roll out steel You can blow up a balloon You can mould plastic any length any size any shape blokes that built the forth bridge THEY DIDN'T WORRY You can roll out paper any length take Chambers' dictionary THAT'S LONG You can build concrete any height FLOW? water flows or doesn't or does flow or not flows YOU CAN WEAVE STRING any mesh TAKE THIS TABLE you've got a top there top and four legs you can sit IN it you sit ON it, UNDER it or half under 8 A new generation of architecture STEVE OSGOOD: 1960 Skin WITH nut bolted vertibrae flow Contain го прош growth plant cool movement TIMOTHY TINKE 195 STMINSTER orm must arise with forms and spaces this bu MICH H JOHN OUTRAM: 1959 CONCERT HALL AT MINSER ORGANIC WHOLE... MARVELL which seem to reject th Archigram 1 Published May 1961 Peter Cook and David Greene/n Complexity and Contradiction in Architecture Robert Venturi with an introduction by Vincent Scully The Museum of Modern Art Papers on Architecture The Museum of Modern Art, New York in association with the Graham Foundation for Advanced Studies in the Fine Arts, Chicago Distributed by New York Graphic Society, Boston Contents Acknowledgments 6 Foreword 8 Introduction 9 Preface 13 1. Nonstraightforward Architecture: A Gentle Manifesto 16 2. Complexity and Contradiction vs. Simplification or Picturesqueness 16 3. Ambiguity 20 4. Contradictory Levels: The Phenomenon of "Both-And" in Architecture 23 5. Contradictory Levels Continued: The Double-Functioning Element 34 6. Accommodation and the Limitations of Order: The Conventional Element 41 7. Contradiction Adapted 45 8. Contradiction Juxtaposed 56 9. The Inside and the Outside 70 10. The Obligation Toward the Difficult Whole 88 11. Works 106 Notes 132 Photograph Credits 133 Preface This book is both an attempt at architectural criticism and an apologia-an explanation, indirectly, of my work. Because I am a practicing architect, my ideas on architec- ture are inevitably a by-product of the criticism which accompanies working, and which is, as T. S. Eliot has said, of "capital importance. in the work of creation itself. Probably, indeed, the larger part of the labour of sifting, combining, constructing, expunging, correcting, testing: this frightful toil is as much critical as creative. I maintain even that the criticism employed by a trained and skilled writer on his own work is the most vital, the highest kind of criticism . . ." ¹ I write, then, as an architect who em- ploys criticism rather than a critic who chooses architecture and this book represents a particular set of emphases, a way of seeing architecture, which I find valid. 1 In the same essay Eliot discusses analysis and compari- son as tools of literary criticism. These critical methods are valid for architecture too: architecture is open to analysis like any other aspect of experience, and is made more vivid by comparisons. Analysis includes the breaking up of archi- tecture into elements, a technique I frequently use even though it is the opposite of the integration which is the final goal of art. However paradoxical it appears, and de- spite the suspicions of many Modern architects, such disin- tegration is a process present in all creation, and it is essential to understanding. Self-consciousness is necessarily a part of creation and criticism. Architects today are too educated to be either primitive or totally spontaneous, and architecture is too complex to be approached with carefully maintained ignorance. As an architect I try to be guided not by habit but by a conscious sense of the past-by precedent, thoughtfully considered. The historical comparisons chosen are part of a continuous tradition relevant to my concerns. When Eliot writes about tradition, his comments are equally relevant to architecture, notwithstanding the more obvious changes in architectural methods due to technological innovations. "In English writing," Eliot says, "we seldom speak of tradi- tion. . . . Seldom, perhaps, does the word appear except in a phrase of censure. If otherwise, it is vaguely approbative, with the implication, as to a work approved, of some pleasing archeological reconstruction. . . . Yet 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 be positively discouraged. Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the historical sense, which we may call nearly indis- pensable to anyone who would continue to be a poet beyond his twenty-fifth year; and the historical sense in- volves perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe . has a simultaneous existence and composes a simultaneous or- der. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and temporal together, is what makes a writer traditional, and it is at the same time what makes a writer most acutely conscious of his place in time, of his own contemporaneity. ... No poet, no artist of any kind, has his complete meaning alone." 