New York Institute of Technology School of Architecture and Design
Judith DiMaio, Dean
Design Fundamentals 1 Program for Fall 2004
Faculty: Central Islip Campus:
Frances Campani, Angela Amoia, Orla Smyth
Diane Neff, Chair
Old Westbury Campus:
Jonathan Friedman, William Palmore, Joshua Davis, Jan Greben, Richard Lucas, Robert Brock
Manhattan Campus:
Rudolfo Imas, Michele Bertomen (Coordinator, Fall ‘04), Gernot Reither,
Jamie Palazzolo, Jeremy Carvalho
William Palmore, Chair
David Diamond, Chair
Table of Contents
Welcome
Explorations
Remarks: Seeing, Communicating, Making
Policy: Preparation/participation, Supply list,
Sketchbook, Portfolio, Grades
1
Be Here Now:
Observe and Describe a Space in Its Context
(2 -3 1/2 weeks)
3
Laboratory/Ecologist:
(8 -9 weeks)
5
2
Final reviews and portfolio preparation
(1 1/2 weeks)
Schedule
Images on this page are from Architectural
Graphic Standards, Ramsey and Sleeper, 6th
Edition, John Wiley and Sons, Inc., New York
1970 p.2, 70,71
Some suggestions for places to explore or to
use for the first project:
Aluminaire House Albert Frey / Lawrence Kocher
1931
Central Islip Sunburst Building
Grant’s Tomb Riverside Drive at 122nd Street
John H. Duncan 1897 mon-sun 9-5 212 666 1640
Cooper Hewitt Museum 2 East 91st Street Babb,
Cook and Willard 1903 tues-fri 10-5, sat,sun 12-6
212 849 8380
Midge-Carr Fine Arts Building Old Westbury
Campus
Rotonda Gallery 33 Clinton Street in Brooklyn
Smith-Miller / Hawkinson 1991 tues-fri 12-5 sat
11-4 718 875 4047
Seaman’s Chapel 241 Water Street
Polshek Partnership 1991
Storefront for Art + Architecture Kenmare + Centre
Streets
Vito Acconci / Steven Holl 1993 wed-sun 11-6 212
431 5755
Red Hook Community Center 110 West 9 Street
(Brooklyn)
Hanrahan + Meyers 1998
2nd Stage Theater Box Office 307 West 43 Street
OMA / Richard Gluckman 1999
tues-sat 12-6, sun 12-4 carole rothman 212 246
4422
Pier 11 Ferry Station Wall Street + FDR Drive
Smith-Miller Hawkinson 2000
Glass 2001 287 10th Avenue
Thomas Leeser mon-sat 5-2 212 904 4422
Austrian Cultural Institute East 53 Street
Raimund Abraham 2001
Folk Art Museum East 53 Street
Williams / Tsien 2001
Symphony Space Box Office 2537 Broadway
Polshek Partnership 2002
tues-sun 12-7 212 864 1414
1.
Remarks
Studio
The core of architecture education resides in the design
studio. Design Fundamentals is a studio course. For many entering
students, the studio presents an unfamiliar learning environment. To
begin, it is a communal effort. Work is frequently
discussed collectively and interaction with classmates contributes
significantly to intellectual growth. The other unusual aspect of the studio
is the lack of finality. Unlike a chemistry lab where the identity of a mystery
substance can be ascertained by its physical properties, architecture is
more elusive. Thus the studio is more like a debate in that arguments are
made, evaluated, often disputed and adjusted, sometimes
abandoned. There are no answers, only choices. This new environment
will require initiative, inquisitiveness and perseverance.
Seeing
Above all, an architecture student must learn to see The difficulty of this
task is compounded by the fact that a principal medium of architecture is
invisible.
As important as steel and glass or wood and stone are to its creation,
the essential ingredient of architecture is space. Of the numerous definitions
for space listed in the American Heritage Dictionary, two stand out:
3b. Blank or empty area.
6. Sufficient freedom from external pressure to develop
or explore one’s needs, interests, and individuality.
Communicating
Plan, Section
Northeast Elevation
L. Fruchter House
1951-54 Philadelphia,
Penn.
Louis I. Kahn
from Louis I. Kahn: Light
and Space Urs Buttiker1994
Birkhauser Berlag Basel,
Boston
Although it is not tangible, space does have form. The task of the architect is to imagine and project
spatial form. To project, the architect relies on devices, in particular drawings and models, that
serve as notations for reality. Moreover, an architect must describe a spatial proposition that does
not yet exist. Precise, well crafted drawings and models are the basis for these communications.
