"got real tractor power--i just love operating it"
"should i send you a proposal?"
"can you just look at it for an hour and see if you can make it work?"
Sunday, July 15, 2007
Jump-start creativity (troubleshooting)
Steve Litt
- How can I use this (perceived problem) to my advantage?
- Does the task or process even need to be done at all? Why? Can I eliminate part of it?
- How can I simplify?
- What are the priorities? Why?
- Whose help would be valuable in thinking this through?
- Can I think of similar problems or situations?
- Who has solved a problem like this before? What did they do?
- What are the ethical considerations?
- Who has a stake in the direction of the decision? Why? Have I talked to them?
- How can I reduce antagonism in the decision making process?
- Construct questions with words who, what, where, when, why, how and how much.
- Construct questions with phrases "what is" and "what isn't".
Tags: problem
Last of the Viñoly posts
RVA
3. THE PROCESS OF ARCHITECTURE. Architecture is a process. Critical to its success is knowing when to reject a design solution, when to develop it, when to move things along, when to slow them down, how to organize the firm’s time and resources, and when to modify that organization: in short, the craft is manifested through the ability to manage the design process efficiently. This class defines the process in terms of two factors – the client’s brief and the architect’s aspirations – and proposes ways of balancing them.
Comment
Absent the class, then guess. Balance them. Keep the job by being precisely, completely and quickly responsive to client directives, but bring the client to an awareness of consequences of certain decisions, the larger issues and desirable solutions.
4. THE CREATIVE DIMENSION: THE TECHNIQUES OF FREE ASSOCIATION. Creativity is what transforms the design process from an apparently deductive sequence into an artistic activity. Inventiveness, talent, formal imagination and originality are qualities that stem from a common psychological activity: the capacity to associate randomly about a problem while maintaining a critical control of that process. The knowledge and the mapping of precedents, the scrutiny of one’s thinking modality, and the awareness of the importance of preferences, are the tools to uncover the mysterious character of one’s creative process. Training our creativity depends on finding ways of liberating ourselves from the pre-conceptions that restrict our capacity to re-define the design problem.
Comment
Social science has provided a number of constructs such as mind-mapping and brainstorming. Some find these useful, others repulsive. Willing to be open to aspects demanding attention of the problem itself that suggest a unique solution is very important, rather than just impose a pre-conceived solution even before thinking about the problem.
5. POSITIONING A PRACTICE. How you conduct your practice has a lot of do with your beliefs, and in particular why you think you are practicing architecture. Why do you want to do what you want to do? Because you are a socialist, a humanist, a capitalist? For money? For glory? Whatever your particular ideology, you will probably find yourself swinging back and forth in a dialectic between your approach to architecture as a craft and the idea you’ve formed of yourself and your practice. Building on the concepts developed in previous classes, this class focuses on how to create a productive relationship between your work and your ideology – whatever it may happen to be – that can help you build both your skills and your practice.
Comment
No class, no thinking can solve a problem like this at one go. But a willingness to entertain the questions liberates the practitioner from the narrow confines of the drafting board.
3. THE PROCESS OF ARCHITECTURE. Architecture is a process. Critical to its success is knowing when to reject a design solution, when to develop it, when to move things along, when to slow them down, how to organize the firm’s time and resources, and when to modify that organization: in short, the craft is manifested through the ability to manage the design process efficiently. This class defines the process in terms of two factors – the client’s brief and the architect’s aspirations – and proposes ways of balancing them.
Comment
Absent the class, then guess. Balance them. Keep the job by being precisely, completely and quickly responsive to client directives, but bring the client to an awareness of consequences of certain decisions, the larger issues and desirable solutions.
4. THE CREATIVE DIMENSION: THE TECHNIQUES OF FREE ASSOCIATION. Creativity is what transforms the design process from an apparently deductive sequence into an artistic activity. Inventiveness, talent, formal imagination and originality are qualities that stem from a common psychological activity: the capacity to associate randomly about a problem while maintaining a critical control of that process. The knowledge and the mapping of precedents, the scrutiny of one’s thinking modality, and the awareness of the importance of preferences, are the tools to uncover the mysterious character of one’s creative process. Training our creativity depends on finding ways of liberating ourselves from the pre-conceptions that restrict our capacity to re-define the design problem.
Comment
Social science has provided a number of constructs such as mind-mapping and brainstorming. Some find these useful, others repulsive. Willing to be open to aspects demanding attention of the problem itself that suggest a unique solution is very important, rather than just impose a pre-conceived solution even before thinking about the problem.
5. POSITIONING A PRACTICE. How you conduct your practice has a lot of do with your beliefs, and in particular why you think you are practicing architecture. Why do you want to do what you want to do? Because you are a socialist, a humanist, a capitalist? For money? For glory? Whatever your particular ideology, you will probably find yourself swinging back and forth in a dialectic between your approach to architecture as a craft and the idea you’ve formed of yourself and your practice. Building on the concepts developed in previous classes, this class focuses on how to create a productive relationship between your work and your ideology – whatever it may happen to be – that can help you build both your skills and your practice.