2 I agree with Eliot and reject the obsession of Modern architects who, to quote Aldo van Eyck, "have been harping continually on what is different in our time to such an extent that they have lost touch with what is not differ- ent, with what is essentially the same." ³ 4 The examples chosen reflect my partiality for certain eras: Mannerist, Baroque, and Rococo especially. As Henry-Russell Hitchcock says, "there always exists a real need to re-examine the work of the past. There is, presuma- bly, almost always a generic interest in architectural history among architects; but the aspects, or periods, of history that seem at any given time to merit the closest attention cer- tainly vary with changing sensibilities." * As an artist I frankly write about what I like in architecture: complexity and contradiction. From what we find we like-what we are easily attracted to-we can learn much of what we really are. Louis Kahn has referred to "what a thing wants to be,” but implicit in this statement is its opposite: what the architect wants the thing to be. In the tension and balance between these two lie many of the architect's decisions. The comparisons include some buildings which are nei- ther beautiful nor great, and they have been lifted abstractly from their historical context because I rely less on the idea of style than on the inherent characteristics of specific buildings. Writing as an architect rather than as a scholar, my historical view is that described by Hitchcock: "Once, of course, almost all investigation of the architecture of the past was in aid of its nominal reconstitution-an instru- ment of revivalism. That is no longer true, and there is little reason to fear that it will, in our time, become so again. Both the architects and the historian-critics of the early twentieth century, when they were not merely seeking in the past fresh ammunition for current polemical warfare, taught us to see all architecture, as it were, abstractly, false though such a limited vision probably is to the complex sensibilities that produced most of the great architecture of the past. When we re-examine or discover-this or that aspect of earlier building production today, it is with no idea of repeating its forms, but rather in the expectation of feeding more amply new sensibilities that are wholly the product of the present. To the pure historian this may seem regrettable, as introducing highly subjective elements into what he believes ought to be objective studies. Yet the pure historian, more often than not, will eventually find himself moving in directions that have been already determined by more sensitive weathervanes." 5 I make no special attempt to relate architecture to other things. I have not tried to "improve the connections be- tween science and technology on the one hand, and the humanities and the social sciences on the other . and make of architecture a more human social art." I try to talk about architecture rather than around it. Sir John Summerson has referred to the architects' obsession with "the importance, not of architecture, but of the relation of architecture to other things."" He has pointed out that in this century architects have substituted the "mischievous analogy" for the eclectic imitation of the nineteenth century, and have been staking a claim for architecture rather than producing architecture. The result has been diagrammatic planning. The architect's ever diminishing power and his growing ineffectualness in shaping the whole environment can perhaps be reversed, ironically, by narrowing his con- cerns and concentrating on his own job. Perhaps then relationships and power will take care of themselves. I accept what seem to me architecture's inherent limitations, and attempt to concentrate on the difficult particulars within it rather than the easier abstractions about it ". . . because the arts belong (as the ancients said) to the prac- tical and not the speculative intelligence, there is no sur- rogate for being on the job." 8 9 This book deals with the present, and with the past in relation to the present. It does not attempt to be visionary except insofar as the future is inherent in the reality of the 14 present. It is only indirectly polemical. Everything is said in the context of current architecture and consequently certain targets are attacked-in general, the limitations of orthodox Modern architecture and city planning, in particular, the platitudinous architects who invoke integrity, technology, or electronic programming as ends in architecture, the popularizers who paint "fairy stories over our chaotic reality" "10 and suppress those complexities and contradic- tions inherent in art and experience. Nevertheless, this book is an analysis of what seems to me true for architecture now, rather than a diatribe against what seems false. Note to the Second Edition I wrote this book