Making
In the coming semester, we will enter into a negotiation between imagination and reality.
Explorations in the fall will consider our first definition, concentrating on the physical nature of
space, its description, and transformation. The heart of the semester will expose students to
different methods of composing form and space. We will conclude with a design exercise intended
to synthesize earlier experiments.
Policy
Unlike a lecture course, the architecture studio relies almost exclusively on dialogue. Interaction between students is as
important to the success of the studio as the student-faculty relationship. Absence from class affects the entire studio, not just
the missing student. For this reason, class attendance is mandatory. Arriving more than 15 minutes late to class will count as
an absence. With the exception of family or medical emergencies, final grades will be adjusted to reflect any absences.
Preparation / participation are also crucial aspects of a successful studio. During freshman orientation, a supply list was
distributed to incoming students. It is expected that all students have purchased these items prior to the second studio session
after consultation with your professor. Without proper tools, students will not be able to complete this course successfully.
In order to work during class time, students will need either to store their equipment in studio or to bring it with them. Finally, in
order to sustain a communal environment, cell phone use and headphones are prohibited during studio.
A sketchbook is a vital component of the curriculum. During the course of the semester, students should record their own
thoughts and sketches in the sketchbook, as well as reading notes, faculty lectures and comments. Pasting newspaper
articles and found objects into this studio diary is also encouraged. It is recommended to carry this notebook at all times in
order to catch inspiration when it strikes. If done properly and thoroughly, the notebook will provide a significant record of
material learned during the semester. Selected, edited material from this notebook is a required component of the portfolio
submission.
A portfolio for the course will be prepared during the last two weeks of the semester. The portfolio is an ongoing record of the
semesters’ work. It includes your writings, excerpts from readings, diagrams showing your thought processes, photographs of
study models and final models and, most importantly, well crafted, legible drawings of your spatial propositions.
Portfolios must be submitted in both digital and hardcopy format. Digital format should be submitted on a labeled CD, should
be at least 360 dpi and should include both portfolio pages and individual scans of images used for the portfolio.
Hard copy portfolios must be no more than 81⁄2” x 11” and may be submitted in either horizontal or vertical format. The book
may either be constructed by hand or purchased from an art supply store. Any materials submitted in a 3-ring binder will be
rejected. The written portion should include a title page identifying the course, the date and the critic. Brief descriptions of
each displayed project are also helpful. Students will need to store all drawings and models throughout the semester in order
to assemble their portfolio.
Suggested supply list and approximate
prices: purchase only after consultation
with your professor.
rotary pencil pointer
(2) clutch pencils
micron pens .005 .01 .03 .05
8” adjustable 45° triangle
X-acto knife (no.11 blades) or olfa knife
24” x 36” drafting board
elmers / sobo glue
18” cork-backed metal ruler
compass
white plastic eraser
erasing shield
pencil leads HB 2H 4H
12” architect’s scale
12” x 50 yd roll of tracing paper
24” x 20 yd roll of vellum
8” x 10” sketch book
Drafting brush
9” x 12” cutting mat
scissors
white-out
push pins
color pencils
STRONGLY RECOMMENDED:
Lockable portable tool box
drafting lamp
Bicycle chain and lock 6” chain 4ft
board cover
Inexpensive digital camera with USB
$6.38
$16.28
$9.60
$12.00
$14.65
$72.95
$2.19
$5.60
$8.92
$0.69
$0.79
$6.60
$7.30
$5.25
$13.90
$20.00
$2.89
$7.50
$4.60
$1.50
$0.99
$10.70
$7.95
$15.00
$20.00
$33.60
$125.00
To produce the portfolio, you need only to scan, print and carefully compose images and writings on pages. Elaborate desktop
publishing is not necessary, but may be helpful. It is your responsibility to learn to photograph, scan and print and to store your
work digitally throughout the semester.
Students may submit these portfolios to be considered for the Fellman Prize, a cash award granted to an outstanding
Fundamentals student.
A grade will be issued at the conclusion of each assignment, so students may track their progress. Grades will be scaled
according to the following criteria:
The final grade will be calculated from the following:
-inventive, well crafted work that displays initiative A (4.0)
-work that attempts invention and meets the
requirements of your professor B (3.0)
-work that meets requirements C (2.0)
-work that struggles with requirements
with limited success D (1.0)
-unacceptable work F (0.0)
notebook 10%
participation / preparation 15%
design / drawing assignments 50%
portfolio 25%
2.