Comment
No class, no thinking can solve a problem like this at one go. But a willingness to entertain the questions liberates the practitioner from the narrow confines of the drafting board.
Tags: education, practice, architecture, profession
Saturday, July 14, 2007
BLDGBLOG: Snake Of Earth
BLDGBLOG: Snake Of Earth
If your life's work is to photograph the earth from the windows of airplanes, you might be rather envious of this.
If your life's work is to photograph the earth from the windows of airplanes, you might be rather envious of this.
holiday resort De Vliegden | Mrs. Deane
holiday resort De Vliegden | Mrs. Deane [things]
a very tiny house with all the windows and doors thrown open
a very tiny house with all the windows and doors thrown open
Pruned: Un-vanishing a lake
Pruned: Un-vanishing a lake [pruned] A lake mapped and marked in the Mission
SM Apt Names - a photoset on Flickr
SM Apt Names - a photoset on Flickr [things], rich commentary and examples of architectural lettering
Wednesday, July 04, 2007
More on Rafael Viñoly Architects...
2. THE INSTRUMENTS AND TOOLS OF ARCHITECTURE. Architectural work can be broken down into a series of basic actions that interact as they are endlessly repeated: we see, draw, and calculate; we mock up our proposals and coordinate our design and production processes. For each action there is a series of tools, physical and intellectual, through which the design is.... Whether the tool is a pencil, a camera, a 3-D modeling program, or a flow chart, it not only serves us but, at a profound level, determines the character of our work. This class focuses on the understanding and knowledge of these tools and the techniques through which we can master them.
Commentary...
Tools are so strange. The government requires arcane computation of parking, or someone wants all kinds of takeoffs to monitor programmed spaces compared with design. These kinds of things require spreadsheets so back and forth, and all the while the CLOCK ticks. At a minimum of about $1 a minute to the client, a daydream can get to be rather costly. A bathroom break runs $5 or more. Photos on screen by the dozen of some obscure existing condition poorly measured and all the more mysterious as you attempt to close. Big fun. Stay away from charts and graphs unless you're really feeling your oats.
Commentary...
Tools are so strange. The government requires arcane computation of parking, or someone wants all kinds of takeoffs to monitor programmed spaces compared with design. These kinds of things require spreadsheets so back and forth, and all the while the CLOCK ticks. At a minimum of about $1 a minute to the client, a daydream can get to be rather costly. A bathroom break runs $5 or more. Photos on screen by the dozen of some obscure existing condition poorly measured and all the more mysterious as you attempt to close. Big fun. Stay away from charts and graphs unless you're really feeling your oats.
Tags: howto
Sunday, July 01, 2007
Cool roof for hot studio in Napa County
There are options. This preliminary report covers two of the most attractive and one partial solution.
It appears the Owner has a large space that was designed as Non-Conditioned workshop storage, and if converted to Conditioned, falls under the purview of Title 24, Part 6. The residential solution is to obtain an Energy Analysis and generally speaking attach 5/8" type "X" gypsum board to the underside of the trusses, assuming they are 24" on center. Then apply R30 batt insulation both at roof and ceiling and blanket insulate all ducts. It is important to vent the attic in this case. Since the studio appears to be subject to fire regulations similar to Santa Cruz Urban Wildland Iintermix Code (UWIC) (depending on local fire jurisdiction), it might have to be sprinklered if it ever goes to permit, and the local code might disallow eave vents. Therefore, employ large gable vents, sized appropriately for the attic square feet such as 1 sq ft net free area per 150 sq ft attic space. Considering the size of the structure, adding continuous ridge vents or pop-up vents would probably be necessary to provide sufficient ventilation with reasonably attractive gable vents. There would be some difficulty finding a roofing contractor that could perform all of the work without exposing the building to structural and fire scrutiny by authorities especially if neighbors trigger Code Compliance. Note this solution allows for existing Class B composition shingle, though even as white as you can get, the temperature rise will be minimum 50 degrees Fahrenheit over ambient, but that would be immaterial if all aspects of this solution are carried out.
A proposed solution falls more into the category of non-residential cool roof under Title 24, but it is important to retain the integrity of the existing 5/8" structural sheathing. The trusses will go wild if the sheathing is removed, and if that ever happens, Owner would have to re-roof to new design with new trusses or select another new system. Assuming the sheathing can be patched, it means possibly blanketing the underside of sheathing R33 batt foil side down (for winter); it might be possible to obtain a recommendation for foil side up for summer from an Energy Consultant. To the top of the sheathing apply rigid R-10; this is about all that is available. Then the metal roofing, which is generally galvanized sheet metal smooth white coating. The changes in roofing system must weigh the same as existing or structural work would have to be done. Note, the fire resistance of steel may be less than composition Class B, and its applicability for the stated purpose is unknown.
