BA Event Week 2013

LSA BA programme 2012/13 Eileen McGonigal

BAL S A

ba event week 11-18 Jan 2013

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BA Programme

Event Week

L S A11-18Jan

2013


LSA BA Event Week 2013

Welcome to the LSA BA event week 2013.

The event will run from Friday 11 to Friday 28 March 2013 and there are 17 original and creative workshops for you to choose from. The objectives of the LSA event week are - • TofosterastrongsenseofidentitywithintheBAcoursewithstudents working in cross year team• Tointroducestudentstospecialistsworkingwithinthefieldof architecture• Tointroducestudentstoskillsnotnecessarilytaughtwithinthecore curriculum• TocreatelinksbetweenLSAandpractise

The objective of this week is to introduce you to new skills and ideas within the practise of architecture. The event weeks will also foster the strong studio culturewehavehereatLSAandreflectourgoalstocreateastudioforthefuture where we see studio not merely as a place but as a landscape of events.

Eacheventwillcompriseofaseriesofworkshops,withthefinalcritbeingheldwithinthefinalworkshopsession.Weencouragestudentstoattendthecritsof workshops other than their own. A series of lectures will accompany the workshop events. Students can attend any of these lectures, although priority will be given to those students registered in the workshop.

Theeventweekisarequirementofthestudioprogrammeforfirst,secondandthird years. Each student will have to sign up for a number of workshops and should keep a record of their event week work in their portfolio in a number of portfolio sheets. This work will be considered during the grading process.

Students will be able to register in the Architecture Hub and you will be informed of the date prior to signup. Any student who has not registered by the given time will automatically be assigned a workshop.

The timetable for the event week workshops will be posted by individual staff on blackboard and in the Architecture hub which will act as the centre for the event weeks and will also be emailed to you.

During the event week there are no other classes. University regulations state that a full week requires 40 hours of effort. Therefore we are expecting you to work on the event at least this number of hours.

Attendance will be taken and any student who does not attend will have theirfinalgradefortheyearadjustedaccordingly.

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Queries before and during the event should be directed to –

Programme Leader - Eileen McGonigal – [email protected] Hub manager – Rob Sheen – [email protected]

Following is a list of the events which will be offered, the staff running the events and the number of available places.

Wehopeyouhaveareallyexcitingweekandlookforwardtoexhibitingthework.

Eileen McGonigalHead of School

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Events:

1 Visualising with watercolour : Painting interior spaces -ChrisWatts

2 Photoshop rendering : Diagrams, drawings and models - ChrisWatts

3 Virtually Spatial! - Ian Henderson

4 Discovering Place - Ian Henderson

5 The Anti Room - Chris Jones

6 My ones bigger than yours.... - Kyle Henderson

7 Where are you going? - Kyle Henderson

8 Think Big : 1:1 Cardboard Places - Tom Morgan & Laura Jones

9 Collagraph with Leicester Print Workshop - Laura Jones

10 Newfoundpool : Live project - Neil Stacey

11 Cluster - David Liddicoat & Sophie Goldhill

12 What is a city? - Sam Causer & Geraldine Dening

13 Design_er Death Star - Neil Stacey & Tim Ireland

14 Studio Surgery - Tim Ireland

15 Dissertation Surgery - Jamileh Manoochehri

16 Home, Dwelling, Place - Jamileh Manoochehri

17 Guide to Leicester’s Architecture - Tim Brindley

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WatercolourbyNanningWhor

WatercolourbySimonJones

WatercolourbyStevenHoll

Chris Watts

Visualising with watercolour : Painting interior spaces

This event helps students extend their knowledge and skills for painting in the design process and is open to all regardless of previous experience.

The focus is upon visualising interior spaces but painting techniques are considered for further exploration in the wider context of design projects and digital tools.

The outcome of practical work is a visualised interior space from a recent design project.