in the early 1960's as a practicing architect responding to aspects of architectural theory and dogma of that time. The issues are different now, and I think the book might be read today for its general theories about architectural form but also as a particular document of its time, more historical than topical. For this reason the second part of the book, which covers the work of our firm up to 1966, is not expanded in this second edition. I now wish the title had been Complexity and Con- tradiction in Architectural Form, as suggested by Donald Drew Egbert. In the early '60's, however, form was king in architectural thought, and most architectural theory focused without question on aspects of form. Architects seldom thought of symbolism in architecture then, and social issues came to dominate only in the second half of that decade. But in hindsight this book on form in architecture comple- ments our focus on symbolism in architecture several years later in Learning from Las Vegas. To rectify an omission in the acknowledgments of the first edition, I want to express my gratitude to Richard Krautheimer, who shared his insights on Roman Baroque architecture with us Fellows at the American Academy in Rome. I am grateful also to my friend Vincent Scully for his continued and very kind support of this book and of our work. I am happy that The Museum of Modern Art is en- larging the format of this edition so that the illustrations are now more readable. Perhaps it is the fate of all theorists to view the ripples from their works with mixed feelings. I have some- times felt more comfortable with my critics than with those who have agreed with me. The latter have often misapplied or exaggerated the ideas and methods of this book to the point of parody. Some have said the ideas are fine but don't go far enough. But most of the thought here was intended to be suggestive rather than dogmatic, and the method of historical analogy can be taken only so far in architectural criticism. Should an artist go all the way with his or her philosophies? R.V. April, 1977/n 10:28 < To Do Prompt 1: Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 5G 26 Archigram's projects were highly speculative and often depicted an idealized future where architecture merged with technology to create a dynamic and transformative environment. Archigram wrote: "In a technological society more people will play an active part in determining their own individual environment, in self- determining a way of life. We cannot expect to take this fundamental right out of their hands and go on treating them as cultural and creative morons. We must tackle it from the other end in a positive way" (Cook 1999, 17). Archigram's vision for the future seems to rest on technological tools and creativity from common people. - Examine Archigram's visions of a technological utopia through your perspective today. Where were their visions promising a better future? Refer to and cite specific passages as you engage the discussion. - How did Archigram envision the role of technology in shaping the future of architecture, and what were the key principles guiding their designs? - How do the ideas of consumerism and disposability relate to our contemporary context? Should we design for them? - Do you see Archigram's vision and/or buildings as utopian or dystopian? Explain your rationale with View Discussion 3 5 000 Dashboard Calendar To Do Notifications Inbox 10:28 < To Do Assignment Details 5G 26 Prompt 2: ARCH 3214-001: Hist & Thry of Architecture 2 In Complexity and Contradiction in Architecture, Robert Venturi wrote, "I like complexity and contradiction in architecture. I do not like the incoherence or arbitrariness of incompetent architecture nor the precious intricacies of picturesqueness or expressionism. Instead, I speak of a complex and contradictory architecture based on the richness and ambiguity of modern experience... Everywhere, except in architecture, complexity and contradiction have been acknowledged" (Venturi 1966, 23). Because life is confusing and contradictory, should architecture also be? - Reflect on this through your lived experience, Complexity and Contraction, and Postmodern architecture. Refer to and cite specific passages as you engage the discussion. - How, in architecture, can chaos and confusion differ from incoherence or arbitrariness of incompetent architecture? What does Venturi mean by this statement? - How does Venturi's Postmodernist concept of complexity and contradiction challenge traditional architectural principles of unity and coherence? - What are possible benefits of embracing this approach to architecture? What are possible challenges? Provide examples to augment understanding. View Discussion 3 5 000 Dashboard Calendar To Do Notifications Inbox 10:28 < To Do Prompt 3: Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 5G 26 Both