RE-READING STORIES OF HOUSES: October 2012

Each student is asked to present a Manifesto of his/her work during the first part of the course from the 10^th of September to the 19^th of October.

Although following a continuous evaluation throughout this period, this last submission will weigh 40% of the coursework. Other factors that have influenced the mark are participation in class with constructive arguments and in googlegroups, meeting deadlines and adding cultural facts with your drawings and debate.

The Manifesto should be presented in the format of a book, clear and well edited, and bound by hand. The model to follow is the series of books by Actar (Barcelona) VERB: fonts, layout (way of communication + the relationship between text, photos, schemes and drawings). Attached is a link to the publisher’s website http://www.actar.es/

We insist: your book should belong to the series VERB, so, adjust yourself to the existing graphic design and size.

The title of the individual book should be Manifesto of Re-Reading Naked House/House at Lège/Villa Bollen/Maison Bordeaux/House at Baiao. Depending on the selected Story by each student.

The content should show the process of working during the period:

0. The original story of the house and its drawings.

1. The initial presentation to the Spanish team (of course this part is only for the Canadian students).

2. The reading of the stories and the criterion for selecting one particular one.

3. The photomontages focusing on concepts of the chosen Story - 20^th century concept and its transformation into the 21^st century.

4. The drawing of the action the demonstrated the Cultural element that turned the 20^th century house into a 21^st century house. Each student showing clearly his/her contribution to the proposal. Therefore, individual drawing and collective drawing should be included.

5. The technical drawing - A SECTION OF A DETAIL - of the action in the space of the original house. In this point you can include those details by your partners in the case you consider them important. Also, feel free to edit them to make them better.

6. The most interesting conversations between the members of the team, how they built the arguments and came to a consensus of how to move forward with the proposals. Finally, a short evaluation/reflection on the teamwork/team effort.

7. Bibliography.

8. Manifesto: you should finish summarizing your vision for Re-reading architecture.

This exercise provides two focal points: It is a reflection and a manner of editing the drawings

- To go back to the original story and reflect on what you proposal offers/adds to the original house. Try to imagine what the original architect would think of your drawings. For instance, the drawing of Action and Technical drawing (this last one should be a drawing where you make the effort to use it as an opportunity for design, create a new solution.)

- This entitles to go back to the drawings and redefine them if needed after having received the feed-back from the CRITS and your partners.

- Think as an editor working for Actar. This means to follow the layout of the publishing company and be critical in the way of deciding what and how your drawings/writings are selected into your book. The style of writing should be academic, not to write in first person or in a way of a diary.

Deadlines:

Monday 29^th of October the book should posted in the blog with the program of ISSUU.

Wednesday 31^st of October the Manifesto in paperbook should be handed in Ottawa, on the 2nd November in Alicante.

The aim is to organize a competition between the books and send the winners to the architects authors of the houses!

ha+jsm

Friday, 19 October 2012

P4 IN PROCESS

EVOLUCION OF THE TECHNICAL DETAIL

Thursday, 18 October 2012

TECHNICAL DETAIL

GROUP 1:

Megan Beange

BCA

Segio Navarro García

"A new window for art"
Inés Martínez Diez

Juan José Ruiz Hernández

Rubén Martínez Sanchís

Tatiana Ferrer Sarmiento

Jose Diaz Mollà

Aaron Janushewski

Emily Monette

GROUP 2:

Kaveh Baradaran

Tim Brazeau

Raquel Plaza González

This system of access to housing in which we can bring down the windows when we want it makes the sound of nature (movement of trees, wind, rain, etc) to flow through the house and be able to penetrate inside and coexist with the wind instrument that sounds within.

MANUEL SEMPERE DÍAZ

Irene Cortizo Jiménez

What will happen when somebody is cooking, it will make a noise that will mix with the flute´s sound, it can be good but it can also be annoying. But... this is coexistence!

Juan Antonio Alvarado Cano

Skylight Accordion - Coexisiting is enjoy.

Javier Torres Soler

Elif Araç

Ziba Akarcalı

GROUP 3:

Hilal Aksu

Esther Moreno Romero de Ávila

-Two actions in the same space: work and relationship with the family. Nature is now inside the house through all the spaces-

Macu de la Vega Cartagena

Alicia Fernández Serrano

Luis Ortiz Martínez

Alfonso Melero Beviá

Murat Çokçeken

"The aim of the intervention is to be able to divide the house into pieces to make the residents more bounded to the nature when it's needed. By this view, the patio, as a part of the house which is both related with the interior and the exterior, is converted into a pavement with hexagonal wood patterns which can be raised as a chair or a table while not being aparted from the grass ground to manage hosting the neighbours or the coffee breaks."

Jaclyn Squizzato

Natalie Petricca

GROUP 4:

Michael Palmisciano

Chris Wilson

Dudley Jones

Fabrizio Vizzi

Neus Giménez Agulló

Jaclyn Ng

José Manuel Rodríguez Cañizares

^Colleen McKeracher^

Giuseppe Massacci

GROUP 5:

Silvia Capone

Kasey Camire

Brea

Eduardo González

Claudia Carrisi

Álvaro Madero Carrasco

Cristina Carpintero López

Alba Mª Castillo Marqués

Águeda Contreras Garcia

To enjoy the perfection of our wines we need a series of specific environmental conditions accompanying the five senses in the enjoyment of wine.

In the environment in which the house is located, depending on the day and time these conditions may be abroad or not, for this reason it is necessary to create two types of places for tasting. One of them would be the "natural area": space fully adapted to the terrain in which the user is completely free to choose how you want to enjoy this moment. The other stations is the call "artificial space" built in that place where everything is controlled, where the atmosphere is right regardless of what happens on the outside.