As the new term begins, this blog comes to an end - it has served its purpose.
Do not forget to look out for each other moving forward. Never forget where you came from, whether it be your initial skill sets or your initial section assignment. You all have come a long way from where you started. Continue along the same trajectory and our paths will certainly cross once more.
Pages
▼
Wednesday, 24 December 2014
Friday, 19 December 2014
Thursday, 18 December 2014
Wednesday, 17 December 2014
Holiday Movies
Take a break and enjoy some festive holiday movies that will both entertain and prepare you for the future.
As you go through your architectural education you will hear many profs and academics extol the virtues of movies that quite frankly are far to convoluted and heady to actually make a clear statement. So while these are not all critically acclaimed, they certainly do not have the vapid qualities of today's Hollywood "blockbusters"...
EXORCIST
This movie is a great analogy of how life works. You might have everything in check and a great life until one thing happens to make life more challenging. Bad things happen to good people.
ARCHITECTURE LESSON: You might have people that can help alleviate and even remove your problems (to their own detriment) but the movie serves as a reminder that you must find ways to reduce the instances of bad things happening to you. Why did the computer crash at the deadline? Why did the workshop run out of cardboard? Who spilled coffee on my drawings and model? Last desk review kill your sense of self esteem? The last crit making you second-guess your career choice? Bad things will happen so just know how to "exorcise" those demons.
THE USUAL SUSPECTS
If Mies stated that "God is in the details", then this movie makes conveys its value to neophyte architecture students in a bold way. A conventional story is woven with nuanced details that make audiences realize the incredible value of subtlety and consideration of every detail.
ARCHITECTURE LESSON: Don't ignore the details. We're not talking about thermal breaks in wall assemblies (though those are invaluable too) - what is important for designers to consider is the holistic approach to design. Far too often "details" such as materials, lighting, structural elements, and spatial sequencing are lost in the pursuit of making a "cool"-looking form devoid of any of the aforementioned conditions.
THE SHAWSHANK REDEMPTION
If Exorcist is a more pessimistic approach to life, Shawshank Redemption is a great movie that makes audiences feel restored after getting through what seems like a tragic tale of unjust imprisonment culminating in slow, calculated revenge.
ARCHITECTURE LESSON: You will go through many projects where the amount you learn and the amount you suffer are directly proportional. Know that if you have a greater sense of foresight and awareness of how the material covered are useful in professional practice or academia, then all the suffering will be worthwhile.
THE GODFATHER
Loyalty and family mean a great deal while ensuring business remains business. The epic Corleone story reinforces notions of operating within values, maintaining a vision, and loyalty.
ARCHITECTURE LESSON: You will spend far more time with your architectural science classmates than your biological family and friends you have made since your were a child. Get to know them well and they will be the best safety net in coming years. Also remember that business and personal matters are very separate. Got killed at a review? No, the prof does not hate you so do not take it personally. They care for you as a person but must stick to "business" and ensure that you learn so always keep that objectivity in mind during reviews.
BACKDRAFT
A fictional family of firefighters faces challenges as two brothers compete for each others' approval in solving an arson case. Actions speak.
ARCHITECTURE LESSON: When you think the education and rigor to succeed in the program is too hard, remember that countless others have done so and you are just as good. Better yet, you have a family that will help you. Remember: "You go, we go."
Books: Because We All Know You Don't Read Them [Pictures on the other hand...]
There will be a lot of time and energy put into developing your design work in future studios, so why waste time at the end phases of a project to try to figure out how buildings come together? Why not start off the top with a general understanding of how buildings work and allow that to easily integrate with your design - no matter how complex or fantastic it may be.
The following are a few books that help students with the aspects of a project that other programs tend to neglect - feasibility. Department of Architectural Science students can design projects that can be buildable and understand that designing things that are removed from feasibility is nothing more than hope. These books and resources are all available in the Ryerson Library and apparently may be circulating among some of the upper years. In either case you will benefit, one method means you get some physical activity while the other means you socialize with others.
Note that there is no real emphasis on Ching (he's so Fall 2014...). If Ching was the seminal author for 1st year 1st term, Ed Allen is pretty much for the rest of your undergraduate career. The only book that might be of value would be Building Construction Illustrated, but as you will read on (and possibly "find") you will realize that some of these resources are more robust.