Aspects considered include:• Choosingandpreparingpaintingsurfaces• Brushes,spongesandotherapplicators• Pigments:watercolour,gouacheandacrylic• Additivesandretarders• Generatinglineworkbyhand,CAD,scanning• Colourtheoryandmixing• Toneandcolourstudies• Washes,wet-on-dry,wet-in-wetandbackruns• Maskingtechniques• Liftingout,modificationsandcorrections• Scanning,printingandpresentation

Material and equipment requirements are kept to a minimum and can be shared in small groups.

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Chris Watts

Photoshop rendering : Diagrams, drawings and models

This event helps students extend their knowledge and skills to use Photoshop for rendering diagrams, drawings and images of models in their design projects.

It is open to students of any previous experience and responds to individual requirements.

Presentations, demonstrations and discussion in two timetabled sessions will inform students’ own applications to their portfolio requirements.

Timetabled sessions will cover:

• Requirementsandalternativemethods• Sourcingimagesandlinework• Line,tone,colourandtexture• UsingPhotoshopforanalyticaldrawings,presentingconcepts, visualising form and space

Aspects of Photoshop considered will include:

• Imagesize,resolutionandquality• Useofbrush,penandlinetools• Fills,patternsandgradients• Layersandmasks• Cloningtechniques• Transparencyandblendmodes• Adjustmentlayers• Controllingcolour• Lightingeffects

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Ian Henderson (Years 2 & 3)

Virtually Spatial!

With theadventofadvanceddigital softwareweareable toexplore thepotential of our imagination in ways which is not possible through drawing or physical modelling. Through the use of the virutal environment we are able to let our imagination run riot and become architects of the imagined space. Wearenotlimitedbythephysicalconstraintsofthe‘real’world,thereforewecanexplorespacefrom‘every’angle.

This event will encourage each student to explore the potential of the virtual environment in the creation and manipulation of space. Students will be encouragedtousethe‘apparent’limitlessnessofthevirtualenvironmenttoadopt a creative and possibly radical aproach to spatial design.

Students will be encouraged to explore aspects that define space bycreatively composing - • light & shade• texture• materiality• volume• form• movement

For this event students will use a variety of software programmes to create a virtual space. This event will focus primarily on 3ds Max but will also use where necessary other software programmes such as Rhino, Photoshop, After effects, Premiere Pro etc.

Basic knowledge of 3ds Max is essential for this event.

Objective:

To produce a collection of stunning images or an animated sequence of an imagined space that would only be possible to visualise in the virtual environment.

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Ian Henderson

Discovering Place

As students of architecture you are learning to observe the world through architect’seyes.Weusemanywaysof recordingour impressionsofacity,place or space. Common methods used for documenting our feelings, impressions and understanding of the places we visit are through sketching, drawing, painting and photography. One form of media not regularly used toexploreasenseofplaceisfilm.

Filming presents us with the opportunity to explore a place in a way that cannot be achieved through other methods. Filming can allow us to explore and record different attributes of a place quickly and creatively. Film allows us to capture movement, changing environmental conditions, changing light, acoustics as well as the physical attributes of a place at different times of a day.

The aim of this event is to explore a place of your choice through the lens ofavideocameraandproduceashortfilmthatrepresentsauniqueviewof the built environment. The main emphasis of this event is to develop your understanding of ‘place’ as well as enhancing your technical skills in theproductionofashortfilm.

You will require access to a video recorder (digital or analogue) and ensure you have the required leads to be able to connect to a PC to download the footage.

For this event you may work individually or in pairs and should begin to think aboutwhat ‘place’ youmight explore before arriving at the EventWeekWorkshop.

The skills learnt during this event could later be applied to your own design

work or submissions for other modules.

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Chris Jones

The Anti Room

A rediscovery of the room by an examination of installation art and poche design.

DefinitionsInstallation art - Describes an artistic genre of three-dimensional works that areoftensite-specificanddesignedtotransformtheperceptionofaspace.ImportantArtistsof thisgenreareDuchamp,Keinholz,DuaneHanson,andRachaelWhiteread.

Poche design - Poche pronounced with an exaggerated e is the stuff in between the walls of the building usually blackened in- it can be quite thick.

