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MSc01-AD F2011Study Guide

Study Board for Architecture and DesignDepartment of Architecture, Design and Media TechnologyØsterågade 6 - 9000 Aalborg

List of ContentList of Content....................................................................................................................................... 2

1 Welcome to students, supervisors and lecturers...........................................................................3

2 The modular construction of the Semester....................................................................................4

3 The modular execution of the Semester........................................................................................5

4 Semester Calendar 2011...............................................................................................................6

5 List of Contacts.............................................................................................................................. 8

6 Project module 1: Tectonic Design & Nordic Architecture.............................................................9

6.1 Formalities............................................................................................................................. 9

6.2 Literature.............................................................................................................................. 10

6.3 Submission.......................................................................................................................... 10

6.4 Assessment.........................................................................................................................12

6.5 Note..................................................................................................................................... 12

6.6 Project description: An Inhabited or “Living Bridge” connection over Limfjorden, Aalborg...12

7 Course module 1: Studies and Experimentation in Tectonic Culture...........................................16

7.1 Course Descriptions.............................................................................................................19

8 Course module 2: Engineering Architecture and Tectonic Design...............................................22

8.1 Course Descriptions.............................................................................................................26

9 Free Study Activities and Study Trips..........................................................................................31

9.1 Free Study Activity 1: Architecture Study Trip to Stockholm and Finland...........................31

10 Enclosures............................................................................................................................... 32

10.1 Enclosure 1: Plagiarism and correct referencing..................................................................32

10.2 Enclosure 2: Guidelines for difficulties in cooperation..........................................................33

10.3 Enclosure 3: Re-examinations.............................................................................................33

10.4 Enclosure 4: Generel submission requirements..................................................................35

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Study Guide MSc01-AD E2011

1 Welcome to students, supervisors and lecturersWelcome to 1st semester!

This Study Guide is valid for the 1st semester in the Architecture M.Sc. program at Architecture and Design.

It is preconditioned that this guide is read before or immediately after the opening of the semester by all involved students, supervisors and lecturers. The Study Guide is a supplement and elaboration of the existing curriculum’s specifications concerning the project module and the course modules.

The Study Guide is a support for students, supervisors, and lecturers in relation to the planning and implementation of the project work and the individual course. The Study Guide elaborates the learning goals that are established in the curriculum related to the project module. Practical rules concerning plagiarism, exclusion of group members- re-examination and general requirements for assignment submission are placed at the end of this document as appendixes.

Enjoy yourself!

Best regards,

Professor, Poul Henning Kirkegaard and Associate Professor, Adrian CarterSemester coordinators

Cover Photo: http://www.dfab.arch.ethz.ch/

RETTELSER:

1) Regner med at Malene læser igennem og laver kvalitetskontrol iht. ny skabelon og indhold2) SO har evalueringsform E1 for SET kurset..dog må det være en fejl, da E1 er for hoved

projekt. Jeg har valgt metode B (efter aftale med HH), men kan den bruges, når der skal give karakter ?.

3) Side henvisning4) Kilde angivelser5) Mere præcis angivelse af ”opgave” i kursus moduler.6) Færdiggørelse af kursus modul 1…7)

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2 The Modular Construction of the SemesterThis semester focuses on Tectonics and Nordic Architecture and the challenged to these perspectives. The semester consists of a project module (20 ECTS) and two course modules (2 x 5 ECTS).

The work load for one semester is 30 ETCS corresponding 900 hours of study work for each student. The semester is conducted qua a series of project- and course modules further described in this document.

The work load may vary throughout the semester and in the individual project- and course modules. It is the semester coordinator’s responsibility in cooperation with the steering committee to assure the total work load does not exceed 900 hours. Please note, free study activities are offered as a supplement to each student and does not take part of the approved curriculum.

The semester consists of four modules that will be examined individually. The course modules are principally independent but together they establish a significant foundation for the semester. The planning of the semester aims to support the progression of the project module in the course modules.

Project module 1: Tectonic Design & Nordic Architecture

Course module 1: Studies and Experimentation in Tectonic Culture

Course module 2: Engineering Architecture and Tectonic Design

20 ECTS 5 ETCS 5 ETCS

7-point marking scale 7-point marking scale Pass/Fail

Further information at page 10



Henceforth, course module 1 will be named SET, course module 2 EA and project module 1 TDNA.

This semester the following free study activities are announced:

Free Study Activity 1: Architecture Study Trip to Stockholm and FinlandFree Study Activity 1:

3 ECTS

Pass/Fail


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3 The modular execution of the SemesterThe activities of the semester will be prosecuted by the following procedure:

September October November December January36

37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 1 2 3 4 5

Project module 1: Tectonic Design &Nordic Architecture

W M S A ACourse module 1: Studies and Experimentation in Tectonic Culture

W WS

Course module 2: Engineering Architecture and Tectonic Design

W S AS T

36

37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 1 2 3 4 5

W: Workshop

M: Midterm review

S: Submission

A: Assessment

S T: Study Trip: Free Study Activity 1: Architecture Study Trip to Stockholm and Finland

Modular work load for the student. Total for a semester are 900 hours:

Course module 1: Studies and Experimentation in Tectonic Culture

5 ETCS150 hours

LecturesTeoretical assignmentsPreparationWorkshopExcurtionProject workTotal

Course module 2: Engineering Architectureand Tectonic Design

5 ETCS150 hours

Lectures 8 lectures (2* 45 min + 40 of individual study)

17h 20 min

Teoretical assignments

60 hours 60 h

PreparationWorkshop 4 days (28 hours of

workshop + 10 hours individual study and design)

28 h

Excurtion

5


Project workTotal 150! 105,5

hProject module 1: Tectonic Design & Nordic Architecture

20 ETCS600 hours

Lectures 3 lectures (2*45 min + 40 min of individual study)

6,5 h

Teoretical assignmentsPreparationWorkshop PortsmouthExcurtionProject workTotal 600!

4 Semester Calendar 2011Subject to changes. Always check the semester calendar online.

Minutes are required from all meetings in the steering group. A student (typically the deputy chairman) takes minutes the semester coordinator approves them before sending to the semester secretary and Study Board for Architecture and Design ([email protected]).

Date Subject, deadline, etc. Room

20.05.11 Steering group meeting 0 – Semester evaluations of previous semester and planning of the semester

?

02.09.11 Semester Start

21.09.11 Steering group meeting 1

23.09.11 SET course module submission part 1 - individual paper Semester secretary

24.09.11 - 06.10.11 Study Trip to Stockholm and Finland

06.10.11 Introduction to main project

06.10.11 Group formation


28.10.11 SET course module submission part 2 - group work with physical model

Semester secretary


04.11.11 Submission of program

11.11.11 Midway Critique

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mailto:[email protected]


25.11.11 EA course module submission


21.12.11 Submission of main project

03.01.12 Steering group meeting 5 (semester evaluation)

03.01.12-13.01.12 Examination of main project

23.01.12-27.01.12 Examination of EA course module

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5 List of ContactsFunction Person E-mail

Semester coordinator Professor, Poul Henning Kirkegaard [email protected]

Associate Prof., Adrian Carter [email protected]

Semester secretary Kristina Wagner Røjen [email protected]

Project module 1: Tectonic Design & Nordic Architecture

ECTS Coordinator E-mail

20 Associate Prof, Adrian Carter [email protected]

Supervisors Professional competencies Contact

Associate Prof, Adrian Carter Tectonics, … [email protected]

Assistant Prof., Marie Frier Hvejsel

[email protected]

Assistant Prof., Alberto Pugnale

[email protected]

Professor, Poul Henning Kirkegaard

[email protected]://personprofil.aau.dk/profil/101343

Course module 1: Studies and Experimentation in Tectonic Culture (SET)


Assistant Prof., Marie Frier Hvejsel [email protected]

Lecturers E-mail

5 Assistant Prof., Marie Frier Hvejsel [email protected]

Associate Prof., Adrian Carter, [email protected]

Assistant Prof., Alberto Pugnale [email protected]

Course module 2: Engineering Architecture and Tectonic Design (EAT)


Assistant Prof., Alberto Pugnale [email protected]

Lecturers E-mail

5 Assistant Prof., Alberto Pugnale [email protected]

Research Assistant, Nathalie Balfroid [email protected]

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http://personprofil.aau.dk/profil/101343

http://personprofil.aau.dk/profil/101343









Assistant Prof., Marie Frier Hvejsel [email protected]

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6 Project module 1: Tectonic Design & Nordic Architecture

20 ETCS Tektonisk Design og Nordisk Arkitektur

At first the objectives regarding this project module from the curriculum are outlined. These objectives define the framework of the module and the examination thereof. It is a prerequisite for a successful completion of the semester that the student works systematically and focused to achieve the knowledge, skills and competencies defined in the curriculum.