Owner might check with the planning jurisdiction (Napa County?) to see if they offer re-roofing guidelines when the proposed system varies from existing, probably the only case where a permit wouldn't normally be required. The fire jurisdiction might also offer useful guidelines. A planner or fire marshal should be able to offer reliable advice. The problem does appear to be soluble to the satisfaction of all concerned.
One other possibility is to consider incremental improvement. Re-roof with white fiberglass composition shingle or paint existing white. Inside, insulate underside with batt insulation. Call it done.
It appears the Owner has a large space that was designed as Non-Conditioned workshop storage, and if converted to Conditioned, falls under the purview of Title 24, Part 6. The residential solution is to obtain an Energy Analysis and generally speaking attach 5/8" type "X" gypsum board to the underside of the trusses, assuming they are 24" on center. Then apply R30 batt insulation both at roof and ceiling and blanket insulate all ducts. It is important to vent the attic in this case. Since the studio appears to be subject to fire regulations similar to Santa Cruz Urban Wildland Iintermix Code (UWIC) (depending on local fire jurisdiction), it might have to be sprinklered if it ever goes to permit, and the local code might disallow eave vents. Therefore, employ large gable vents, sized appropriately for the attic square feet such as 1 sq ft net free area per 150 sq ft attic space. Considering the size of the structure, adding continuous ridge vents or pop-up vents would probably be necessary to provide sufficient ventilation with reasonably attractive gable vents. There would be some difficulty finding a roofing contractor that could perform all of the work without exposing the building to structural and fire scrutiny by authorities especially if neighbors trigger Code Compliance. Note this solution allows for existing Class B composition shingle, though even as white as you can get, the temperature rise will be minimum 50 degrees Fahrenheit over ambient, but that would be immaterial if all aspects of this solution are carried out.
A proposed solution falls more into the category of non-residential cool roof under Title 24, but it is important to retain the integrity of the existing 5/8" structural sheathing. The trusses will go wild if the sheathing is removed, and if that ever happens, Owner would have to re-roof to new design with new trusses or select another new system. Assuming the sheathing can be patched, it means possibly blanketing the underside of sheathing R33 batt foil side down (for winter); it might be possible to obtain a recommendation for foil side up for summer from an Energy Consultant. To the top of the sheathing apply rigid R-10; this is about all that is available. Then the metal roofing, which is generally galvanized sheet metal smooth white coating. The changes in roofing system must weigh the same as existing or structural work would have to be done. Note, the fire resistance of steel may be less than composition Class B, and its applicability for the stated purpose is unknown.
Owner might check with the planning jurisdiction (Napa County?) to see if they offer re-roofing guidelines when the proposed system varies from existing, probably the only case where a permit wouldn't normally be required. The fire jurisdiction might also offer useful guidelines. A planner or fire marshal should be able to offer reliable advice. The problem does appear to be soluble to the satisfaction of all concerned.
One other possibility is to consider incremental improvement. Re-roof with white fiberglass composition shingle or paint existing white. Inside, insulate underside with batt insulation. Call it done.
Tags: report
Saturday, June 23, 2007
Residential per square foot construction costs, for properties in Santa Cruz County can be guessed by looking at how the City does it. The highest number on the current BVD chart is $119.76 + (City) 13% of $119.76 = $135/sq ft. The Toph has heard $250 used anecdotally, but wonders if $300, a low value for more central Bay Area locations, is appropriate.
Rafael Viñoly Architects...
1. CRAFT VERSUS THEORY. Theory and craft are equal elements of architectural practice. Architects need to develop and work from an understanding of essential role that craft plays. This, then, sets out to separate craft from theory, in order to recover it as a basis for practicing and thinking about architecture.
Commentary...
Theory offers some interesting things to think about, which isn't craft, and craft is what makes a building, the "Architect of Record" stuff. Usually theory is skipped in small practice, and big practice has it, but only the big practitioners theorize. The Toph butted heads with theory in a competition judged by Stephen Holl, among others. Apparently some "curvy" redefinition of space was called for, and a shoebox SRO spatial scheme was slightly curved at corridor. It was a better result than otherwise would have been the case, and based on that experience, theory, any theory, could be welcome into the ever-present craft discussion.
1. CRAFT VERSUS THEORY. Theory and craft are equal elements of architectural practice. Architects need to develop and work from an understanding of essential role that craft plays. This, then, sets out to separate craft from theory, in order to recover it as a basis for practicing and thinking about architecture.
Commentary...
Theory offers some interesting things to think about, which isn't craft, and craft is what makes a building, the "Architect of Record" stuff. Usually theory is skipped in small practice, and big practice has it, but only the big practitioners theorize. The Toph butted heads with theory in a competition judged by Stephen Holl, among others. Apparently some "curvy" redefinition of space was called for, and a shoebox SRO spatial scheme was slightly curved at corridor. It was a better result than otherwise would have been the case, and based on that experience, theory, any theory, could be welcome into the ever-present craft discussion.
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