Archigram and Venturi critiqued the prevailing Modernist Orthodoxy in architecture. Archigram, for example, sought to challenge the patterned architectural thinking and offer consumers new models for dwelling, plug-in structures, pneumatic dwellings, living pods etc. Similarly, Venturi challenged the Modernist emphasis on functionalism, advocating for an architecture that embraces historical references and symbolic meanings. - How do Archigram and Venturi's critiques of the Canonical Modern International Style contribute to a broader understanding of architectural theory and practice? Refer to and cite specific passages as you engage the discussion. - In challenging Canonical Modernism, did either group eliminate the proliferation of the International Style? Why do we still see the International Style today? -Should there be rules in architecture? Should there be building standards for the health and safety of users? - Did the Postmodernist take eclecticism too far? If so, why? If not, why not? Prompt 4: Postmodernist architects often engaged with history in View Discussion 000 3 5 LO Dashboard Calendar To Do Notifications Inbox 10:28 < To Do Prompt 4: Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 5G 26 Postmodernist architects often engaged with history in their designs, often in contrasting ways. Venturi advocated for an approach, which included incorporating historical references and symbols into architectural forms. Archigram, on the other hand, embraced a forward-looking, technologically-driven vision of the future. - How did Venturi and Archigram each utilize history in their architectural works, and what were the underlying motivations behind their approaches? -What role should history play in architecture? Did the Postmodern architects engage history with reverence or irreverence? - In what ways do their respective approaches to history reflect broader Postmodernist attitudes towards architectural tradition and innovation? - Support your response with specific examples and citations from the writings and projects of Venturi and/or Archigram. Discussion Framework: Part 1 (your initial post): Your initial post must meet the following 000 View Discussion 3 5 LO Dashboard Calendar To Do Notifications Inbox 10:28 < To Do Assignment Details 5G 26 ARCH 3214-001: Hist & Thry of Architecture 2 Discussion Framework: Part 1 (your initial post): Your initial post must meet the following: 1. Respond to one of the prompt options for the week. (That is not a free-write or write whatever you want). 2. Title the post to correspond to the chosen prompt. 3. Compose a response that consists of at least 200 words, of your own writing, which critically examine the reading(s) and engage the prompt. (Please omit any unnecessary fluff to reach a particular word count.) 4. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion. For Part 2 (your engagement post): 1. You then reply to at least one person with a substantive post, which is around at least 150 words. (No fluff). 2. Your reply must do the following: 1. The engagement response utilizes one technique of Bailey's guide to participating. 2. Your reply begins by identifying which technique that you are doing leg #5 Offer an Obiection) View Discussion 000 3 5 LO Dashboard Calendar To Do Notifications InboxSee Answer
- Q15: Thesis feedback This is a great start! I have highlighted the part where I think your thesis statement is and it seems like you have picked specific religious symbolism as a context of the paper. You did a good job on framing the argument how the Great Temple of Aten's architectural design incorporates specific Atenist symbolism, reflecting the pharaoh's religious beliefs and the shift towards Atenism. This might not need to be included in the thesis paragraph but I would like to know more about the significance of the sun disk Aten in Atenism. Was it seen as a physical manifestation of the god or a more symbolic representation? I'm also curious about how open-air altars differed from traditional Egyptian temple designs and how this choice related to Atenism's focus on the sun. I would also go beyond "generous use of sunlight." Did the temple's layout or orientation maximize exposure to the sun at specific times, maybe during rituals? You can consider these questions when writing other paragraphs of the paper. Context paragraph feedback Farhana, I love how you include detailed descriptions of how the temple used the specific architectural elements to represent certain concepts. One thing I would consider to revise for the final paper is that it is hard for me to understand what context you're trying to argue with the information you provided here. I would make a clear connection how the information you stated in this paragraph relates to the context you've chosen. Also, please include footnotes as in-text citations!