101 Things I Learned in Architecture School (MIT Press)

101 Things I Learned in Architecture School (MIT Press)

Matthew Frederick

Language: English

Pages: 216

ISBN: 0262062666

Format: PDF / Kindle (mobi) / ePub


101 THINGS I LEARNED IN ARCHITECTURE SCHOOL is a book that students of architecture will want to keep in the design studio and in their backpacks. It is also a book they may want to keep out of view of their professors, for it expresses in clear and simple language the things they tend to make murky and abstruse. These 101 concise lessons in design, drawing, the creative process, and presentation--from the basics of how to draw a line to the complexities of color theory--provide a much-needed primer in architectural literacy and make concrete what too often is left nebulous and open-ended in the architecture curriculum.

Like all books in the popular and celebrated 101 THINGS I LEARNED® book series, the lessons in 101 THINGS I LEARNED IN ARCHITECTURE SCHOOL utilize a unique two-page format, with a brief explanation and accompanying illustration. A lesson on how to draw a line is accompanied by examples of good and bad lines; a lesson on awkward floor level changes shows the television actor Dick Van Dyke in the midst of a pratfall; and a discussion of the proportional differences between traditional and modern buildings features a building split neatly in half between the two.

Written by an architect and instructor who well remembers the fog of his own student days, 101 THINGS I LEARNED IN ARCHITECTURE SCHOOL provides valuable guideposts for students navigating the architectural design studio and the rest of the architecture curriculum. Architecture graduates, from young designers to experienced practitioners, will turn to the book as well for inspiration and a guide back to basics when solving complex design problems.

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qualities. Our experience of an architectural space is strongly influenced by how we arrive in it. A tall, bright space will feel taller and brighter if counterpointed by a low-ceilinged, softly lit space. A monumental or sacred space will feel more significant when placed at the end of a sequence of lesser spaces. A room with south-facing windows will be more strongly experienced after one passes through a series of north-facing spaces. Use "denial and reward" to enrich passage

through the built environment. As we move through buildings, towns, and cities, we mentally connect visual cues from our surroundings to our needs and expectations. The satisfaction and richness of our experiences are largely the result of the ways in which these connections are made. Denial and reward can encourage the formulation of a rich experience. In designing paths of travel, try presenting users a view of their target-a staircase, building entrance, monument, or other element-then

back turned to it." -GERTRUDE STEIN, THE AUTOBIOGRAPHY OF ALICE B. TOKLAS Value drawings (rendered in shade and shadow) tend to convey emotions better than line drawings. Any aesthetic quality is usually enhanced by the presence of a counterpoint. When seeking to bring a particular aesthetic quality (bright, dark, tall, smooth, straight, wiggly, proud, and the like) to a space, element, or building, try including an opposite or counterposing quality for maximum impact. If you want a

complex field of architecture. Site plan study for a college campus When having difficulty resolving a floor plan, site plan, building elevation, section, or building shape, consider it as a 2D or 3D composition. This will encourage you to give balanced attention to form and space, help you integrate disparate aspects of the scheme, and discourage you from focusing excessively on your pet features. Questions you can ask in 2D or 3D include: • Does the composition have an overall

themselves. A three-dimensional space is considered a positive space if it has a defined shape and a sense of boundary or threshold between in and out. Positive spaces can be defined in an infinite number of ways by points, lines, planes, solid volumes, trees, building edges, columns, walls, sloped earth, and innumerable other elements. A college "quad" is usually the preferred space on a campus for social interaction and hanging out. We move through negative spaces and dwell in

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