Following (in section 6.6) the project module is further described with respect to theme, procedure and expectations.

Coordinator Associate Professor, Adrian Carter, Department of Architecture, Design & Media Technology

6.1 FormalitiesCurriculum p. 33-34

PrerequisitesA BSc degree (Bachelor) i Architecture and Design or similar

ObjectiveThe aim of the tectonic design approach is to achieve an authenticity of architectural expression by ensuring a continuity and integrity between form and construction. As well as through the emphasis upon materiality and detail during studies of materials.

The study of tectonic design is linked to the underlying theme of Nordic architecture. The emphasis is on a phenomenological understanding, on the relationship between landscape and climate and a concern with place, combined with honesty in the use of materials and simplicity of design as the basis for an authentic Nordic approach to architecture.

Students who complete the module:

Knowledge Must have knowledge and a critical understanding of tectonic theory and

methods Must have knowledge and a critical understanding of Nordic architecture. Must have a well-developed aesthetic and phenomenological understanding

of the interplay between form, structure, materials and detail in relation to the integrity of architectural ideas

Must have knowledge of complex spatial structures, including an understanding of the structural functionality of various construction systems using shells, plates, frames, beams, etc. This must be combined with the ability to understand and competently assess the aesthetic significance of the various systems in connection with the architectural ideas behind a project

Must have knowledge and an appreciation of the tactile qualities of materials, in combination with practical and technical knowledge of the processing and use of materials. This includes the creative application of materials, structural systems and assembly techniques

Skills Must be able to analyze and design buildings that emphasize the interplay

between form, structure, materials and detail in relation to the integrity of an

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architectural idea Must be able to evaluate and analyze the complex functional, architectural,

constructive and structural problems connected with building design Must be able to synthesize complex room programmes, functional and

aesthetic demands, and be able to integrate constructional and tectonic design in a coherent architectonic project solution of substantial quality

Must be able to apply critical reasoning to the design issues that arise in the course of the project development and to demonstrate independent thinking and informed judgment

Competencies Must be able to design a building of high complexity and substantial scale,

such as community centers, galleries, museums, terminal buildings, concert halls, theatres or similar

Must be able to prepare a competition design proposal for a tectonic building of substantial aesthetic, architectural, constructive, structural and functional qualities

Must be able to present the project in a professionally competent way by means of relevant media and techniques

6.2 Literature

Primary LiteratureBeim, A., (1999), Tectonic Visions in Architecture, 1st edition, Royal Danish Academy of Fine Arts, School of Architecture, Copenhagen.

Frampton, K., (2001), Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture. MIT Press, Cambridge, Mass.

Lund, N-O, (2008), Nordic Architecture. Arkitektens Forlag.

Murray, P., Stevens, M. A. & Cadman, D. (1996), Living Bridges: the inhabited bridge, past, present and future, London: Royal Academy of Arts.

Weston, R., (2001), Utzon, 1st edition, Germany, Edition Bløndal.

Secondary Literature

Carter, A. & Kirkegaard, P.H. (2010), The Nature of Tectonic Spatial Structures. Proceedings of IASS 2010. November 8-12, 2010, Shanghai, China.

Carter, A. & Mullins, M. (2008), The Work of Jørn Utzon : a paradigm for contemporary regional architecture. Proceeding of Regional Architecture and Identity in the Age of Globelization. red. / Jamal Al-Qawasmi ; Abdesselem Mahmoud ; Ali Djerbi. Vol. I CSAAR - The Center for study of architecture in the Arab Region, 2008. s. 67-79.

Schmidt, Anne Marie Due and Kirkegaard, Poul Henning (2005) Navigating towards digital tectonic tools. Proceeding from the Conference of theAssociation for Computer Aided Design In Architecture, October 13-16, 2005, Savannah (Georgia), Smart Architecture: Integration of Digital and Building Technologies, p. 114-127.

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http://vbn.aau.dk/da/publications/the-work-of-joern-utzon(010555a0-cd8a-11dc-8dd8-000ea68e967b).html

http://vbn.aau.dk/da/publications/the-work-of-joern-utzon(010555a0-cd8a-11dc-8dd8-000ea68e967b).html

http://vbn.aau.dk/da/persons/michael-mullins(3724d806-89d3-44ae-a425-4aca25c9eb9e).html

http://vbn.aau.dk/da/persons/adrian-carter(3ede2efb-f628-4914-9efc-817731a43b11).html

6.3 Submission

Submission Requirements

The project should be delivered to the semester secretary, between 10:00 – 12:00 the 21st December 2011, and must comply with the general submission requirements defined by the study board: http://studieweb.aod.aau.dk. On submission the following must be turned in to the semester secretary:

One project report and drawings for each main supervisor One project report and drawings for each secondary supervisor One project report and drawings for each external examiner One project report and drawings for the library

The project report (paper edition + CD-ROM) The report comprises approx. 50 pages and consists of an analysis, a description of the architectural concept and principles in terms of design, function and construction. The report must contain selected theoretical and conceptual inputs from the courses offered at the semester. It is recommended that there is a fairly even relationship between theory/concept/analysis and design/project presentation in the report. The report must contain documentation of the design process and testing of the various concepts from the working process. In addition calculations carried out must be submitted. The report shall present the project in a professionally competent way by means of relevant media and techniques.

The project reports must contain the following information:

Project title Semester Field of study Group number Year Names of the group members Declaration of confidentiality

If the project-report is covered by a confidentiality agreement this must be clearly emphasised on the front page. All group members must submit to the secretary a signed form certifying whether or not the Study Board is permitted to use the presentational poster, minor illustrations and excerpts from the project with clear references to the authors on its website, in brochures and other public relations material and exhibitions. The form is available on the internet: http://www.aod.aau.dk/uddannelse/studienaevn/blanketter.htm

Drawings (paper edition + CD-ROM) • Site plans 1:500, including the surrounding context • Plans 1:200 including landscaping • Sections 1:200 showing the relation of the bridge to the topography of the site • Floor plans (furnished) 1:100 • Elevation drawings 1:100 • Perspectives, exterior and interior • Cross-sections 1:100 • Details 1:20 and 1:5

Diversions from the submission requirements may occur but only as part of an explicit agreement with the supervisor.

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http://www.aod.aau.dk/uddannelse/studienaevn/blanketter.htm

To be delivered to semester secretary after examination:

1 A0 Poster suited for public exhibition presenting the main characteristics of the project and including limited but precise text and key figures on size, energy consumption etc.

1 CD with poster in pdf-format, 3 powerpoint slides summarizing the project as well as project report and appendixes in pdf-format.

6.4 Assessment

Version E2 – Main project module, external examinationThe module is assessed by an oral exam based on written material, typically a jointly prepared (or in exceptional cases, prepared by the individual student) project module report (containing the report/analyses/posters/drawings/models or similar). It is further presumed that the student has regularly and actively participated in evaluation seminars and the like.

