Monthly Archives: November 2013


Thoughts and Recommendations for your written paragraph: You are NOT designing a building. You are designing a spatial sequence constructed from the material and site relationships you have been modelling and drawing. The way the architects of the Poli House articulate the primary ideas behind their work is very relevant to your own writing and thinking about space. Enjoy!!!!!

Summarized words about this project from its architects:
“A compact and autonomous piece in order to capture at least two things: both the sensation of a
natural podium surrounded by vastness and the morbid and unavoidable sight of the foot of the cliffs. The building functions both as a summer house and a cultural center, an interior to mediate between a very public aspect and a very intimate and informal one. We decided to leave the rooms nameless and functionless. All the service functions are organized  in the perimeter, inside a thick wall.”  – Pezo von Ellrichschausen 

ARCH 251 - Poli House 2

ARCH 251 - Poli House 4

ARCH 251 - Poli House



Tuesday December 3rd: Rhino Drawing + Written Paragraph

A. One (1) plan oblique Rhino drawing of one (1) of the new models you built for today. This drawing should be printed black and white on an 11 x 17. Follow the output/printing process we discussed in class to make sure your drawing fits on an 11 x 17 (See Image Below).

Use the same template as you did for your previous Rhino drawing. Make sure all profile, primary, secondary, hidden, and construction lines are carefully drawn. 

B. One (1) paragraph (MAX. 100 words) printed on an 8.5 x 11 sheet. This paragraph should describe the core concepts and principles you have been exploring through your models and drawings. This writing should help you clarify and organize your ideas and the relationship between Gardening, Boxing and Situating Space. We will continue to refine this paragraph and it will be used as a tool to describe your projects during the final review.

ARCH 251 - Rhino Output


Below are some image links to the projects we discussed in class. Pay close attention to the definition of spaces through the manipulation of site as well as the organization of (solid) masses. Watch this VIDEO If you would like to learn more about the construction and conceptualization of the Therme Vals in Switzerland.

CASA DAS MUDAS ART CENTER / Madeira, Portugal / Paulo David Arquitecto


Jo‹o Messias e Alexandre Delmar


THERME VALS / Vals, Switzerland / Peter Zumthor




Assignment for Tuesday November 26th.

2 (two) New Models
(Models = Cube + Site Surface)

2 (two) New Drawing Sheets
(One Plan and Two Sections Per Sheet)

Tuesday November 26th Workday:
Start of Class (2pm) = 2 Models + 1 Drawing Sheet
End of Class (5pm) = 1 Drawing Sheet


1. Models must define (8) points of 3 x 3 x 3 cube.

2. At least (4) points must lie above the chipboard site surface.

3. Models must include all (3) materials, chipboard, wire, and foam.

4. No “ramps” or “stairs” should be used in the models. Spaces must imply connection.





ARCH 251_Situating Space Drawing_WITH NOTATION

– Two (2) sheets of vellum – 24” x 30”

1-     Make two (2) sets of drawings based on the sequences and spaces found in two (2) of your models.  These sets will consist of one (1) plan, one (1) longitudinal section, and one (1) transverse section all cut through the main sequence of your spaces.

2-     Position the plan, longitudinal section, and transverse section on a 24” x 30” sheet of vellum.  The right edge of the plan and longitudinal section must lie on the center line of the sheet.  The top of the plan must lie 4” below the top edge of the paper, the top of the longitudinal section must lie 4” from the bottom of the plan, and the left edge of the transverse section must lie 4” from the right edge of the plan.

1 – In your drawings you must show where you are cutting the plan and section.

2 – In plan and section, the linetypes you will use are cut lines, secondary lines, joint lines, hidden lines, construction/guidelines, and poche lines.

3 – A Cut line is any space, object, or material that is being cut through.

4 – Secondary lines lie beyond the cut line.  In plan, you must show what is below the plan cut; in section, you must show what is beyond the section cut.

5 – Joint lines are where two materials, whether similar or different, meet.  They show how the model is constructed.

6 – Hidden lines are any object or material that is not visible.  In plan, you must show what is above the plan cut; in section, you must show objects hidden by another opaque object.

7 – Construction/Guidelines are how the drawing is made.

8 – Poche lines are solid materials that are being cut through.
– Use a Hatch pattern for poche
– Hatch blue foam only. Do not hatch chipboard or wire.
– The hatch must be scaled so that it reads as a consistent fiLl.
– The lines must work together and not as individual lines.
– Use a larger scaled hatch for the site infill.




Site Surface

Project Cube

Zone for the Project Cube

Sequence of Spaces


1- You cannot build outside of the zone for the project cube (7.5” x 7.5” x 3”).

2- You must use chipboard as a surface to cover the extent of the project site.  This will be your site surface.

3- You may cut, score, fold, etc. the site surface, but you may not remove any material from the site surface.  You must figure out how to use the material.

4- One (1) iteration must be elevated above the site.  The base of the project cube may not touch the top of the site surface.

5- One (1) iteration must rest below the surface of the site.  The base of the project cube must rest at the base of the zone for the project cube.

6- The other three (3) iterations must negotiate the way the sequence of spaces within the project cube is sited within the zone for the project cube.

7- Entry into and through the cube must be from the top of the site, not the bottom.


– How are the spatial principles of hierarchy and organization that you previously studied being translated into the proportions of the 3” x 3” x 3” project cube?

-How does one enter the site? How does one enter the spaces of the project cube from the site?

– What experience are you beginning to create through the sequencing of spaces on the site?

– How are materials forming the solids that shape the void spaces?


Click ARCH 251 – 03.1 Translating Gardening-Boxing Space for next week’s assignment.

In Gardening Space we worked with existing spaces to determine their operation and in Boxing space we defined our own spaces using the grid as a reference. In Situating Space, the spaces we have studied so far will become more specific as we give them context, situation, and surroundings. We will now explore issues of the part of whole relationship by taking into account how space relates to a defined site.



Below is the list of deliverables for Tuesday (Nov. 5th)

A- One (1) plan oblique drawing of the solids that have formed your latest void model. This drawing should not only articulate the solid / void relationships that you have been working on. The plan oblique drawing should address the material assembly between foam and chipboard and its resulting spatial implications.

Remember to keep in mind what types of spaces you are making, the relationship of part to whole, and the overall spatial organization of your garden. HOW DO THE SPACES OF YOUR GARDEN WORK ?

B – One (1) printed 8.5 x 11 catalog that articulates the spatial hierarchy of your garden, describing the different types of spaces and their relationships. The catalogs are not busy work they are a method of study that is meant to help you outline your thoughts and evolve your way of modelling and drawing.

C – Written reflection about the implications of combining the taxonomic knowledge you have from Gardening Space with the spatial knowledge you have from Boxing Space. How do the two methods of study come together? What are the significant spatial relationships you have seen in your garden, etc.