“If I were to define
architecture in a
word, I would say
that architecture
is the thoughtful
making of spaces.”
Louis H. Kahn
Be Here Now : Observe/Transform
2 - 3 1/2 weeks
Observe and describe,a space in its context.
Introduce/explore/invent techniques for description and representation.
Introduce craft.
Encourage imagination based in a perceivable, tangible world.
In groups of two and not more than three persons, observe and document a space in its context..
Space suggestions (also see page 1):
Central Islip:
Aluminaire House living area and stair, Sunburst studio adjacent to corridor, SAC entrance stair to nowhere
Old Westbury:
Stairwells including between stairs, Cafeteria area including stair, entrance and skylights adjacent to Library,
stair adjacent to 2nd floor Men’s room
Manhattan:
NYIT lobbies at 60th Street or Broadway, Subway entrance under Trump Tower, portions of Columbus Circle
lobby, library stair and vicinity
Find ways of measuring the space to gauge proportions. You might use your foot, a floor tile or another person.
Re-draw these drawings to scale. 1/4”=1’0” or as suggested by your professor
“the openness of the different places
is just as fundamental as their
separateness...” Lessons for Students in
Architecture Herman Hertzberger 1991 Uitgeverij 010
Publishers p. 202 (diagram and quote)
Produce a set of legible, accurate orthographic drawings of the space and its adjoining spaces. Produce a monochromatic
model of cardboard and glue of the space and adjoining spaces. Suggested scale: 3/8”=1’-0”
Minimally, the set of drawings should include plans and sections and should legibly depict space. The drawings should be to
scale, should reference orientation and should include portions of adjoining inside and outside spaces. Include spaces that are
above and below your space. Each drawing should include a graphic scale, the polar coordinates and the date. Show a scale
figure that is proportional to yourself in these drawings.
Menu of possible explorations and transformations:
Organization, orientation, parti.
Walk around the space and into all other spaces in proximity including spaces above and below the space. Create a drawing
that shows how you understand this space is organized in relation to all the other spaces in the vicinity. Diagram this
organization.
Using your original drawing as a base, produce a new drawing to propose how eliminating, transforming OR adding one simple
element could change the nature of the organization.
Paul Klee Italian Town 1928
“Transparency ...simultaneous
perception of different spatial
locations.” “Transparency: Literal and
Phenomenal” Colin Rowe, Robert Slutzky
The Mathematics of the Ideal Villa and Other
Essays, Colin Rowe, MIT Press, 1976 p. 161
3.
Threshold, spatial clarity and ambiguity
Observe carefully how spatial areas are conditioned and defined through arrangements of walls, windows, ceilings and light.
Using your orthographic drawings as a base, make a map of all the instances where you can’t quite figure out if you are in one
spatial enclosure or an other. Overlay this with a map of zones where you appear to be in two or more spaces at the same
time.
Produce an orthographic drawing that proposes how you would introduce a perceivable additional zone or threshold in the space by
eliminating, transforming or adding to it.
Above, below, section, stairs
Find a place in the vicinity of your explorations where you can see a friend from above or below a space or spaces. Draw a
legible section showing the spatial relationship between you and your friend as well as the path you must take to be in the
same room or implied space together.
Construct an accurate model of the horizontal and vertical sequence of space, including stairs, that you must take
in order to be in the same room together. (You may NOT take an elevator in order to visit one another.)
Study how to transform this sequence of experiences so that the journey to visit your friend is as meaningful as the
visit. Construct a scaled model of monochromatic cardboard and clear glue of this proposition.
Procession, promenade, sequence, vista mapping.
Using your orthographic drawings as a base, create a map of the motion of people through
the space during two different times of the day or night. Make another drawing to show how
your proposition has changed this pattern of use.
Overlay of circulation and movement diagrams,Universal Exposition
of 1989: East Site Paris 1983 OMA-Rem Koolhaas Architecture 1970-1990, Ja
cques Lucan, Princeton Architectural Press 1991 New York p. 105
Create a series of stills to depict what you would see as you move towards, through
and beyond the transformed spaces.
Day, night light
Create perspective drawings from inside and outside the space showing how light
influences perception of the space during different times of the day and night. If
you photograph the spaces to show this, re-draw over the photographs or play with
brightness contrast in Photoshop to depict the effect of light. Record the year, day and
time of the day on each drawing.