The project is concluded with a project closing of max. 45 min. It is a precondition for participation in the examiniation that students have participated in the project closing. The entire project is presented with equal participation of all the group members. The starting point for the examination is the project report and the project closing presentation, cf. Examination Policies and Procedures: http://www.tek-nat.aau.dk/digitalAssets/18/18291_eksamensordning-_engelsk.pdf)The allotted time for assessment is in practice 20-30 min. per examinee depending on group sizes, as there must be time for voting.

The starting point of the exam is the evaluation criteria as they appear in the curriculum and this study guide. The assessment is based on a combined evaluation of the report and the oral performance.

Examiner and external examiner are involved in the assessment along with the examinee.

Grading is according to the 7-point marking scale.

By the final evaluation (exam) the following criteria will determine the grades:

the quality of project background, analysis and programme development the quality of the proposed design, in terms of concept, design development,

architectural form and technical resolution the graphic and technical quality of the presentation material the quality of the visual and oral presentation of the project

6.5 Note

The students are assumed to participate active in a democratic learning environmenttogether with the semester coordinator and they have to be aware of the responsible for their own learning and behaviour within the frames decided by the study board and elicited in the study regulations. On-going adjustment of the project module will take place due to students feed-back at steering group meetings or by direct contact to the semester coordinator.

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http://www.tek-nat.aau.dk/digitalAssets/18/18291_eksamensordning-_engelsk.pdf


6.6 Project description: An Inhabited or “Living Bridge” connection over Limfjorden, Aalborg

Content and theme

Theme“The material, detail and structure of a building is an absolute condition. Architecture’s potential is to deliver authentic meanings in what we see, touch and smell; the tectonic is ultimately central to what we feel”,

Steven Holl

According to Kenneth Frampton, author of Studies in Tectonic Culture, building is first an act of construction, a tectonic and not a scenographic activity. Building is ontological, a presence or a “thing,” as opposed to a sign. This approach can be seen in relation to other attempts to define the “essence” of architecture, for example as function or as type. For Frampton, the essence is the poetic manifestation of structure as expressed by the Greek term poesis.

The critique of the post-modern application of decoration and superficial semantic meaning has created a renewed interest in tectonics, the poetics of construction, as a means of enhancing the sensual and intellectual experience of building. The tectonic approach strives to achieve authentic significance in architecture through a continuity and integrity between form and construction, with an emphasis on materiality and detail. This approach to architecture, which reflects a phenomenological interest in the ‘thingness’ of architecture in a Heideggerian sense, can be seen particularly notably in the architecture of the Nordic countries and in the work of many internationally recognised architects, including Alvar Aalto, Tadao Ando, Sverre Fehn, Steven Holl, Louis Kahn, Juhanni Pallasmaa, Reima Pietilä, Jørn Utzon, and Peter Zumthor.

Building in a Nordic Context Complimenting the study of Tectonic Design, is an underlying theme of Nordic architecture, where an innate phenomenological approach with regard to landscape, a concern with place, honesty in the use of materials and simplicity of design, as well as an appreciation of Northern light and nature has been the basis for an identifiable and authentic Nordic tradition within architecture.

Aligned with these cultural and poetic sensitivities is the humanistic tradition concerned with the well being of the individual that is the basis for the Nordic welfare society, which is manifested in built form in humane social housing and public buildings. In conjunction with an introduction and analysis of the Nordic architectural tradition, together with a critical examination of whether this tradition is still evident, viable and relevant today, the project module will be concerned with building The project requires the development of the building programme, a master plan that takes into consideration the existing local context. The overall building complex should be of a high architectural, structural and functional quality, while remaining within the realms of realistic feasibility and should serve to compliment it surroundings, enhancing the sense of place. Emphasis will be placed upon the tectonic character of the project, in terms of the combined aesthetic and technical design of the overall architectural composition and major interior space, detailing, choice of materials, lighting and acoustic properties. It is to be expected that there is a poetic integrity between form and structure.

Brief for the Project: An Inhabited or “Living Bridge” connection over Limfjorden, AalborgThere has been much recent local discussion about the need for a new third connection over or possibly under Limfjorden, between Aalborg and Nørresundby.

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This project proposes a more radical alternative to an exclusively vehicular and pedestrian crossing. An idea that has ancient precedents, which interpreted in a contemporary and dynamic tectonic manner, could greatly compliment the local infrastructure and provide a defining iconic new landmark for the Aalborg harbourfront. The brief is to design an Inhabited or ‘Living Bridge’ across the Limfjorden.

The ‘Living Bridge’The Inhabited or ‘Living Bridge’ can be defined as a bridge which not only provides a link between two points for pedestrian and vehicular traffic, but also supports superstructures that can serve residential and commercial purposes, thereby creating a continuity in the urban fabric from one side of a body of water to the other.

From the 12th century to the end of the 18th century there were many inhabited bridges in Europe, including such famous examples as the Ponte Vecchio in Florence, the Ponte di Rilato in Venice, Old London Bridge and the bridges which once linked the Île de la Cité to both left and Right Banks in Paris. Though the building of inhabited bridges ceased in the 18 th century due to the needs of increased traffic, as well as for economic and aesthetic reasons, the idea of the inhabited bridge has continued to fascinate architects and city planners well into the 20th century. Within the last two centuries hundreds of projects for inhabited bridges have been proposed, but not realised, including the Pont D’Ilena by Gustave Eiffel (1878), Sir Edwin Lutyen’s proposal (1913) for an art gallery on a bridge in Dublin, Melnikov’s propsed garage for a 1000 cars on a bridge over the River Seine in Paris (1925), Richard Roger’s futuristic design for Hungerford Bridge (1986) over the River Thames in London, that was intended to contain shops, cafés and restaurants and Cezary Bednarski’s Millenium Bridge (1996) over the River Tiber in Rome, which would have provided accommodation for visitors to the Eternal City.

In the last few years the idea of the inhabited bridge has enjoyed a considerable degree of renewed enthusiasm and serious consideration of the viability of building such bridges. This interest was greatly encouraged by the stunning exhibition “Living Bridges. The Inhabited Bridge: Past, Present and Future” at the Royal Academy of Arts, London in 1996, which presented both a visual history of the inhabited bridge and also the exciting entries to the Thames Water Habitable Bridge Competition, made by some of the world’s leading architects including Zaha Hadid, Daniel Libeskind and Future Systems. Though this was an ideas competition, Zaha Hadid’s visions for a Living Bridge, have at least now been dramatically manifested in the newly completed Zaragoza Bridge, Spain, built for the Zaragoza Expo 2008.

Zaha Hadid’s remarkable Zaragoza Bridge, may well herald a new era of Living Bridge-building. Certainly for any city, divided by water as many are, the idea of building a Living Bridge is an exciting means of creating an iconic landmark, that links communities both physically and symbolically, as a continuous urban experience.

The Site and ProgrammeThe proposed site for the ‘Living Bridge’ is on the Aalborg Harbourfront, adjacent to the coming proposed House of Music, designed by Coop Himmelb(l)au and connecting across the Limfjorden to Nørresundby. The new link across Limfjorden shall comprise a high quality hotel with approximately 200 beds and related conference rooms, shopping, dinner and sports facilities. Rather than a highrise building this building will be a distinctive architectural landmark that horizontally defines a connection between the cultural and commercial centre of Aalborg and the recreational areas of Nørresundby.

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Methods

Particular reference will be made to the design methods and work of Jørn Utzon, as a significant and inspirational paradigm for a tectonic architecture. Utzon’s concept of what he called an “Additive Architecture” provides the basis, for a design approach that implements the use of a limited range of relatively simply designed pre-fabricated elements that can be put together in various combinations, to create dynamic and tectonic architecture of considerable scale, potential complexity and beauty.

Organization and learning goals

The project module runs from October 6th to December 21st and has two phases with a midway critique November 11th .

