Category Archives: RESOURCES + LINKS


Click ARCH 251-Situating Space Review for Tuesday, December 3rd presentation.

ARCH 251-Presentation-12

ARCH 251-Presentation-14


ARCH 251-Presentation-15



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


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




Please make sure you check your computer to verify that your version of Rhino still works. If you have never installed Rhino before below is a link to download a demo version of the program.

Rhino 5 for windows – This fully functional (except the clipboard) version will save 25 times. After that it is still functional except it will not save and plug-ins will no longer run, unless you purchase a license.



Below is a link to Jones Partners Architecture, the studio our last lecturer, Doug Jackson was a partner at for several years. Please take some time to look through some of their projects and pay attention to the way in which space is defined and articulated.

Jones Partners - WTC Memorial


Below is a link to the work of Enric Miralles and Benedetta Tagliabue (EMBT). Please observe the use of lines to construct space within many of their drawings.



EMBT - Drawing 2


Material transformations and paper engineering from Prof. Yoshinobu Miyamoto, architect, and teacher of architecture at the Aichi Institute of Technology (AIT) in Japan.



Interview excerpt from Desktop Magazine, May 16th, 2011

Hello Yoshinobu. You’re an architect, an architecture lecturer and a paper engineer, when do you find time to craft your paper works?
I do sketches for paper projects anytime anywhere, often on the Shinkansen (the high speed railway in Japan). I often make actual paper models during school breaks.

Paper projects are not just artworks. It’s a study to attempt  to bring the exploration of material to actual design work.

When did you first learn the art of paper craft?
The arts and crafts teacher in my elementary school in Kobe was a humble and confident modern artist. I learned from the way he worked.

I learned almost everything on paper craft from a single book in the school library, Kami to atarashii zairyou. I traced photos and diagrams every other day. I never thought of getting the actual expensive book because it’s the kind of book made for the school library, not for individuals (especially when considering the living standards of the Japanese middle class of 60s). My parents finally bought me one as a birthday gift.

Is there a crossover between your job as an architect and the paper models that you construct?
The architectural projects I did were too big to do something really experimental with. I create paper models as an experiment for full-scale architecture in the future, even after my lifetime.

Your models are so beautiful. Where do you draw inspiration from for each project?
Nature is always the best source of inspiration. I also often consult with scientific literature on Geometry and Physics that I hardly understand (but I still get inspiration from at least). Natural forms are resourceful, especially when we try to see something behind them, such as force and structure.






Now that you have examined your Garden via the String Models, Taxonomic Catalog, Taxonomic Drafted Sketches & Diagram, it is time to continue to develop the narrative you have explored in these studies. Our method of exploration will consist of investigating and constructing a narrative via paper models. The work, as well as the readings you have completed until now, will serve as a base for your continued work.

Click ARCH 251 – Paper Modelling for the project handout.       

Click CORTAZAR-InstructionsOnHowToClimbAStaircase for the reading.

Click on the following links to view Between the Folds and images of paper folding in the Yokohama Port Terminal.

You may only use one (1) sheet of paper per model. Models should be designed and constructed through various operations: CUTTING, FOLDING, UNFOLDING, PEELING, RIPPING, PLEATING, PRESSING, CREASING, SCORING, etc. NO glue, staples, string, or other materials may be added to your single sheet of paper. How can these operations begin to represent the relationships between program, space, and narrative? 


Now that you have examined your Garden via the Taxonomic Catalog, Taxonomic Drafted Sketches & Diagram, it is time to explore the Garden via modelling. Our method of exploration will consist of constructing movement & event string models. The work, as well as the readings you have completed until now, will serve as a base for your continued work with your garden.

Click ARCH 251 – String Model 02 for project handout

Click on LINK for String model logic and examples


                                                               One     (1)  updated Taxonomic Catalog

                                                               One     (1)  Taxonomic Drafted Sketch

                                                               Three  (3)  completed String Model

You may only use one type or color of string per model you construct, do NOT combine string types within a single model. Keep in mind you are NOT simply replicating three (3) different models out of various string types. Your decision to use a different type or color MUST remain intentional. You must also carefully consider the type of knots, braiding, and connections you use to construct your models. These models need to be deliberate and precise.

String models should NOT be a representation of what the garden looks like. Your model should start to articulate the complexities you have discovered in your gardens through your taxonomic catalog, drawing studies.

Based on your Taxonomic Studies, model the movements and events you have discovered in your Garden. You will be using string, yarn, twine, etc. to make these concepts physical. When modelling, keep in mind the paths, movements, stops, starts, compressions, exchanges, switches, and other systems (rather than symbols) that create conditions of flow in your garden. How can you begin to represent these systems using the string?