“Weapproachedthemassofalargehousebytheroad.Abrightlightwasburning ina smallwindowon theupper floor. Thedoorwas swinginghalfopen......the hall was empty and all the rooms deserted and in darkness . I turned and stopped in my tracks ... the light from the upper room was still shining out against the dark. Outside I paused under the window looking back at the light ..... Then I realised that the room was not in the house but in the walls of it...............”The Third Policeman by Flann O’Brian

ObjectiveTo produce an exquisite detail model at least 1 20 scale of one room in your current project with a different shift

Programme11th Jan - Introduction and all day lectures and workshops 18th Jan - Presentation

Reading The Third Policeman - Flann O’brian Harper.Translations from drawings to buildings - Robin Evans, AA PublicationsWalls toysand the ideal room thearchitectureof JohnSoane - Leon Van Schaik

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Kyle Henderson

My ones bigger than yours....

ObjectiveCreate a large scale collaborative wall Mural for long term display within the university campus.

Wewillmeetonthe11thtodiscussideasforthemuralandshowprecedentsand techniques. Students will then research/create imagery for the chosen theme and bring all their work together to generate an integrated single proposal for the large scale mural. The chosen wall will need to be prepared then with the use of projectors, collage and various other techniques the students will draw and paint directly onto the wall. The whole process will be recordedbythestudentsandashortfilmoftheeventwillbecreated.

Workshop outcomes- Learning to collaborate within a group- Enhance drawing techniques and a confidence in drawing at differentscales-Gainconfidenceindrawinginpublic- Introduction to different media, technique, styles and artists

Materials requiredAs many materials will be supplied as possible but students may need to sourcepaint, paint brushes, rollers , large marker pens. This can be disscused as the project evolves and moves forward.

Please noteThere is limited space for this event and due to its public nature the ability to draw and enthusiastic participation are an absolute necessity. Students will be asked to submit a small pdf portfolio showcasing their drawing work and interestinthesubject.Studentswillbenotifiedassoonaspossibleiftheyhavebeen selected to take part in the event.

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Kyle Henderson

Where are you going?

Students will develop their drawing and analytical skills by recording people and place.During this period the students will work in a sketchbook and record the journey of their lives over the week.

Observing, note taking, being aware of their personal interests the students will practice their drawing skills and develop a style and understanding of what excites them within everyday life.

Inspiration should be sought at any point, whether its 5 minutes waiting for a bus or a hour long piece of detailed observation the project should be a continuous ongoing account of personal experiences and reportage.

Introduction, precedents and initial project conversation with take place on the friday with follow up tuition and site visits during the week.

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Tom Morgan & Laura Jones (30 places)

Think Big : 1:1 Cardboard Places

“Imagination is the way we best learn and discover new things. A child looks at a cardboard box with wonder and awe seeing it as a door to opportunities. In their mind, it is a box and their imagination can formulate ways to use this box. As long as there is opportunity to discover and venture, minds will be enriched.” This is a week-long exploration of place making and material investigation.

Cardboard can be an ephemeral plaything or as demonstrated by the architect Shigeru Ban, can become a material capable of shaping places.

Cardboard is cheap, recycled and often overlooked although in a modern worldoffinancialandenvironmentaluncertainty it isamaterialgrowing inpopularity. Artists, furniture designers and architects are utilising this versatile material to produce everything from beautiful installations to disaster relief and homeless shelters. Its temporary nature means that spaces can be made quickly and be edited easily, resulting in a hands-on design process.

This event will be an opportunity to create and experiment with place at 1:1 scale, to consider the potential of cardboard as a design and construction material. The event is for enthusiastic students who are prepared to become designers and builders in the space of a week.

Students must bring as much corrugated cardboard as possible with them on Monday 14th January (either recycled or bought from the workshops).

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Laura Jones

Collagraph with Leicester Print Workshop

“Leicester Print Workshop is an embassy for fine art print in the Midlands. Our mission is to promote, sustain and advance printmaking as a contemporary visual art form and as a craft. We promote fine art printmaking in all its vibrancy and variety. Based in Leicester we have a regional remit and a national reputation.” LeicesterPrintWorkshop

This event provides a unique opportunity to experience the working environment of a live artists’ workshop, as well as the chance to learn a new technique from print experts here in Leicester. The event will concentrate on a type of printing known as collagraph.

