Introduction into Design

  Motion overlay Copyright: © BB  


Jens Kampermann

Veljko Dinic

Michael Dolinski


preliminary exercise 1.1

Record your own physical movement space that you occupy during typical actions of a day. Document this in a form of your own choosing to present on deadline day. What does the space look like when the typical actions of a day overlap? Solve the exercise task using a two- or three-dimensional pictorial representation or even by means of a dance or other performance that you document. The medium is optional.
You may create a catalog of your own dimensional needs, draw a map, tape off a room, or trace around it with chalk. You may dance or walk off a rehearsed movement sequence, sew a room dress to record all movements, and/or use a photographic overlay to illustrate.

Pre-exercise 1.2

Light creates space. Does light change space? The task is to develop an empty, white, unfurnished room situation for one of the given room types and to build it in the model. The main focus here is on plasticity and the staging of atmospheres. The position of the openings and the type of light incidence are to be set purposefully. However: Views to the outside are not allowed from any perspective, so the light guidance must be cleverly solved or redirected at critical points Conceive a planned/ controlled change of the light situation. You can choose between artificial light or daylight. Document the changing room situation photographically.
Solve the task using a peep-box model, which should be open from the front and at least 50 cm deep. Material: opaque, white inside.

Exercise 1

Space makes space.. Space leaves no room for mass.
A subterranean spatial structure is to be designed that does not leave a limited space (model 1:100 maximum 75 x 75 x 75 cm).
Special attention is to be paid to the dramaturgy of the sequence of rooms as well as the lighting of the individual rooms.
The spatial structure follows the conditions of the assigned typology.
From the specification of the room sequence, certain atmospheres and room geometries are to be worked out and transferred into a subterranean room structure.

Pre-exercise 2.1

This exercise is about the contexts of a place.
What actually constitutes a place is at first usually only a hunch or a diffuse feeling. In order to get a bit closer to its genius loci, it is helpful to examine it under certain questions. Do not try to grasp the complexity of the place as a whole, but focus your analysis on a single, specific aspect first. Do not rely on your experience and the seemingly obvious, but try to discover the place as unbiasedly and anew as possible. The results of your work
will be compiled in a compendium and made available to the entire group. The compilation will serve as the basis for the next task.

Pre-exercise 2.2

As architects we have to deal with the user of the space structure to be designed: What is his daily life like? What are his interests? What does he do for a living? Only by putting ourselves in the shoes of the user, in this case the protagonist, can the requirements resulting from his everyday life and work be translated into a suitable architecture.
In this task, the required spaces are to be developed and summarized in a program for the further design process by analyzing the activity, the movement sequences and the space requirements of the assigned protagonist.
The following questions should be kept in mind in particular:

  • What spaces does the protagonist need?
  • What exactly does he/she do there and how does he/she do it in detail?
  • How are these architecturally formulated?
  • In which way do the protagonist's activity and the context of the place of the place have a connection?

Exercise 2

The hermitage to be designed will be a dwelling that will serve the protagonist as a retreat for leisure, life, and to carry out his (professional) activity.
In addition to the pure implementation of the requirements in a spatial structure, the demands of the protagonist analyzed and found out in the preliminary exercise are to find an architectural correspondence in the hermitage.
The goal here is to design a house that is precisely tailored to its occupant, reacting to the context and thus producing a new, unexpected architecture.