The first phase commences 6th October until 21st October. Following the establishment of groups, the individual groups will each develop a master plan for the site, including an outline definition of the bridge and its location, together with sketch proposals and models of the proposed bridge, illustrating its intended aesthetic and structural character. During the first phase, consideration should be given to :

the existing and planned built context: neighbouring developments, traffic infrastructure, the existing local environment and planned landscaping,

the integration into the urban fabric and relation to other public amenities, the projects significance as a public landmark and access, critical understanding of Nordic architecture, a well-developed aesthetic and phenomenological understanding of the

interplay between form, structure, materials and detail in relation to the integrity of architectural ideas, and an appreciation of the tactile qualities of materials, in combination with practical and technical knowledge of the processing and use of materials,

tectonic theory and methods - ‘Additive Architecture’. This includes the creative application of materials, structural systems and assembly techniques.

The focus in the first phase of the project will be will be an overall master plan and building programme for the site, together with a conceptual architectural design proposal for the buildings and consideration of the local context in terms of landscape and infrastructure. The building programme and the conceptual architectural design shall include functional, architectural, constructive and a conceptual structural idea which make demands for advanced structural analysis. In week 41 an workshop will take place together with students from Portsmouth University.

The second phase is from the 24th October until 21st December. In the second phase the master plan should be further developed in terms of its architectural design and technical resolution. It is the aim of the project that the design of the ‘living bridge’ displays a strong tectonic quality. During the second phase, consideration should be given to:

analysis and design of a ‘living bridge’ that emphasize the interplay between form, structure, materials and detail in relation to the integrity of an architectural idea,

evaluation and analysis of the complex functional, architectural, constructive and structural problems connected with ‘living bridge’ design,

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synthesize of the complex room programmes, functional and aesthetic demands, and integration of constructional and tectonic design in a coherent architectonic project solution of substantial quality,

the application of critical reasoning to the design issues that arise in the project development and demonstrate independent thinking and informed judgment.

LecturesThree lecture will be a part of the project module:

Lecture 3: Analysis of Silkeborg Art Museum

Lecturer and format

Lars BotinCourse format: Lecture

The lecture introduces to a project by Jørn Utzon, namely the Silkeborg Art museum. We will look into the ontology of Utzon, which is highly present in this particular project. The project will be historically, philosophically and artistically contextualized, and furthermore compared to a similar project by Le Corbusier.

Primary LiteratureLars Botin: "Ontologies in a project by Jørn Utzon: The Silkeborg Art Museum." in Proceedings at the Utzon Symposium 2003

Lecture 2: On Utzon's architecture

Lecturer and format

Adrian CarterCourse format: Lecture

On Jørn Utzon’s poetic, humane and tectonic approach to architecture which has provided a timeless and universal source of inspiration.

Primary LiteratureWeston, R. Inspiration, vision and architecture.

Lecture 3: Living Bridges

Lecturer and format

Adrian CarterCourse format: Lecture

A lecture presenting how the inhabited or ‘Living Bridge’ has fascinated architects and city planners to use the concept in historical as well as contemporary architectural architecture.

Primary LiteratureMurray, P., Stevens, M. A. & Cadman, D. (1996), Living Bridges: the inhabited bridge, past, present and future, London: Royal Academy of Arts.

7 Course module 1: Studies and Experimentation in Tectonic Culture

5 ETCS Tektoniske studier og eksperimenter

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Coordinator Assistant Professor, Marie Frier Hvejsel, Department of Architecture, Design & Media Technology

FormalitiesCurriculum p. 35

PrerequisitesA BSc degree (Bachelor) i Architecture and Design or similar.

ObjectiveThe aim of the course is to provide a broad critical introduction to, and understanding of tectonic culture through the presentation and analysis of relevant theories, architectural and cultural movements, combined with physical tectonic studies and experimentation.


Knowledge Must have knowledge of design thinking, architectural theory, methods and

models that are directly applicable to tectonic design.

Skills Must be able to analyze and critically reflect on the application and use of

forms, structures and materials in tectonic design. Must be able to design and model tectonic constructions.

Competencies Must be able to present part of a tectonic design on the basis of sketches,

physical models and a critical account of the process

Submission Submission RequirementsEach student must participate actively in lectures, exercises and successfully complete the workshop ‘FURNItecture, tectonic theory and experimentation in practice’. The workshop addresses the subject of tectonic design both theoretically and practically and contains both individual and group work but is assessed individually. The specific framework and hand in requirements for the workshop are described within the course units below. During the module there will be two submissions:

Group design which demonstrates your ability to; Poetically and critically design a tectonic ‘place to sit’ in 1:1 which

experimentally explores the particular tectonic potential of plywood The design must be self standing, structurally stabile and able to withstand

the load of a person. The design must be fabricated in 1:1 as finished spatial element The footprint of the ‘place to sit’ is limited to 2 m2

Individual written paper demonstrating your ability to; Poetically and critically analyze reference works (method...) Poetically and critically account for a tectonic design process (using

sketches and photos of models etc.) Poetically and critically present a tectonic design and account for its

tectonic quality

The word limit of the paper is 2500 words (I need to think this over in more detail)

The paper must be printed and handed in in ?? copies in 150 x 150 mm booklet format (template?)

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Assessment Version B – Course moduleThe module is passed with approval of one or more written papers submitted. The papers must be based on selected parts of the individual student’s course module work and/or the syllabus for the course module (containing the report/analyses/posters/drawings/models or similar).…and/or…The module is passed by the student’s regular and active participation in one or more evaluation seminars.(Ændres fra E1 til B - kan den bruges, når der skal gives karakter?)

Instruction The course module will be organized as 6 lectures and a workshop introduced in lecture 6.

Content Theme

‘Just as many pieces of furniture are like moulds of the human body, empty forms waiting to receive it (the chair and the sofa are its pedestals, the bed a sheath, the mirror a mask that awaits the human face in order to come to life, and even in those pieces where integration with a human counterpart is less evident, like the wardrobe or the chest of drawers, a symmetry similar to that of the human body still dominates, for handles and knobs are aligned like eyes and ears on the head) so finally the whole room or apartment becomes a mould of the spirit, the case without which the soul would feel like a snail without its shell.’ (Praz 1964b p. 24-25).

In continuation of the general knowledge and comprehension of tectonic design acquired from courses on earlier semesters (Teknologi and Arkitektonik 3 and 5), the course ‘Studies and experimentation in Tectonic Culture introduces an analytical and critical approach to the unification of form, material and technique which lies at the core of tectonic design. Hence this particular course spurs the

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subject of tectonics into a more detailed theoretical but also practical understanding of tectonic design through detailed studies of selected tectonic theories as well as practical experimentation with the properties of a particular material in practice in pursuing an exploration of its tectonic potential. At a general level the course combines lectures, exercises, group discussions with a specific theoretical and practical tectonic workshop.

Subtitled ‘FURNItecture’ the course adopts a particular focus on scale in providing a broad critical introduction to, and understanding of tectonic culture. By discussing the relation between the architectural construct itself and the spatial qualities and invitations for interaction resulting from this construct at a particular intimate furnishing scale, the course presents and analyses selected tectonic theories in relation to contemporary cultural movements and in relation to the conditions and challenges of contemporary construction practice. Introducing a tectonic relation between furniture, architecture and construction the course herein suggests a critical approach to contemporary architectural practice in which the sensuous and spatial qualities of form are often lost in the search for effective and economical solutions. Hence in attaining a problem based approach to these challenges of contemporary architectural practice this critical analytical approach to the architectural construct is to be explored theoretically and practically through the workshop ‘FURNItecture, tectonic theory and experimentation in practice’ . This workshop, which is described in detail below, combines practical group work with individual theoretical reflections in relation to tectonic design in developing an individual positioning to the subject. It is herein the intention to:

provoke a theoretical discussion of the architect’s role within contemporary practice, herein a critical and reflective approach to the use of forms, structures and materials in tectonic design,

explore future potentials for how to approach this practical realm tectonically through the development of a tectonic design in practice.