Film stills Society of the Spectacle, Guy Debord, Black and Red,
Detroit 1983
Night and Day
Cineac Cinema, Amsterdam’
J. Duiker 1933
Speculative exercises (what is “here”?)
Establish a time when everyone can be in remote rooms yet be interconnected via cell phones, text messaging
and the internet. Each room should also have a TV and you should watch the same channel. Communicate
your experience to all for 1/2 hour and take photographs of yourselves doing it. E-mail the photographs to all.
Map this experience spatially.
One group gets on a train and travels to multiple destinations. One group gets in a car and drives to multiple
destinations. One group walks around the neighborhood. Call and talk to one another on cell phones and/or
use text messages. Involve your professor. (Note: the driver of the vehicle is prohibited from talking on the cell
phone and driving at the same time.) Take photographs of each other while this commuication is taking place.
Indicate the day, hour, minute and place where the photograph was taken. Put the photographs on the internet
and e-mail them to the entire studio. Construct a graphic time line associated with a map of the territory you
covered and present this in studio.
Summing up:
Devise a powerful, organized, provocative presentation from all these models,
drawings and collages to present to the studio. Each part of the presentation should
be captioned: Use portions of readings or other visual precedents to explain your
thinking. Credit the authors or artists properly. Develop a strategy so that your verbal
and visual presentation encourage thought and discussion. The discussion should
address ways in which architectural intervention can affect space.
Collage alluding to
“psychogeography.
Guy Debord c. 1959
The Situationist City
,Simon Sadler MIT Press
Cambridge, Mass. 1998
frontispiece
Readings:
The Voices of Space in The Ethical Function of Architecture by Karsten Harries
“Michelangelo’s Ricetto of the Laurentian Library” in Art Journal XXVII by Robert S.
Jackson
Parliament Building, Chandigarh, India Le Corbusier 1962,
image from ” Lessons for Students in Architecture Herman Hertzberger 1991
Uitgeverij 010 Publishers p. 265
“ A plan of a building should be read like a harmony of spaces
in light. Even a space intended to be dark should have just
enough light from some mysterious opening to tell us how dark
it really is. Each space must be defined by its structure and the
character of its natural light”
Louis.I. Kahn, from Wurman, R. S.: What will be has always been. The words of
Louis I. Kahn MIT Press, Cambridge, Mass, and London, England, 1973
4.
On the internet, search for Dr.
John Todd and the New Alchemy
Institute as well as “new arks,
living machines, rain gardens”
Laboratory/Ecologist: Make
Ecology-from the Greek oikos (“household”)- is the study of the Earth Household.
More precisely it is the study of the relationships that interlink all members of th
Earth Household.” Fritjof Capra, The Web of Life A New Scientific Understanding of Living Systems
Anchor Books, New York 1997 p.32
Explore and invent repertoire of operations.
Understanding of program essentials: light, air earth, water.
Introduction to cultural programme.
Use of repertoire to accomplish a spatial proposition. .
Opportunities to transcend stated problem goals and to
challenge the game.
You are an ecologist unhappily working in a large office. Secretly you experiment with techniques to create and/or transform
place and space in a sunlit, small corner of your office cubicle.
Screen from Fatehpur Sikri: City
Why?
Louis I. Kahn, Lawrence Memorial 1962
and Citadel “In all buildings special
attention seems to have been paid
to sun and light control as well as
ventilation” Plate 42, 29 Formal Structure in
An unknown benefactor has given you money and land on
Indian Architecture, Klaus Herdeg 1967 , reprinted
which to build a demonstration laboratory. Since you don’t know
by Tanagraphics, Inc. 1977
where your land is yet, you spend your spare time doing pure
research; studying how to make a wonderful complex of spaces in which you and a participating public will observe, study and
demonstrate the power of the natural world.
You explore spatial possibilities with material at hand: paper, cardboard, plastic bottles and bags, soda cans, string, wire,
styrofoam and other found objects. At intervals you purchase more exotic materials from the hardware or art supply store so
that you can re-present your experiments as polished models and drawings to sympathetic colleagues.