/n Amarna, Egypt. Great Temple of Aten. (New Kingdom Egypt, circa 1353-1336 BCE) 1. Sunk Relief: Technique for carving religious and royal sculptures that produces shadow effects. 2. Akhet: A representation of the sun rising between two mountains, it is connected to the sun god Aten and is linked to solar worship. 3. Solar Alignment: Orientation toward the sun to highlight sun worship. 4. Solar Disk (Aten): depiction of the sun deity, representing the power to provide life, with rays ending in hands. 5. Amarna Pillar: Special to Amarna are thin columns decorated with open papyrus designs. 6. Sunshade Temple: An outdoor place of worship devoted to Aten and sunshine. 7. Columned Portico: Column-lined entrance that blends the outside with the hallowed internal areas. 8. Solar Courtyard: Within the temple premises, an area set aside for prayer in the sun. 9. Nile Mudbrick: Sun-dried bricks made primarily of Nile mud used in Amarna construction. 10. Royal Tomb Complex: The inventive burial location of Akhenaten reflects changes in culture and religion. 11. Stela: engraved stone slabs commemorating Aten that signify the reformation of religion. 12. Niche and Buttress Walls: components used in temple construction, both decorative. 13. Processional Way: Ritual route highlighting the relationship between the temple and its surroundings. 14. Garden of Aten: representing the blessings of the sun deity and fertility 15. Sanctuary of the Aten: Ritual space that has a direct line of communication with Aten. NORTH CITY NORTH PALACE RIVERSIDE NORTH PALACE 0 NORTH TOMBS 0 KILOMETERS MILES LI Desert Altars NORTH SUBURB View of East/West Axis GREAT ATEN TEMPLE ROYAL ROAD (NORTH) PALACE GREAT NTLE RIVER CENTRAL CITY SMALL ATEN TEMPLE RIVER TEMPLE ROYAL WADI WORKMEN'S VILLAGE MAIN CITY SOUTH SUBURB ROYAL ROAD (SOUTH) SOUTH TOMBS FIGURE 1.8. Map of the ancient capital el-Amarna. (Adapted from Silverman et al. 2006) Figure: The Sanctuary of the Great Aten-Temple, Plan and Elevation 口 MST&ES Figure: The Sanctuary of the Great Aten-Temple, Plan and Elevation Bibliography Christie, Jessica Joyce. 2016. “Akhenaten's Amarna in New Kingdom Egypt:: Relations of Landscape and Ideology.” Edited by Jessica Joyce Christie, Jelena Bogdanović, and Eulogio Guzmán. JSTOR. University Press of Colorado. 2016. https://www.jstor.org/stable/j.ctt1dfnt2b.7. "Plan (and Elevation).” n.d. JSTOR. Accessed February 22, 2024. https://www.jstor.org/stable/community.11652539. “Plan (and Elevation).” n.d. JSTOR. Accessed February 22, 2024. https://www.jstor.org/stable/community.11652540./n ARCH 225: HISTORY OF WORLD ARCHITECTURE I Paper Assignment: Historic Architecture and its Context OVERVIEW For this paper, you will research and analyze a specific building that falls within the chronological period covered in class--up to 1500 CE (see list below). The paper is a careful visual analysis of your building relating it to a specific, well-articulated social or cultural context. For the purpose of this paper, a context is any specific historical condition or circumstance immediately affecting the construction of a particular building (see list below). A context is not an architectural feature of the building, but rather a political, social, economic, cultural, or technological factor affecting the building from outside it. (N. B. An architectural style, such as Islamic or Gothic, is NOT a context.) It is important to choose a context that helps explain as many visual and physical aspects of your building as possible. For example, a paper on the Byzantine church of H. Sophia in Constantinople (Istanbul), might choose as a context the patronage of Emperor Justinian, along with his propaganda of reviving the ancient Roman Empire. As part of your research, you must learn the approximate dates of construction of the building in its original build. Use the library resources we discuss in class to guide you to sources on dates, patronage, political regimes, etc. You will compose your paper piece by piece over the course of this semester. First, you will complete eight separate draft components. Then, based on feedback from your instructor, you will revise your draft components and compile them into your final paper. 1 PAPER DRAFT COMPONENTS 1. Topic and Start-up Bibliography (2 pts; DUE THURS. 