7.1 Course Descriptions

Note The students have to organize materials and tools for the SET course module workshop together with the coordinator.

Course 1 Tectonic culture and scale

Type of Instruction

Lecture and workshop introduction

Course holder Assistant Professor, Marie Frier Hvejsel, Department of Architecture, Design & Media Technology

Content This course unit introduces the notion of scale in relation to tectonic design, herein discussing the purpose of our constructions at a given scale and whether it is possible to use this notion of scale in a critical tectonic analysis of a particular work of architecture? In this matter particular examples are discussed and analyzed in plenum.

In addition the lecture introduces the workshop ‘FURNItecture, tectonic theory and experimentation in practice’.

Litteratur Primary Literature

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Kenneth Frampton ‘Studies in tectonic culture’ pp. 1-28Marco Frascari ’Tell the tale detail’ (whole paper)

Secondary LiteratureKenneth Frampton ‘Rappel à l ‘ordre, the case for the tectonic

Course 2 Dressing

Type of Instruction

Lecture


Content This lecture discusses the origins of construction using Gottfried Semper’s account for the necessary intimacy and sensuous approaching of the construct to the human body as a point of departure. Arguing that construction sprang from the technique of weaving and from the sensuous act of dressing the human body, Semper’s theories offers a means for critically addressing contemporary architectural construction, in which the sensuous and spatial qualities of form are often lost in the search for effective and economical solutions.

Litteratur Primary LiteratureGottfried Semper ‘5 points’… pp.Gottfried Semper ‘Envelope…..dressing pp. ??-??

Secondary LiteratureHer angives øvrige kilder, undervisers publikationer mm.

Course 3 ’System’

Type of Instruction

Lecture


Content Using Werner Blaser’s wirtings and works as a point of departure, this lecture discusses the challenges of contemporary architectural construction in relation to the tectonic, herein the need for economy and system and its relation to the tectonic solution of the constructive joint itself.

Litteratur Primary LiteratureWerner Blaser ‘Joint-Connection’ pp. ??Werner Blaser ‘Architektur im Möbel : vom Altertum zur Gegenwart = Furniture as architecture’ pp. ??Werner Blaser ‘Element, System, Möbel : Wege von der Architektur zum Design’ pp. ??

Secondary LiteratureAnne Beim ‘Tectonic Visions in Architecture’ Standards of Ideal Construction

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Elements – Jørn Utzon pp. 123-137

Course 4 Furnishing the joint?

Type of Instruction

Lecture


Content This lecture discusses the tectonic relation between furniture, architecture and construct by pursuing means for pursuing a critical theoretical and physical practical linkage of the sensitivity and poetry of the furniture scale with a critical positioning towards the necessary economy and system logic of the practical realm of architectural construction through the tectonic act of joining structural elements.

Litteratur Primary LiteratureMario Praz introduction to ‘History of Interior decoration’ pp?

Secondary LiteratureMarie Frier Hvejsel ‘INTERIORITY- a critical theory of domestic architecture’ (chapter 6)

Course 5

Type of Instruction

Lecture

Course holder Assistant Professor, Anders Gammelgaard Nielsen, The School of Architecture, Aarhus

Content Through a detailed exploration of the properties of plywood this lecture provides a particular insight into its particular tectonic potential. The lecture herein serves as an example, as to how a detailed understanding of a particular material can be exploited tectonically in architectural construction. Whereas this knowledge is directly applicable in the course workshop here, you should think of it as an example of an approach to materials in general to be pursued in your future design processes.

Litteratur Primary LiteratureGammelgaard plywood dissertation… pp.


Course 1

Type of Instruction

Workshop

Course holder Assistant Professor, Marie Frier Hvejsel, Department of Architecture, Design &

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Media Technology

Content This description elaborates upon the particular content of the workshop which makes up course unit 6-12:

In opposition to the building envelope itself, furniture posses a particular ability to directly address the human body. The chair can invite us to sit up straight and focused as on a lecture room stool, it can embrace us as in the soft upholstery of a lounge chair; it can also direct our attention towards other persons, perhaps even imply a kiss such as in the ‘tete à tete’.

As implied in the subtitle of the course, ‘FURNItecture’, this workshop experimentally explores the tectonic relation between furniture, architecture and construct theoretically and practically. Through the workshop each group is intended to practically pursue this experiment through the design of ‘a place to sit’ exploiting the particular properties of plywood. Simultaneously each individual student is intended to pursue this experiment theoretically in preparing a written paper on tectonic design accounting for- and critically reflecting upon the design process. Hence, it lies at the core of the workshop to pursue a critical theoretical and physical practical linkage of the sensitivity and poetry of the furniture scale with a critical positioning towards the necessary economy and system logic of the practical realm of architectural construction through the tectonic act of joining structural elements. Thus, in approaching the workshop you should be conscious that what you are designing is not a chair in the usual detached sense of the word, but a spatial element which addresses its context architecturally in creating ‘a place’ uniting furniture, architecture and construct. The design of this ‘place to sit’ should herein be considered a possible basis for the design of larger tectonic structures (such as the LIVING bridge project which you are designing in the main project of the semester), but takes its point of departure in the immediate intimacy and proximity to the human body which is explicit of furniture design. It is herein the task of each group to pursue a practical utilization and application of the analytical and critical approach to the unification of form, material and technique discussed in the lectures through the workshop.

The design must consist mainly in plywood plates, which can be cut into lamellas, used as shear walls and plates, bended, milled etc., hence, it is a part of the task to explore and exploit the particular potential of plywood. In addition hereto it is allowed to use one other material in detailing and joining the tectonic elements of the design. Each group has two 1220x2440 mm plywood plates with a thickness of ?? mm at their disposal, in designing and fabricating such ‘place to sit’ on the basis of sketches, physical scale models and a critical account of the process. Hence, each group must consider carefully the use of material and prepare precise construction drawings before jumping to action in the workshop. The final design must by fabricated in 1:1 as a carefully finished tectonic design; not as a model! After the evaluation 5 designs (MFH find ud af om vi kan udstille I Utzon, hvor og hvor meget plads vi kan få) will be selected for exhibition

In addition to the physical design of ‘a place to sit’ in plywood, which is done in groups, each student must prepare a written paper on tectonic design accounting for- and critically reflecting upon the design process. It is herein the task of each individual student to pursue a theoretical utilization and application of the analytical and critical approach to the unification of form, material and technique discussed in the lectures through the workshop. The specific requirements for both the individual written paper and the group design are listed below.

A schedule stating the workshop ‘slots’ for each group as well as a supervision schedule will be provided in Course Unit 1. Using these schedules as a basis it is

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the responsibility of each group to structure their design process and the responsibility of each individual student to structure their reading and writing process. We look forward to spending time discussing tectonic design with you in the workshop as well as in the library!

For the precise evaluation and hand in criteria see ‘Submission requirements’ above.

Literature Primary LiteratureAngiv semesterrelevant litteratur. Primær litteratur er det obligatoriske.Husk at angive sidetal/kapitler.


8 Course module 2: Engineering Architecture and Tectonic Design

5 ETCS Tektonisk design

Coordinator Assistant Professor, Alberto Pugnale, Department of Civil Engineering.

FormalitiesCurriculum p. 36

PrerequisitesA BSc degree (Bachelor) i Architecture and Design or similar.

ObjectiveThe aim of the course is to enable students to acquire the understanding required to develop tectonic designs which respect the overall integrity of an architectural idea, particularly with regard to structural systems and architectural room acoustics. Finite element design is used as a tool for analyzing complex structures and for the dimensioning of structural elements. The student must create a synthesis between aesthetic and constructive form-making using physical, virtual, and calculation modeling techniques.