Collagraph, derived from the Greek word koll or kolla, meaning glue and graph, meaning the activity of drawing, is essentially a combination of collaging and printing. Cardboard plates are marked, add-to or edited, then ink or pigment is applied to the resulting collage and the boards are used to print onto paper. A wide range of tonal effects, textures and colours can be achieved.

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Neil Stacey

Newfoundpool : Live project

Real project, real client and the possibility that part or all of the design you develop will be constructed.

Newfoundpool Neighbourhood Centre is 15 minutes walk from Leicester School of Architecture. It sits within DMU’s Square Mile Project area. Leicester CityCouncilandDMUareindiscussionaboutrefurbishingandreconfiguringthe centre. The workshop will explore design strategies for consideration by the client(s).

Firstly, the workshop will utilise existing/ historic drawings as the basis for developing up-to-date orthographic drawings. The exercise will present an opportunity to extend and develop your line drawing and precision skills. It will be a group effort; members of the workshop will collectively complete this drawing task – the emphasis will be on quality not quantity.

Withtheorthographicdrawingscomplete,theworkshopwilldevelopanewdesign strategy for the building, prior to small groups or individuals developing designs for aspects of the strategy.

Programme:

Friday: latemorningbriefing; afternoon site visit – assessment of building fabric Monday: morning site visit – assessment of interior fabric Tuesday: orthographic drawing Wednesday: designstrategy development of aspects of strategy Thursday: completion of designs Friday: morning presentation

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David Liddicoat & Sophie Goldhill (30 places)

CLUSTER

Particle Architecture; The making of 1:200 Skyscrapers

This workshop will explore the making of Architecture at simultaneous micro- and macro- scales.

Microscopic Scale ArchitectureAtLiddicoat&Goldhillweareinterestedin‘particle-ised’architecture-beinghypersensitive toward materials and considering buildings as agglomerations of innumerable small parts. At scale, these components become microscopic, and the whole organic. This put simply is the construction of buildings through the repetition, accumulation and clustering of many tiny elements.

Examples of this type of architecture are:•ThomasHeatherwick’s-SeedCathedral•KengoKumaAssociates-Asakusaculturetouristinformationcenter•OpticGlassHouse-HiroshiNakamura

Macroscopic Scale ArchitectureRenzoPianorecentlycompletedthe‘Shard’ inSouthwark,addinganotherunique, iconic form to London’s skyline. Lloyds of London, the Gherkin, the BarbicanandtheNatwestToweraresoontobejoinedbytheWalkie-Talkie(by Raphael Vinoly), the Leadenhall tower (Richard Rogers) and others.Just as individual buildings can be designed as clusters of small parts, these huge structures themselves combine to form groups, compositions and agglomerations.

OutcomeA new skyline of 1:200 skyscrapers of varying typologies.To give you a sense of scale, The Shard in London is 309.6m high. At 1:200 it wouldstandatjustover1.5mtall.Wewouldexpecttoseeproposalsatleastto this height!

What you need1. You will be working in teams of 4 people2. You will need to choose a type of skyscraper:Type A = Interacting System, Type B = Partial Tubular System, Type C = Tubular System3. You will then need to choose your particle element which you will assemble intotheskyscraper.Wewillprovide4differenttypesforyoutochoosefromand work with.4. Lots of tenacity, hard work and patience but perseverance will lead to something absolutely fantastic!

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Sam Causer & Geraldine Denning (30 places)

What is a city?

Most of us are living, or have lived in one; around 80% percent of the UK lives in urban areas, but why? And what actually constitutes a town or a city?

Whatmightdifferentiatea‘successful’cityfromanot-sosuccessfulone?Whatareitselements?Whatthingsdocitiesneedtodo,andwhy?How have cities changed over the years, and where do we think the city of the future will lie? Are there alternatives to city living?

Whathavebeenvisionsofthefutureofthecity(oftenseenasdystopias–why is that?)