Adalaj: a step-well
Formal Structure in Indian
Architecture, Klaus Herdeg 1967 , reprinted by Tanagraphics,
Inc. 1977
Kahn and Tyng,
project for
Philadelphia City
Hall, 1952-7,
Model- image from
Modern Architecture: A
Critical History, Kenneth
Frampton, Oxford
University Press, 1980
New York, p. 244
Because you are a scientist, you meticulously, precisely document each of your experiments in plan and section and other,
appropriate venues. In addition you use your sketchbook, photography, scans and other recording and analytical tools to keep
track of your process. You mark each record with the polar coordinates, a graphic scale, an indication of human scale and the
time and date. Sometimes you refer to previous experiments and work done by others. When you do, you note this persons
work and the place (article, book, internet address, author, date, publisher and page number) where you found it so that others
can trace your steps and so that you give proper credit.
Because you are an ecologist you are very, very neat and never leave any mess for others to clean. You are extremely careful
with your water and plaster experiments.
To start, you purchase a tiny watering can so that you can be the “rain” for your plants and model the action of water. You
locate your experiments so that sun and wind are available. Gravity is an invisible protagonist in your laboratory.
1) Vivarium: Gather seeds for small plants that give sustenance. Try to obtain these from food that you have eaten.
Menu of possible experiments:
2) Vessel/container: Create numerous, diverse approximately 1 1/2” by 1 1/2” containers by cutting, folding and transforming
found objects. Plant your seedlings in earth from the ground (not from Home Depot!) in these vessels Each container must be
designed for drainage and overflow so that the plants will not be over-watered. Each container must respond to the maturing
seedling. Create a temporary drainage pan to hold the water overflow.
3) Carve/cast/carve: Pick up a large piece of styrofoam from the garbage. Carve it to hold pools of water dripping from
the plants. Try to carve it so that each pool is a different depth and width and so that water, dripping in to it, has a different
cadence and sound. Record the sounds that your carving makes with the water and create a rhythmic backdrop to your verbal
presentation. Visual references: Chapel, Ronchamp, France 1955 Le Corbusier, Alhambra, Granada, Spain 14th Century A.D., Mosque, Cordoba, Spain 786-1009, Salk Institute Louis
Chernikov 1930
5.
I. Kahn, Falling Water, Frank Lloyd Wright
Understand this as a landscape visited by people. Carve steps so that they can reach the water during both dry and wet
seasons. Re-create your model using plaster.
4) Frame: Create a stable, orthogonal frame from found sticks and wire to support your
seedlings based on a water path from plant to plant. Produce additional pieces that contain
water so that the water pools, drips, falls etc. as it travels from plant to plant. Map the path of the
water.
Produce a stable frame using an alternative geometry to support a people path. Make stairs so
that people can get to different levels.
Gregg Lynn
Cliff House, Stanley Saitowitz,
Transvaal South Africa, 1983 Image
from Green Architecture, James
Wines, Taschen, Milan,2000, p. 188
Produce a third, hybrid frame so that the journey of water and the journey of people intersect.
Model steps to show how people travel vertically.
5) Fold/roll
Screen/direct/reflect
Fold and cut one piece of 8 1/2” by 11” paper using simple rules that you devise. Create folds
it so that it will stand. Place it in front of a window and map the various intensities of shade/
shadow it produces at different times of the day. Establish areas of opacity, transparency and
translucency. Direct or reflect light from one place to the other with the screen. Modify vista with
the screen: for instance: create a screen that lets you look in one direction when seated and in
another direction while standing. Other references: Robert Irwin Two Running Violet V Forms, 1983, 1234 degrees 1992,
Fold, tie and/or cut one flattened soda can or waxed cardboard (from a milk container) using
simple rules that you devise. create screens to modify the path of water, wind or light.
Neil Denari
Create a 16” by 1” tube out of folded or rolled paper. Attach small , light strips of paper (1/16”
wide, 3⁄4” long) to the inside of one edge of the tube. Orient the tube so that the strips of paper
are down and place the end of the tube without the pieces of paper next to a fan. What happens
to the small pieces of paper?
6) Clump and bind
Mash and attach portions of soda cans or rocks with wire or chicken wire or rubber bands
to form permeable, thick screens using simple rules that you devise. Use these to create a
landscape support to hold your earth and plants with space above and below that filters and
modulates sunlight. Map the sunlight patterns below at different times of day. Place a piece
of construction paper under this construction and observe the pattern of the water on the
construction paper after you water the plants. Make a time map of the water dripping.