Knowledge Must have knowledge of computational tools and strategies for analysing

large, complex architectural bodies with respect to engineering and constructive principles

Must have knowledge of aesthetic and constructive form-making, in a process of physical, virtual, and calculation-modeling techniques, especially with reference to more recent computational design tools and methods

Skills Must be able to use computational tools for analyzing large complex

architectural bodies, in order to adapt the design of the project according to the engineering and constructional implications and requirements

Must be able to use computational tools as an integral part of the creative, form-generating process by applying such design tools in the conceptual

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design phase of architectural proposals

Competencies Must be able to create a synthesis of aesthetic and constructive form-

making using physical and virtual modeling techniques Must be able to present a design development that explores the potentials

and limitations of computer-based form generation in the architectural design process

Submission Submission RequirementsIn detail, the students must present at the exam individual FEM exercises, individual documentation and reflections on the construction workshop, group report on 'reading structure and construction in architecture'. The content of this report will be outline in the course units for each lecture.

According to the taxonomy parameters, the assessment criteria for this course are aligned with the teaching activities based on PBL, which are also aligned with the Intended Learning Outcomes (ILOs), as reported in the Curriculum for the Master program.

Assessment Version D – Mini-project moduleThe module is assessed with an oral exam based on written material prepared by the individual student such as a portfolio presentation or a (possibly jointly prepared) project module report (containing the report/analyses/posters/drawings/models or similar). It is further presumed that the student has regularly and actively participated in evaluation seminars.

Instruction The course module ‘Engineering Architecture’ is a 5 ECTS technical module aimed to provide the students basic structural and acoustic principles to be used for the development of tectonic architectural projects. Further ‘Finite Element Analysis’ focusing on the use of Autodesk ROBOT is included. Finally ‘Formfindings’ is introduced focusing on the strong relationship between form and structure and dealing with physical and computational techniques of morphogenesis/optimization.

The course "Engineering Architecture" is calibrated to require the students an effort of 150 working hours. According to the Problem-Based Learning (PBL) method, implemented in all teaching/learning activities at Aalborg University, the course is organized in lectures and workshops, but also exercises, individual studies and preparation of material and documentation for the exam. Such structure allow the students to focus on simulations of real (architectural) (design) problems related to the topics of the course, learning simpler declarative knowledge, as well as more complicated functional one, by means of individual/group working for the solution of the assigned tasks. In order to achieve the previous goals (reorganized starting from the study guide) this contribute could be structured as follow: 8 lectures (12 hours + 40 of individual study) of 45+45 minutes each, divided

in:- 3 lectures of Structures and Building technology, intended to discuss

main structural principles and typologies, as well as related construction techniques (grouping part of BT&AD and FF). Besides the lectures the students are called to prepare a group 'reading' of a famous architecture in terms of structural system and calculations (see next course activity for details). The results of such works are

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collectively discussed during the last lecture;- 2 lectures related to FEM, aimed to present the theory of Finite

Element Method used by digital structural solvers, thus focusing in the use of Autodesk ROBOT. Such lectures should be provided before the last lecture of the previous point in order to allow the students to use FEM knowledge for the preparation of their group works;

- 2 lectures related to Form-Finding and morphogenetic techniques used for the design of shape-resistant structures. In this context, the original concept of form-finding of structures could be extended to the optimization of geometrical and construction aspects of structures, such as the planarity of PQ grid-shells, as well as of acoustic behaviour of architectural elements, such as roofs and ceilings. These lectures should be provided after a basic knowledge of main structural principles, typologies and digital calculation of structures. The purpose is to show the students some design tools but, at a higher level, to reason about the development of the concept of form-finding from its pioneering use by Gaudì until the last research directions stimulated by the invention of parametric design, digital fabrication and computational techniques;

- 1 lecture related to the principle of reciprocity in timber structures, aimed to give the students an introduction of the following workshop, dealing with the design and construction in (actual?) scale of timber reciprocal structures. Such activity should be coordinated/synchronized with the design and construction workshop included in the course "Studies and experimentations in tectonic culture" (5 ECTS);

1 group exercitation related to the 'reading' of a famous/innovative architecture (60 hours) in terms of understanding of the overall structural system and the repetition/hypothesis of original structural calculations. Different case studies (Kimbell Art Museum by Kahn, Fallingwater by Wright, Expo '98 by Siza, Centre Pompidou by Piano, Rogers and Rice, Sport palace in Rome and Palazzo del Lavoro in Torino by Nervi, the Church of Longuelo by Pizzigoni, Kakamigahara crematorium by Ito and Sasaki, Kresge auditorium at MIT campus, Bonnefanten museum by Rossi, etc) are provided to the students, who work in groups and prepare a document in which they describe and illustrate the overall structural system and behaviour of the building, make the structural calculations, reflect on the relationship between architecture and structural/technical choices on their specific project.

1 design and construction workshop ( Timber reciprocal bridge ) of 4 days (28 hours of workshop + 10 hours individual study and design) dealing with timber reciprocal structures;

- This workshop deals with the architectural design and construction of a hypothetical timber bridge, to be developed on the basis of the principle of reciprocity. The attention is focused on the potential of such a principle to create architectural spaces and long, light and complex structures. Furthermore, on the possibility of developing

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effective timber joints and connections, design shape-resistant structures with the aid of physical and computational techniques, and experiment in actual scale the construction of a prototype of a piece of architecture.

- Literature:Specific scientific articles on construction workshops and documentation are provided during the workshop.

- Material for Assessment: Short report with sketches, drawings, pictures, other documentation material and personal reflections on the 8th lecture and the construction workshop with respect to the main topic of the course (structures, form-finding, etc).

Content In this framework, the development of ‘Engineering Architecture’ attempts to group common topics and purposes of previous courses, starting from the generalization of the title which is now using the word 'engineering' to refer to structural, acoustic, material and construction principles and techniques with a single wider term. Some similar stressed points and goals of previous courses can be summarized as follow: On structures and computation (morphogenesis and optimization):

- knowledge of structures in terms of describing and comparing structural principles and structural typologies (shells, plates, frames, etc), as well as of making (FEM) calculation and using form-finding and computational techniques for the development of tectonic architectural projects;

- knowledge of technical vocabulary, involving the use of precise terminology to refer to structural typologies, optimization techniques and calculations during oral presentations and written reports;

On technology, thought and design practice:- at a high level, the students should use computational tools and

techniques as an integral part of the architectural creative process, experimenting their potential and limits in terms of conceptual supports for designers;

- development of higher consciousness on how technology (to be intended in its wide significance) modifies the mechanisms of human thought in order to perform a more rational use of them during the design activity (traditional design tools and techniques, such as papers and pens, sketches, geometrical projections, perspectives, physical models, CAD drawings and simulations, etc);

On materials, construction techniques and details:- knowledge of construction techniques, involving the use of timber,

concrete and, if necessary, prefabricated systems for the design of architectural project;

8.1 Course Descriptions

Note The students have to organize materials and tools for the EA course module workshop together with the coordinator.

Course 1 New technologies in architectural design - overview, terminology and

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research fields (form-finding, parametrics, digital fabrication, etc)

Type of Instruction

Lecture

Course holder Assistant Professor, Alberto Pugnale, Department of Civil Engineering.

Content The general aim of this lecture is to provide a brief state of the art about the present use of new technologies inside the architectural design process. Taking as reference the exhibition “Non-Standard architectures”, taken in 2004 at Centre Pompidou in Paris, the attention will be focused on the different approaches and research fields of the exposed projects, such as file to factory, parametric design, free-forms and BLOBs, and computational morphogenesis. The final part of this lecture will be dedicated to a practical example of what previously described, taking advantage of a well known case study – the parametric wall developed at ETH in Zurich.