WHY?: Architects work on a variety of projects and (despite what some faculty may believe) there is no way to know everything. Need to design an accessible washroom? This book outlines the various configurations and standards required to work with wheelchair access. Need to know a turning radius of a firetruck or a maximum ramp incline for underground parking? Again, this book will have the information. The newer student editions are good because they are electronic for quick searches but are thin as they try to cover everything. The OLDER editions of this book (anything hardcopy from 10th edition onwards dumbs things down) are better but because there's so much information, it would be recommended to get the book and spend a bit of time putting Post-It notes for key sections (*ahem*site plans, ramping/vehicular access, proper drawing convention, human proportioned spaces, etc.).
WILL YOU USE IT?: Yes - it is one of the few books that architects (of a certain generation) still turn to when in offices to make quick references. Though the book is not specific to jurisdictions, it gives enough to work with and not wait for responses from profs or contractors to make basic design decisions.
FUNDAMENTALS OF BUILDING CONSTRUCTION by Ed Allen
WHY: It will be incredibly useful (if you have not already referred to it in Jurij's class) to understand the various materials, methods, and approaches you would make your buildings. Unlike other programs that praise their students' abilities to make seductive imagery. Our students design buildings that are represented well and can be assembled. This is a good start.
WILL YOU USE IT?: Yes - it is a foundational textbook that students refer to as a primer for their basic studios (1st & 2nd year... and God forbid higher...), Structures I, Structures II, and Structures III. It can be dry but there are tons of images both paraline and construction photos.
THE ARCHITECT'S STUDIO COMPANION by Ed Allen (Again)
WHY?: Like Allen's Building Construction book, this book is a great guideline for students designing projects that really want to ensure that their buildings are somewhat realistic. Look at some of the weaker 1st year projects and beyond their pathetic designs, the lack of any adherence to fundamental notions of structure, services, life safety, and programmatic/spatial organization reinforces why they deserve such low grades. Like putting makeup on a corpse, this book would not have saved them. This book would have been critical to take projects with decent design intention and make them closer to feasible reality.
WILL YOU USE IT?: Certainly in 2nd year and DEFINITELY in 3rd year studios this book becomes a hot (read: stolen/pirated) item. It helps with other courses including those in the structures and building science curriculum. Questioning whether or not your beam is deep enough to run the huge span you have in your ceiling? The book has very easy charts to follow to determine rough sizing. Don't want to look stupid in front of a prof when he keeps on referring to fan coil units and all you think about are ceiling fans? There are simplified diagrams that explain how components of HVAC (such as fan coil units) work as both individual elements and parts of a system.
MODERN CONSTRUCTION HANDBOOK by Andrew Watts
WHY?: Though not as sleek as what you find in compendiums of DETAIL Magazine (highly, highly recommended but very expensive), this book liberates designers from feeling restricted by their skills, experience, or knowledge. Want to make a cool-looking form but don't know if it's possible, or worse still, your prof can't help you? This compendium offers great insights on precedents and breaks down (literally) how some buildings are made as well as the key principles so that you can make your design work as opposed to simply lifting others' hard work.
WILL YOU USE IT?: Not likely in 1st year but over the summer if you find that you want to get a head start on prepping for 2nd year (both studio and courses) as well as ensuring success and confidence going into (the far too over-hyped) 3rd year, this (as well as Detail Magazine) will really help you out. Even those in the graduate program and practice turn to this to validate that their work is feasible.
Tuesday, 16 December 2014
Sunday, 30 November 2014
PRESENTATIONS: SE7EN TIPS
Do not waste time reiterating the project. Speak to YOUR design intention as that is something unique to YOUR work. Nobody can get in your head without you presenting it properly.
Reviewers are open-minded and can appreciate good work.
The critics all have been in your position so there is no need to feel intimidated. So long as you are clear and concise in your presentation, they will see merits in your work.
Permit the reviewers to offer feedback.
It is extremely impolite and frustrating when students see the reviews as an opportunity to "defend" their work or make excuses to validate their mistakes. Stop talking and take the constructive feedback to help you become better (get a partner to take notes if your can't do this properly).
It is frustrating when students read from notes, talk to the poster or the ground, or never connect with the reviewers. We are all people, so look up at them once in a while.
Practice your presentation.
You might have an incredible design and eloquent presentation, but if you go too long, you will neither receive enough time for feedback nor will you be considerate of others.
Treat your colleagues as you would like to be treated.
Do not go out of your way to make fun of, humiliate, or disrespect your peers during their reviews. This would include taking photos of them in uncomfortable situations, pinning up your drawings atop theirs, etc. What goes around comes around.
Do not present your design solely based upon its exterior.
The interior spaces, operations, and organization are just as important as the exterior, contextualization, and approach.