Whatissuesarecontemporarycitiesfacing,andhowmightarchitecture(orarchitects) engage with some of these?

Whatkindof ingredientsmakeupacity,andhowmightweuse these tocreate a new city?

You should consider cities you have known or lived in, or cities that your projects are based in at the moment if you wish.

These are some of the questions that this event week workshop will investigate, finallycomingtogether tocreateagiantCOLLECTIVEcollage/drawingof‘TheCity’.

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Neil Stacey & Tim Ireland (30 places)

Design_er Death Star

THE EMPIRE NEEDS YOU! JOINFORCESWITHTHEDARKSIDE.DESIGN A DEATH STAR. TAKE YOUR PLACE BESIDE THE EMPIRE, AND QUASH THE REBEL FORCES ONCE AND FOR ALL.

A death star is a consummate example of “form follows function”. Modelled on a moon the death star is more than the Galactic Empire’s ultimate weapon.Aswellhashavinglandingbaysandhangers(sufficientforafleetofvariableempireships;includingfighters,passengerandgoodstransporters),areasforbattlingheathenrebelfighters,controlcentres,observationdecks(for viewing the destruction of Alderaan), a meeting room for Lord Vader to discuss progress with his generals and so forth; it also provided housing quarters, leisure and catering facilities for it’s imperial task force, suites for the emperor, Lord Vader and his general’s – and not forgetting all the utilitarian conveniences required of a space station.

However the original Death star had one fatal design flaw. An aestheticchoicebythearchitect,asmallhole–nobiggerthanthesizeofawomprat– providing the rebel forces the slightest of chances to destroy the death star.

Cost estimates to plug up the hole are “out of this world” so the emperor has stipulated a redesign.

HELP US – YOU ARE ARE ONLY HOPE!

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Tim Ireland (30 places)

Studio Surgery

Aremedialeventtoassiststudentswhoseworkhasbeenidentifiedasneedingfurther design development. An open event to deal with issues on a 1:1 project by project basis.

Timetable:

Therewillbetwomeetings.Inthefirstwewilldiscussandreviewyourdrawings+ identify the areas of design on which you should focus.

You will develop your thinking and drawings throughout the week with a second meeting to review your drawings.

Meeting:

You will be informed of the weeks schedule by the tutor.

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Jamileh Manoochehri

Dissertation Surgery

Still struggling to complete your dissertation? Can’t sort out your argument from your evidence? Still haven’t cracked your referencing and bibliography?

Help is at hand – during the week Drs Jamileh Manoochehri (who has written quite a few dissertations in her time, and read hundreds more) will be holding themed dissertation workshops.

If you haven’t impressed your tutor with your progression so far, we might just be chasing you!

We’llmeetonMondayat12noon(checktheHubforconfirmationofroom)for a brief discussion and then again on Thursday from 12 noon till 5 pm.

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Jamileh Manoochehri

Home, Dwelling, Place ‘Thehomemakesitstimerhythmsinresponsetooutsidepressures;itisinrealtime. Response to the memory of severe winters is translated into a capacity for storage, storm windows, and extra blankets; holding the memory of summer droughts, the home responds by shade-giving roofs and water tanks’ (Douglas).Or is homedefinedbyconnections toa familiarpastassuggested by Heidegger’s writings, signifying a process of reflection andrecollection?Isthehometherepresentationofthefolktradition,the‘directand unselfconscious translation into physical form of a culture, its needs and values – as well as the desires, dreams, and passions of a people’ (Rapoport), orisitasPallasmaasuggests‘Thesubstanceofhomeissecreted,asitwere,upon the framework of the dwelling by the dweller’.

In this event we’ll consider the ideas around the concept of home, dwelling andplaceandtrytorecreateandredefinetheseinourownwords.We’llstudya number of texts and discuss our personal understanding of the concepts.The output of the day-long event will be a 200 word text and an image/drawing.

We’llmeetat10.30onMondaymorning (place tobeconfirmed–pleasecheck the Architecture Hub for details).