Literature Primary LiteratureBalmond, C., Smith, J., Brensing, C., Jencks, C., & Koolhaas, R. (2002). Informal. Berlin, Germany: Prestel. (all book)Beaucé, P., & Cache, B. (2006). Vers un mode de production non-standard. Géométrie complexe et architecture. Archithese (4), 50-55. (all article)Gramazio, F., Kohler, M. (2010). Digital Materiality in Architecture. Lars Mueller Publishers. (all book)Migayrou, F. (Ed.). (2003). Architectures non standard. Paris, France: Centre Pompidou. (all catalogue)Spuybroek, L. (2004). Nox. London, United Kingdom: Thames & Hudson. (all book)www.som.com (section ‘ideas’)Pugnale A., Engineering Architecture, PhD thesis, 2010 (Chapter 1)

Secondary LiteratureSedlmayr, H. (1948). Verlust der Mitte. Salzburg-Wien.

Course 2 The 'philosophy of structures' - conception, typologies, calculation, form-finding and construction

Type of Instruction

Lecture


Content This lecture is inspired to the old Torroja's approach for teaching structures in architecture schools. However, this method based on intuitive understanding and use of typologies is just an inspiration to introduce and explain the structural functionality of various construction systems build up as shells, plates, frames, beams etc., competently understanding and assessing the architectural significance of such typologies in connection to the idea of a project. The lecture is completed with a focus on form-finding, a technique developed for shape-resistant structures, considering the evolution of this concept from early pioneering experiments by Gaudì until the more recent research directions with digital tools.

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Material for Assessment:Introduction to the group working on the 'reading' of the structural conception/system and construction techniques of some assigned case studies.

Literature Primary LiteratureTorroja, E. (1958). Philosophy of structures (1st ed.). (J. Polivka, & M. Polivka, Trans.) Berkeley, California, USA: University of California Press.Bechthold, M. 2008. Innovative Surface Structures – Technologies and Applications. Taylor and Francis (all book)Otto, F., & Rasch, B. (1996). Finding Form: Towards an Architecture of the Minimal. Edition Axel Menges (all book)Sasaki, M. (2005). Flux Structure. Tokyo, Japan: TOTO (all book)

Secondary LiteratureFurther readings are provided during the course on the basis of personal interests of the student.

Course 3 Towards a Computational Morphogenesis in architecture - Tools, strategies and outstanding references part 1

Type of Instruction

Lecture


Content This lecture provides a more detailed focus on Computational Morphogenesis. Here, other possible roots of Computational Morphogenesis are discussed presenting the early studies and experimentations with computer technologies and Evolutionary Algorithms. Then, they are put in relationship with the previously evolution of structural form-finding researches with the aid of three recent architectural applications of Computational Morphogenesis (structure, acoustics, geometry). Furthermore, the lecture presents some of the major international architectural experiences in which Computational Morphogenesis has been an integral part of the form-generation creative process. Famous firms projects will be described, such as the works of SOM and UnStudio, as well as other less known interesting case studies.

Literature Primary LiteratureFrazer, J. H. (1995). An Evolutionary Architecture. London, United Kingdom: Architectural Association Publications.Pottmann, H., Asperl, A., Hofer, M., & Kilian, A. (2007). Architectural Geometry (1st ed.). (D. Bentley, Ed.) Bentley Institute PressKirkegaard, P.H. , 2005. Buiding and Room Acoustics. Aalborg University Press. (pp. 1-52)Egan, M.D., 1988. Architectural Acoustics (pp. 172-196)Pugnale A., Engineering Architecture, PhD thesis, 2010 (Chapters 4-5-6)

Secondary LiteratureFurther readings are provided during the course on the basis of personal interests of the student.

Course 4 Introduction to the Finite Element Method (FEM)

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Type of Instruction

Lecture


Content This lecture introduce the theory of FEM with a historical overview and definition of the concept (stiffness matrix, etc). In addition, it prepares the students for the following lecture about modelling with a FEM program (work procedure, Eurocodes, etc). An Autodesk ROBOT tutorial with exercises is provided at the end of the lecture for individual studies in order to use the following lecture only for an advanced workshop and specific questions on modelling and analysis in Autodesk ROBOT.Material for Assessment:Exercises on FEM, to be verified at lecture 4 .

Literature Primary LiteratureSmith I.M., Griffiths D.V., Programming the Finite Element Method (4th editions).Further readings:Further readings are provided during the course on the basis of personal interests of the student.

Course 5 Towards a Computational Morphogenesis in architecture - Tools, strategies and outstanding references part 2

Type of Instruction

Lecture


Content In the second part of this lecture architectural design is considered as a practice characterized by an intense and sometimes unconscious use of ‘technologies’ that inevitably interacts, modifies and sometimes even defines the designer’s mental structures. In this conceptual frame, technology implicitly acts as an expansion of human natural skills, therefore becoming a central aspect and subject of experimentation itself.

Literature Primary LiteraturePugnale A., Engineering Architecture, PhD thesis, 2010 (chapter 7, and further writings provided during the lecture).Ong, W. J. (2002). Orality and Literacy: The Technologizing of the Word (2nd ed.). New York, USA: Routledge (all book).Lawson B. (2006). How Designers Think: The design process demystified, 4th ed., Oxford: Architectural Press. (all book).Goel V., Sketches of thought, 1991 (all book).

Secondary LiteratureFurther readings are provided during the course on the basis of personal interests

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of the student (possible authors: Minsky, Dennett)Edwards, B. (1999). The New Drawing on the Right Side of the Brain (Rev. Exp. ed.). Los Angeles, California, USA: Tarcher.Feyerabend, Against Method: outline of an anarchistic theory of knowledge (preface)

Course 1 Finite Element Design - Modelling and analysis with Autodesk ROBOT

Type of Instruction

Lecture


Content This lecture focuses on the use of Autodesk ROBOT as FEM solver. It is required the completion of some exercises in order to attend the lecture, and the class time is used for dealing with more complex case studies, analysis of results and dimension of structures.

Material for Assessment:Correction of exercises prepared for lecture 3.

Literature Primary LiteratureEurocode 0 , Eurocode 1

Course 7 Reading structure and construction in architecture

Type of Instruction

Seminar


Content This lecture is organized as a seminar in which the students present the results of their group works on the assigned case studies at lecture 2. The presentations are collectively discussed.

Material for Assessment:Report with the 'reading' of an assigned case study

Literature Primary LiteratureEisenman P., The formal basis of modern architecture, PhD dissertation, 1963 (look at the general organization of the thesis and the method of 'reading' architectures)

Secondary LiteratureFurther readings are provided directly by the students using the references and citations from their reports and material for the seminar.

Course 8 The principle of reciprocity in timber shell and spatial structures

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Type of Instruction

Lecture


Content This lecture introduces the construction workshop about timber reciprocal structures, describing the concept of reciprocity and its peculiarities, with a historical overview and physical/computational techniques of form-finding/morphogenesis.

Material for Assessment:Ideas, sketches, drawings and models for the construction workshop

Literature Primary LiteraturePugnale A., Parigi D., Kirkegaard P.H., Sassone M., The principle of reciprocity, 2011 (all article, and further developments of the text)Popovic Larsen O., Reciprocal Frame Architectures (all book)

Secondary LiteratureFurther readings can be found in the reference list of: Pugnale A., Parigi D., Kirkegaard P.H., Sassone M., The principle of reciprocity, 2011.

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9 Free Study Activities and Study Trips

Conditions: Completion of free study activities requires enrollment of minimum 25 students.

9.1 Free Study Activity 1: Architecture Study Trip to Stockholm and Finland(3 ECTS)

Coordinator Associate Professor, Adrian Carter, Department of Architecture, Design & Media Technology

Lecturers Associate Professor, Adrian Carter, Department of Architecture, Design & Media Technology

Associate Professor, Peter Mandal, Department of Architecture, Design & Media Technology

Purpose Architecture Study Trip to Stockholm and Finland.

Objectives The study trip provides an introduction to Modern and Contemporary Nordic architecture and serves as source of inspiration for the semester project module.