Saturday, 29 November 2014
Step By Step Photoshop Process (Mitch)
Post-Process Steps I Took
btw I know there are leaves on the trees, I'll address that later
Source Image (Photo Credits to Farah)
Dropped in some snow
Added in footprints where the path would be
Dropped in my render
Used some curve and colour balance adjustment layers to achieve desired result
Added in falling snow and (too much) vignetting
Post-Processing in Photoshop
As promised (and a little late sorry) here is a before and after of a render that I did some minor post-processing to in photoshop. I added in light rays, dust particles and an exterior. I don't like the exterior as is, so don't do yours like mine.
Before
After
Thursday, 27 November 2014
DON'T BE STUPID
Follow Conventions
• Ensure that all elements of your presentation (notably the drawings) follow the conventions outlined in the course. Everything from North Arrows pointing up, hidden lines for roof lines, and section cut indicators should all be clearly read in the drawings no matter what level of rendering or additional work is done to the base line work.
Layout Matters
• Do not think of the poster layout as simply a dump of all your imagery. Layout is just as much a design as the actual architectural proposal. Take the time to set up a layout with the imagery at the appropriate scale/size so that you know how large (resolution and size) to produce the imagery. If a prof takes a 1:25 scale to your 1:25 drawing and a door measures to be 4m high, you failed to show you understand scale drawings.
• Do not waste space with huge titles, names, or blocks of text. Subtlety is important. If the reviewing audience is not aware of the nature of the project, they clearly are not worth listening to so there is no need to reiterate the nature of the project.
• Fonts matter so be careful with what you use. Times New Roman or Calibri means you don’t care, Bank Gothic means you are stuck in the 90’s, Comic Sans means you should consider another profession…
Contrast Kills
• In your renderings that you montage together, use the photo-editing tools to ensure your renderings blend in with the context.
• Also be aware that when putting in trees or people into drawings or renderings, ensure that they are desaturated or at the very least muted to work with the rendering/drawing lighting conditions.
• In physical models for this project, do not use fake or real plants, action figures, or even paints as they will look comical and detract from the design. You will also be made fun of by faculty and students alike.
• In the digital model, do not overpopulate your spaces with downloaded furniture, plants, people, etc. This will prove to be distracting and even increase your rendering time. You are studying Architectural Science and NOT interior decoration. Use pre-made elements with discretion… and just be aware that the rest of the class apparently has writers all shopping at the same high end furniture store.
Invest Time Appropriately
• In making the physical model, remember that it is only worth doing if it is demonstrating something that is not evidenced clearly in the renderings and drawings. Do not waste time making a model for the sake of doing work.
• In creating imagery/perspectives for your design, ask if there is any potential redundancy. If so, consider only doing one. Remember to kill two birds with one stone and see if you can use perspectives to showcase multiple dimensions of your design including diurnal use, seasonality, approach, etc.
• Students are highly discouraged from creating full sheet renderings (i.e. an image that goes on a whole poster which would in this case be 200x36= 7200 pixels across!) as the rendering time becomes quite significant especially if you are using multiple lights, heavy geometries, highly reflective/transparent materials, etc.
• Ensure that all elements of your presentation (notably the drawings) follow the conventions outlined in the course. Everything from North Arrows pointing up, hidden lines for roof lines, and section cut indicators should all be clearly read in the drawings no matter what level of rendering or additional work is done to the base line work.
Layout Matters
• Do not think of the poster layout as simply a dump of all your imagery. Layout is just as much a design as the actual architectural proposal. Take the time to set up a layout with the imagery at the appropriate scale/size so that you know how large (resolution and size) to produce the imagery. If a prof takes a 1:25 scale to your 1:25 drawing and a door measures to be 4m high, you failed to show you understand scale drawings.
• Do not waste space with huge titles, names, or blocks of text. Subtlety is important. If the reviewing audience is not aware of the nature of the project, they clearly are not worth listening to so there is no need to reiterate the nature of the project.
• Fonts matter so be careful with what you use. Times New Roman or Calibri means you don’t care, Bank Gothic means you are stuck in the 90’s, Comic Sans means you should consider another profession…
Contrast Kills
• In your renderings that you montage together, use the photo-editing tools to ensure your renderings blend in with the context.
• Also be aware that when putting in trees or people into drawings or renderings, ensure that they are desaturated or at the very least muted to work with the rendering/drawing lighting conditions.
• In physical models for this project, do not use fake or real plants, action figures, or even paints as they will look comical and detract from the design. You will also be made fun of by faculty and students alike.