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Tim Brindley

Guide to Leicester’s Architecture

Staff

Tim Brindley (co-ordinator), Ian Henderson (photography)

Brief

The Leicester School of Architecture is keen to promote the architectural heritage of Leicester, from historic monuments to the latest prize-winningschemes. In this Event you will be compiling a guide to the city’s architecture, to be produced as an e-book. The guide will be a valuable resource for students, applicants to the courses, visitors and the general public. It will provide the basis for an evolving database of facts and photos, to provide a continuous record of architecture in our locality.

Guides to local architecture need to be accurate and informative, short and succinct, attractively presented, and convenient to carry and use. A guide is something to be carried around while you look at the architecture –traditionallyitmighttaketheformofaleaflet,afold-outmap,orapocket-sizedbook;buttodayitcanbereadilyproducedinadigitalformat,orevenasa smart phone app, which can be read on the move using a smart phone or tablet. There are already many good examples of digital architecture guides, andyouwillbeginbyresearchingthefieldtogetsomeinspiringdesignideas.

Tasks

1. Workonyourown,orintwosorthrees–nomore2. Choose your theme and focus on a limited set of buildings – some examples might be: a. Leicester’s Top Twenty b. 21st Century City c. Victorian Splendour d. Best of the 60s e. Civic Pride f. Famous Architects g. House and Home h. Industry and Commerce3. Research the sources, create lists and maps, source plans and drawings4. Plan your guide format5. Photograph the buildings, edit and document the photos6. Design, compile and produce your guide

Sources

Books and pamphlets on Leicester’s architecture will be made available in the Kimberlin Library during the Events week, including some of the following:

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Bennett, J D. Leicestershire Architects 1700 – 1850. Leicester: Leicester Museums, 1968.Brandwood, Geoffrey. The Anglican Churches of Leicester. Leicester: Leicestershire Museums Service, 1984.Boynton, Helen & Grant Pitches. Desirable Locations: Leicester’s Middle Class Suburbs 1880 - 1920. Leicester: Leicester City Council, 1996.Elliott, Malcolm. In the Steps of Edward Burgess (1847 to 1929), Civic Architect of Victorian Leicester. Ellis, Isabelle C. Records of Nineteenth Century Leicester. Available at Leicester Central Reference Library.Gill, Richard. The Book of Leicester. Buckingham: Barracuda Books, 1985.Keene, R J B. Architecture in Leicestershire, 1834 – 1984. Leicester: LRSA, 1984.Leicester City Council. Leicester’s Architectural Heritage. Leicester: LCC, 1975.Lloyd Smith, L & R J B Keene. 1872 – 1972: the first hundred years of theLeicestershire and Rutland Society of Architects. Leicester: LRSA, 1972.Lyons, Arthur. The Architecture of the Universities of Leicester. Syston: AnchorPrint, 2010.Mitchell, Tony. ‘Newtown’ Trail. Leicester: Leicester Urban Studies Centre,1982.Nash, David & David Reeder (ed.). Leicester in the Twentieth Century. Stroud: Alan Sutton/LCC, 1993.Pevsner,NiklausandElizabethWilliamson.BuildingsofEngland:Leicestershireand Rutland. 2nd rev ed. Penguin, 1984.Roenisch, Rowan. Ernest Gimson: historical walking trail in Leicester. Leicester: LCC, n.d.Smigielski,WKonrad.LeicesterTodayandTomorrow.London:PyramidPress/LCC, 1968.Taylor, Michael. The Quality of Leicester. Leicester: LCC, 1993.

YouwillfindotherpublishedarchitectureguidesintheLibrary,inbookshops,and on the internet.

It is essential that all text and photographs used in your guide must be original (i.e. not copyright).

Schedule

Friday Issue of brief on Blackboard Form working teams Research examples Develop concepts

Monday – Tuesday Photography tutorials tba

Wednesday 9:30Reviewmeeting1 Present your guide proposal and work plan 4:00 Review meeting 2 De-briefingfromtheday’swork

Thursday 9:30 Review meeting 3 Design and production of your guide

4:00 Review meeting 4 Presentation of draft guides to the group

Friday Publication of guides

Documents

BA Event Week 2013