2/15 IN CLASS). a) Choose a building from the following list: - Amarna, Egypt. Great Temple of Aten (New Kingdom Egypt). - Susa, Iran. Apadana of Darius (Achaemenid Persia). - Delphi, Greece. Tholos sanctuary of Athena Pronoaia (Classical Greece). Rome, Italy. Domus Aurea, octagonal reception hall (Imperial Rome). - Teotihuacán, Mexico. Pyramid of the Feathered Serpent (Ancient Mexico). - Ravenna, Italy. Neonian Baptistery (Early Christian). - Chang'an, China. Great Wild Goose Pagoda (Tang China). - Conques, France. S. Foy (Romanesque Europe). - Reims, France. Reims Cathedral (Gothic Europe). - Djenné, Mali. Great Mosque of Djenné (Islamic sub-Saharan Africa; N. B. please discuss original build, not the 20th-century restoration). On the first page of your document, give the name of your building in the following way: (City), (Country). (Conventional name of building). (Approximate date range). b) On a new page, write a bibliography of at least three peer-reviewed journal articles, books, or entries from a scholarly encyclopedia such as Oxford Art Online (access through UMD online catalogue). You should search the database JSTOR (available through the UMD catalogue) for journal articles. N. B. Many books are available electronically during the COVID-19 through HathiTrust and other open-access resources--make sure to access the book through the UMD online catalogue, and then, when you get rerouted to HathiTrust log in again using your UMD credentials. Your bibliography should rigorously follow correct Turabian-style bibliography format.¹ ¹ https://www.chicagomanualofstyle.org/turabian/turabian-notes-and-bibliography-citation- quick-guide.html 2 2. Glossary and Images (4 pts; DUE THURS. 2/22 IN CLASS). a) On the first page of a new document, write a glossary of fifteen specialized architectural terms necessary for the description of your building, accompanied by definitions in your own words. These terms should not be universal vocabulary such as "massing" or "poché," but terms specific to the style of your building, such as "flying buttress," "apadana," or "talud-tablero". b) Starting a new page on the same document, include three images, each with a caption that reads "Figure [#]. [Name of building]. [Type of image (eg. Plan, Section, Elevation, Axonometric Drawing, Isometric Drawing, Photograph of Exterior, Photograph of Interior, Detail]]." 3. Thesis Paragraph (4 pts; DUE THURS. 3/7 IN CLASS). Starting a new document, write a thesis paragraph, 4 - 7 sentences in length. The purpose of this paragraph is to launch your research argument, which states a hypothesis that relates the architectural form of your building to a specific historical context. A context is a historical condition pertinent to the moment of the building's construction and directly affecting the form of a particular building (see list below). Think deeply about the first sentence and how it will hook the reader directly into the premise of this paper. Please pick one of the following as a context: - function of use. - site (the dimensions, topographical, environmental, or urban character of the specific location). - patron (the individual who paid for or ordered the construction of the building, whether a ruler, a priest, or a wealthy elite). - political regime. -building technology. 3 - specific religious symbolism (only choose this if your sources know the specific symbolism; do not write a paper about how a Gothic Cathedral is vaguely religious). N. B. The style/building culture (Roman, Gothic, etc.) of your building is NOT a suitable context, as it refers to the general character of architecture during the time period rather than a condition affecting your particular building. Please do not write a paper explaining that a building has Gothic features because it is in the Gothic style. 4. Annotated Bibliography (4 pts; DUE THURS. 3/14 IN CLASS). The purpose of this assignment is to take research notes based on your reading and consolidate them in one document. Duplicate your Bibliography document as a new file and rename it "Annotated Bibliography." Under each bibliographic entry, take research notes based on your reading of that source, using correct Turabian style footnotes. DO NOT COPY sentences directly from your sources. Write them as short, simple notes in your own words, citing the source from which the information for each note comes. Later, you will copy-and-paste these notes (along with their footnotes) into your paper and mold them into a cohesive argument. 5. Context Paragraph (4 pts; DUE THURS. 3/28 IN CLASS). In a new document, write a paragraph detailing the context you have chosen for your paper and how it relates to the construction of the building. This paragraph should synthesize your research notes to tell the specific story that is your context. Give any relevant events and trends directly relevant to the context, as well as contemporaneous building events of your building (founding, dedication, building campaigns, etc.). This paragraph may make passing reference to more recent restorations of your building but should not dwell on this for any more than two sentences. This paragraph is about the original construction of your building and how your context directly affected it. 4 6. Typological Comparison Paragraph (4 pts; DUE THURS. 