• In the digital model, do not overpopulate your spaces with downloaded furniture, plants, people, etc. This will prove to be distracting and even increase your rendering time. You are studying Architectural Science and NOT interior decoration. Use pre-made elements with discretion… and just be aware that the rest of the class apparently has writers all shopping at the same high end furniture store.
Invest Time Appropriately
• In making the physical model, remember that it is only worth doing if it is demonstrating something that is not evidenced clearly in the renderings and drawings. Do not waste time making a model for the sake of doing work.
• In creating imagery/perspectives for your design, ask if there is any potential redundancy. If so, consider only doing one. Remember to kill two birds with one stone and see if you can use perspectives to showcase multiple dimensions of your design including diurnal use, seasonality, approach, etc.
• Students are highly discouraged from creating full sheet renderings (i.e. an image that goes on a whole poster which would in this case be 200x36= 7200 pixels across!) as the rendering time becomes quite significant especially if you are using multiple lights, heavy geometries, highly reflective/transparent materials, etc.
DON'T BE PROUD
Demonstrate What You Have Learned NOT What Got You Here
• The First Year, First Term curriculum is intense and is unlike anything most of you endured in high school. A great deal of material should have been adopted and adapted into your work. Those that show it will be rewarded. Those who have failed to demonstrate this will be dealt with appropriately. If you knew Photoshop coming in and still stick to Photoshop to create layouts, you are not learning anything. Are you too proud, stupid, or lazy to learn new material that will help you?
Show That You Listened and Learned from Your Profs Not Just Your Peers
• While it is great to have picked up a great deal of information, tips, and tricks from classmates and certainly upper year students, understand that there is a reason why they are not your instructors. In many cases there is congruence between professors and upper years but on matters regarding pedagogy there are often points of divergence. As some of the second years fail to draw with line weights, while some of third years do not understand basic structures, it is better to integrate drawing and structural advice from your instructors… Believe it or not, the instructors actually know things…
You are Receiving Critical and Constructive Feedback
• Reviewers are there to ensure you are aware of not only what you have done well, but how you can improve. Whether it is technical advice, precedent suggestions, or design options, take this as positive insight. Even if you feel that the review is negative, it is for your own benefit. Do not try to “DEFEND” yourself as it sets up an antagonistic relationship. Critics are here to help improve you so there is no need to get hostile…
You ALL Can and Must Improve
• Nobody is perfect so do not expect the reviewers to praise everything you do. Critics see the potential and will highlight how you can become better and what to improve upon. If there were NO criticism, there was never a project to respond to. If the best criticism that can be said is that you plotted on “nice” paper, consider it “pity praise”. If a critic states your design is well-contextualized and works with the site, consider it a compliment. If a critic says, “Nice trees”, consider it an insult.
Do NOT Mock Classmates
• The fastest way to get crucified yourself is to make fun of or disrespect another classmate. You
are all learning and everyone makes mistakes. For ALL professors, such displays of arrogance are not tolerated; for certain professors, students demonstrating such contempt are dealt with appropriately (Ezekiel 25:17).
DON’T BE LAZY
Line Weights Matter
• Do not cut corners when drafting your orthographics
Sectional Perspectives Are NOT Orthographic Sections
• Even if the cut plane is at scale, the convergence of a perspective invalidates any other geometry beyond it. A sectional perspective from a 3D model is not good enough at this stage and should be considered at the same level as a rendered perspective.
Assign Appropriate Resources to the Physical Model
• Do not get caught by surprise making the model on the last day. Good models take time. You must be honest with yourself in allocating an appropriate amount of time to put together a model.
• Do not desecrate your models with twigs, rocks, toys, or other garbage that do not clearly showcase your design intention. The focus should be on the design and NOT the super detailed toy car, cartoon trees, or glued oregano on the model…
Take the Time To Properly Set Up Work
• There is a workflow in getting to the final project poster and booklet. If you are doing drawings at a specific scale, ensure that you scan the material at a high resolution to work into a poster. It would be tragic to work on a rendering or drawing at a low resolution and then have to see it get pixelated in a final poster simply because the material was not setup to the right resolution at the outset.
• Remember to use the general rule for this project DPI (200 DPI) so you just have to use the basic calculation:
RESOLUTION (DPI) x IMAGE SIZE (INCHES) = Pixel Width
If you need the rendering to be 10 inches wide, then the horizontal dimension of your image would be 200 DPI x 10 Inches = 2000 pixels across.
Tuesday, 25 November 2014
Last minute design adjustments- mariam
Just thought of sharing some of the issues Vince pointed out for me to fix
Edited Version
I would have shared the interior adjustments, but my renderings are still too dark..