Additional precedents and reading material:
Silent Spring, Rachel Carson Houghton Mifflin 2002 (1962)
Cradle to Cradle: Remaking the Way We Make Things
William Mcdonough, Michael Braungart. Farrar, Straus and Giroux
2002
Works of Malcolm Wells
Works of Glenn Murcutt
Works of Hassan Fathy
Rainforest Showroom SITE Hialeah, Florida USA 1979
Soft and Hairy House Ushida-Findlay Partnership Tsukuba City, Japan
1994
Brunsell Residence, Obie Bowman, Sea Ranch, California USA 1987
Phillip Merrill Environmental Center, SmithGroup, Chesapeake Bay
Architecture 2001 Feb. v. 90
London City Hall, Foster Associates, Arup and Partners
Architectural Record 2003 Feb.
Study of movement of air from
An Architecture for People: The Complete
Works of Hassan Fathy, James Steele
Thames and Hudson, 1997, London, p. 176
Study model and diagrams
Diocesan Museum 1996, UN
Studio Imagination: liquid politic, Ben
van Berkel and Caroline Bos UN Studio and
Goose Press, Amsterdam 1999p. 276
Filtered sunlight in covered walkway.
Dominus Winery, Yountville, California, USA 199698 Herzog & De Meuron from Herzog & de Meuron
Wilfried Wang, Birkhauser Verlag, Boston,1998 p.
167
6.
Week
1
2
3
4
5
6
7
8
9
10
11
12
13
14
7.
Studio Session
M/Th
T/F
1 September
Thursday
9
Friday
10
2
Monday
13
Tuesday
14
Be Here Now observe, walk around, studio protocol
plans, sections, explorations
3
Thursday
16
Friday
17
plans, sections review, re-do
4
Monday
20
Tuesday
21
explorations
5
Thursday
23
Friday
24
explorations
6
Monday
27
Tuesday
28
REVIEW
7 October
Thursday
4
Friday
5
8
Monday
7
Tuesday
8
vivarium +vessel/contain
9
Thursday
11 Columbus Day
Friday
12
cast/carve
10
Monday
14
Tuesday
15
cast/carve
11
Thursday
18
Friday
19
frame
12
Monday
21
Tuesday
22
frame
13
Thursday
25
Friday
26
frame REVIEW portfolio session
14
Monday
28
Tuesday
29
fold
15 November
Thursday
1
Friday
2
fold REVIEW
16
Monday
4
Tuesday
5
clump
17
Thursday
8
Friday
9
clump REVIEW-intro make portfolio
18
Monday
11
Tuesday
12
make
19
Thursday
15
Friday
16
make
20
Monday
18
Tuesday
19
make
21
Thursday
22
Friday
23
make
22
Monday
25 Thanksgiving
Tuesday
26 Thanksgiving
make
23
Thursday
29
Friday
30
make
24 December
Monday
2
Tuesday
3
make
25
Thursday
6
Friday
7
make
26
Monday
9
Tuesday
10
Final REVIEW
27
Thursday
13
Friday
14
Portfolio
28
Monday
15
Tuesday
16
Portfolios due
Laboratory/
Ecologist
intro/vivarium portfolio session
session
One copy for professors only- do not staple to package.
7) Make
Finally, your benefactor comes through. You visit the site of your laboratory and, at first, you are horrified. Your land is two
adjacent parking spaces, each 10’ by 20’ in a parking lot filled with cars! How can you possibly create a place to demonstrate
the power and beauty of nature here?
Program with approximate areas:
Entry and orientation area: 125 square feet
A garden home or homes for your seedlings: 200 square feet total.
A rivlets, pool(s) and cistern for rainfall and recycled water. 200 square feet pool total water area, 100 cubic foot cistern
A wind scoop
Four tiny workstations with carefully designed vista and lighting dedicated to the study of the sun, stars and planets, the wind,
the earth and water respectively @50 square feet
One gathering area where you understand how your spatial proposition relates people to earth, sun, air and water and where
you understand the spatial organization of the project. One area should protect from sun and rain. 300 square feet
A public promenade through the entire complex, from the very top to the very bottom.
Create a presentation that is both conceptually and literally precise to communicate your proposal.
Land is “space itself….. (including) water and
the beds under it, the radio spectrum, docks,
rights of way, aquifers, ambient air, falling water,
wild fish, game, and vegetation” all of which, are
intrinsically interrelated.”
Mason Gaffney, “Land as a Distinctive Factor of Production” C.
1995 Lincoln Land Institute working papers code WP95MG1