4/4 IN CLASS). In a new document, write a paragraph comparing your building to other examples from the same building culture (eg. Gothic) that belong to the same formal typology (eg. Early Christian octagonal Baptistery). Name and define the typology using architectural vocabulary, and describe the features that define your building as part of the typology and those that expand on or depart from the typology. What do these similarities and differences from other examples of the typology do to help your building address the context you have chosen to write about? 7. Thick Description (4 pts; DUE THURS. 4/18 IN CLASS). In a new document, write a 3-to-4-paragraph thick description focusing on the particular ways that the architecture of your building responds to the context you have chosen to write about. As opposed to a thin description, a thick description explains the deeper rationale behind architectural choices. Start your description at the general level (plan, massing, elevations, or the total form of the voids), and zero in on details that hammer home your point. 8. Conclusion Paragraph (4 pts; DUE THURS. 4/25 IN CLASS). In a new document, write a paragraph that synthesizes the main points of your thick description and reinforces their relationship to the context. Just as your introduction opened with a hook, the last sentence of your conclusion should be short and punchy, and ring with a sense of finality. 5See Answer
- Q16: ARCH 225: HISTORY OF WORLD ARCHITECTURE I Paper Assignment: Historic Architecture and its Context OVERVIEW For this paper, you will research and analyze a specific building that falls within the chronological period covered in class--up to 1500 CE (see list below). The paper is a careful visual analysis of your building relating it to a specific, well-articulated social or cultural context. For the purpose of this paper, a context is any specific historical condition or circumstance immediately affecting the construction of a particular building (see list below). A context is not an architectural feature of the building, but rather a political, social, economic, cultural, or technological factor affecting the building from outside it. (N. B. An architectural style, such as Islamic or Gothic, is NOT a context.) It is important to choose a context that helps explain as many visual and physical aspects of your building as possible. For example, a paper on the Byzantine church of H. Sophia in Constantinople (Istanbul), might choose as a context the patronage of Emperor Justinian, along with his propaganda of reviving the ancient Roman Empire. As part of your research, you must learn the approximate dates of construction of the building in its original build. Use the library resources we discuss in class to guide you to sources on dates, patronage, political regimes, etc. You will compose your paper piece by piece over the course of this semester. First, you will complete eight separate draft components. Then, based on feedback from your instructor, you will revise your draft components and compile them into your final paper. 1 PAPER DRAFT COMPONENTS 1. Topic and Start-up Bibliography (2 pts; DUE THURS. 2/15 IN CLASS). a) Choose a building from the following list: - Amarna, Egypt. Great Temple of Aten (New Kingdom Egypt). - Susa, Iran. Apadana of Darius (Achaemenid Persia). - Delphi, Greece. Tholos sanctuary of Athena Pronoaia (Classical Greece). Rome, Italy. Domus Aurea, octagonal reception hall (Imperial Rome). - Teotihuacán, Mexico. Pyramid of the Feathered Serpent (Ancient Mexico). - Ravenna, Italy. Neonian Baptistery (Early Christian). - Chang'an, China. Great Wild Goose Pagoda (Tang China). - Conques, France. S. Foy (Romanesque Europe). - Reims, France. Reims Cathedral (Gothic Europe). - Djenné, Mali. Great Mosque of Djenné (Islamic sub-Saharan Africa; N. B. please discuss original build, not the 20th-century restoration). On the first page of your document, give the name of your building in the following way: (City), (Country). (Conventional name of building). (Approximate date range). b) On a new page, write a bibliography of at least three peer-reviewed journal articles, books, or entries from a scholarly encyclopedia such as Oxford Art Online (access through UMD online catalogue). You should search the database JSTOR (available through the UMD catalogue) for journal articles. N. B. Many books are available electronically during the COVID-19 through HathiTrust and other open-access resources--make sure to access the book through the UMD online catalogue, and then, when you get rerouted to HathiTrust log in again using your UMD credentials. Your bibliography should rigorously follow correct Turabian-style bibliography format.¹ ¹ https://www.chicagomanualofstyle.org/turabian/turabian-notes-and-bibliography-citation- quick-guide.html 2 2. Glossary and Images (4 pts; DUE THURS. 2/22 IN CLASS). a) On the first page of a new document, write a glossary of fifteen specialized architectural terms necessary for the description of your building, accompanied by definitions in your own words. These terms should not be universal vocabulary such as "massing" or "poché," but terms specific to the style of your building, such as "flying buttress," "apadana," or "talud-tablero". b) Starting a new page on the same document, include three images, each with a caption that reads "Figure [#]. [Name of building]. [Type of image (eg. Plan, Section, Elevation, Axonometric Drawing, Isometric Drawing, Photograph of Exterior, Photograph of Interior, Detail]]." 3. Thesis Paragraph (4 pts; DUE THURS. 3/7 IN CLASS). Starting a new document, write a thesis paragraph, 4 - 7 sentences in length. The purpose of this paragraph is to launch your research argument, which states a hypothesis that relates the architectural form of your building to a specific historical context. A context is a historical condition pertinent to the moment of the building's construction and directly affecting the form of a particular building (see list below). Think deeply about the first sentence and how it will hook the reader directly into the premise of this paper. Please pick one of the following as a context: - function of use. - site (the dimensions, topographical, environmental, or urban character of the specific location). - patron (the individual who paid for or ordered the construction of the building, whether a ruler, a priest, or a wealthy elite). - political regime. -building technology. 3 - specific religious symbolism (only choose this if your sources know the specific symbolism; do not write a paper about how a Gothic Cathedral is vaguely religious). N. B. The style/building culture (Roman, Gothic, etc.) of your building is NOT a suitable context, as it refers to the general character of architecture during the time period rather than a condition affecting your particular building. Please do not write a paper explaining that a building has Gothic features because it is in the Gothic style. 4. Annotated Bibliography (4 pts; DUE THURS. 3/14 IN CLASS). The purpose of this assignment is to take research notes based on your reading and consolidate them in one document. Duplicate your Bibliography document as a new file and rename it "Annotated Bibliography." Under each bibliographic entry, take research notes based on your reading of that source, using correct Turabian style footnotes. DO NOT COPY sentences directly from your sources. Write them as short, simple notes in your own words, citing the source from which the information for each note comes. Later, you will copy-and-paste these notes (along with their footnotes) into your paper and mold them into a cohesive argument. 5. Context Paragraph (4 pts; DUE THURS. 3/28 IN CLASS). In a new document, write a paragraph detailing the context you have chosen for your paper and how it relates to the construction of the building. This paragraph should synthesize your research notes to tell the specific story that is your context. Give any relevant events and trends directly relevant to the context, as well as contemporaneous building events of your building (founding, dedication, building campaigns, etc.). This paragraph may make passing reference to more recent restorations of your building but should not dwell on this for any more than two sentences. This paragraph is about the original construction of your building and how your context directly affected it. 4 6. Typological Comparison Paragraph (4 pts; DUE THURS. 4/4 IN CLASS). In a new document, write a paragraph comparing your building to other examples from the same building culture (eg. Gothic) that belong to the same formal typology (eg. Early Christian octagonal Baptistery). Name and define the typology using architectural vocabulary, and describe the features that define your building as part of the typology and those that expand on or depart from the typology. What do these similarities and differences from other examples of the typology do to help your building address the context you have chosen to write about? 7. Thick Description (4 pts; DUE THURS. 4/18 IN CLASS). In a new document, write a 3-to-4-paragraph thick description focusing on the particular ways that the architecture of your building responds to the context you have chosen to write about. As opposed to a thin description, a thick description explains the deeper rationale behind architectural choices. Start your description at the general level (plan, massing, elevations, or the total form of the voids), and zero in on details that hammer home your point. 8. Conclusion Paragraph (4 pts; DUE THURS. 4/25 IN CLASS). In a new document, write a paragraph that synthesizes the main points of your thick description and reinforces their relationship to the context. Just as your introduction opened with a hook, the last sentence of your conclusion should be short and punchy, and ring with a sense of finality. 5See Answer
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