Literature LiteratureLund, N-O, (2008), Nordic Architecture. Arkitektens Forlag.

Submission Evaluation of the study trip will be through the submission of personal sketch books at the completion of the trip. Specific buildings are marked in the study trip programme and these at least should be illustrated in the sketch books. A minimum of 15 minutes is allocated in the programme at each specific location for this purpose. It is recommended that the sketch books should be A5 size, but this is up to personal choice.

Assessment The module is passed by the student’s regular and active participation in one or more evaluation seminars.

Instruction The study trip takes place in the period 24.9.11-06.10.11

Content To be announced. Will be available at the semester homepage before semester start.

Destination Sweden and Finland

Preparation A guest lecture ‘Introduction to Nordic Architecure’ Wednesday 21st September with Niels-Ole Lund

Materials Sketch and notes books, Camera etc.

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10 Enclosures

10.1 Enclosure 1: Plagiarism and correct referencing

Vigtige retningslinjer vedrørende plagiering og korrekte referencer.

Brugen af Internettet gør det nemt at finde kilder og gode tekster, der beskriver spørgsmål, der er relevante for dit projekt. Desværre gør Internettet det også lettere at misbruge sådanne kilder, fordi alt kan kopieres ind i dine egne dokumenter. Dette er imidlertid ulovlig plagiering. Der tages stærkt afstand herfra, og det skal for enhver pris undgås. Det samme gælder selvfølgelig trykte kilder.

I det hele taget skal du ikke bruge en anden forfatters vendinger, medmindre der er en særlig grund hertil. I sådanne tilfælde skal vendingerne markeres klart i rapporten ved at skrive dem med kursiv eller i anførselstegn kombineret med en henvisning til forfatteren. Hvis du undlader at gøre dette, er det plagiering. Også selv om du ikke havde til hensigt at snyde.

Omskrivning af en forfatters arbejde skal forsynes med korrekt kildehenvisning. Det er ikke tilladt at præsentere en anden forfatters idé uden at referere til forfatteren. Hvis dette undlades, er det plagiering. Diagrammer, figurer, tabeller, fotos og andre grafiske repræsentationer, der er baseret på en kilde, skal forsynes med korrekte kildehenvisninger. Hvis dette undlades, er det plagiering. Dette gælder også, hvis du selv laver en genskabelse af den pågældende repræsentation.

Vi har tilpasset en tommelfingerregel fra Oxford Universitet, der siger, at “hvis 6 eller flere på hinanden følgende ord er de samme som i kilden”, så skal de markeres som et citat som beskrevet ovenfor og klart forsynes med kildehenvisning. Desuden – igen inspireret af Oxford Universitet – ”skal færre end 6 ord også sættes i anførselstegn, når du låner en særlig træffende eller slående vending”.

Hvis du anfører sådanne kildehenvisninger, viser det, du er en belæst studerende, der kender studiets fagområde.

Plagiering er fuldstændig uacceptabelt og vil medføre afvisning af rapporten og bortvisning af den studerende fra Aalborg Universitet.

Omfattende brug af korrekt refererede citater fra enkelte kilder – ~fra 1/3 side eller mere – med den begrundelse, at “de skriver det bedre, end vi kan” er ikke plagiering og derfor ikke ulovligt. Det er imidlertid et dårligt skøn og betragtes som dårligt studenterarbejde, hvilket giver et generelt dårligt indtryk. Omfattende brug af korrekt refererede citater fra enkelte kilder kan selvfølgelig være relevant under særlige omstændigheder, som fx hvis du ønsker at diskutere et EU-direktiv, hvor det kan være passende at anvende fx en hel side til den faktiske tekst.

Der findes mange referencesystemer. Brug et system konsekvent gennem hele rapporten og gennem hele processen inklusive kladder. En sjusket referencemetodologi under forberedelsen af kladder vil give problemer, når du skal skrive den endelige rapport. Du vil sandsynligvis glemme, at dele af din tekst faktisk er citater – og disse dele vil blive betragtet som plagiering i den afleverede rapport. Aalborg Universitets bibliotek tilbyder studerende kursus i referencehåndtering i Refworks. Se nærmere herom på: http://www.aub.aau.dk/studerende/refworks/.Bruger du imidlertid ikke et referencehåndteringprogram, anbefaler vi dig at bruge

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http://www.aub.aau.dk/studerende/refworks/

Chicago-stilen (Harvards efterfølger), som du kan læse en nærmere beskrivelse af på: http://wwwlib.murdoch.edu.au/find/citation/chicago.html

Hvis du er i tvivl, spørg din vejleder.

10.2 Enclosure 2: Guidelines for difficulties in cooperation

Samarbejdsvanskeligheder internt i projektgruppenSåfremt der opstår alvorlige samarbejdsvanskeligheder i en projektgruppe, skal Studienævnet for Arkitektur og Design efter en skriftlig anmodning fra gruppen eller fra en/flere studerende, ledsaget af en skriftlig udtalelse fra hovedvejlederen, vurdere, om der er grund til indgriben. Herunder i værste fald deling af projektgruppen eller udelukkelse af studerende fra projektgruppen. Anmodning om behandling af sådanne samarbejdsvanskeligheder skal være Studienævnet for Arkitektur og Design i hænde senest 1. december eller 1. maj.

Samarbejdsvanskeligheder mellem projektgruppe og vejledereSåfremt der opstår alvorlige samarbejdsvanskeligheder mellem en projektgruppe og dens vejleder(e), skal Studienævnet for Arkitektur og Design efter skriftlig anmodning fra gruppen eller vejleder(e) søge sagen løst, herunder vurdere om der er grund til at fremskaffe en ny vejleder/nye vejledere til gruppen. Anmodning om behandling af sådanne samarbejdsvanskeligheder skal være Studienævnet for Arkitektur og Design i hænde senest 15. november eller 1. april.

10.3 Enclosure 3: Re-examinations(Examination Policies and Procedures p. 19-23)http://www.tek-nat.aau.dk/digitalAssets/18/18291_eksamensordning-_engelsk.pdf

8. Re-examinations and make-up examinationsRe-examinations, re-examinations following an appeal and/or make-up examinations in a program activity are held in the time between ordinary exams if there are students who require this in accordance with the provisions in section 8.2 or 8.4. Make-up exams are held as a rule at the same time as re-examinations.If the student has failed a program activity at the ordinary examination, or at the re-examination or the make-up examination immediately following it, the student must re-take the program activity (under normal circumstances for the 3rd attempt). In such cases, the normal rules for the examination format apply and the student must register for the activity via the STADS self-service system.With the 3rd, 4th and 5th attempts on internal examinations that are assessed solely by one internal examiner, the student can demand, with written request to the study board, that more than one assessor be involved. The communication must be received by the study board no later than 3 weeks before the examination is to be held.8.1. Number of examination attempts etcExaminations that have been passed cannot be re-taken.A student has the right to a total of 3 examination attempts.The study board, upon application, can permit a 4th or 5th examination attempt if there are special circumstances. In this context, the lack of academic aptitude is not a special circumstance.The Dean, in exceptional cases, for students who are registered for a Bachelor’s or Master’s program, and, moreover following the same conditions stated above, can allow more than 5 examination attempts. This applies especially with an eye toward the student who needs only to pass a single examination in order to have completed the study program. An application for this is submitted to the faculty office.

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For students who are registered for a Professional Bachelor’s program or a Diploma program, the Ministry of Education can allow more than 5 examination attempts if there are special circumstances. An application for this is submitted to the faculty office who handles the case.8.2. Holding and taking re-examinations and make-up examinationsStudents can only take a re-examination if they have taken the ordinary examination in the same semester or with permission from the study board.Students can only register for a make-up exam if a doctor’s certificate has been submitted in accordance with that which is stated in section 8.3.Re-examinations or make-up examinations are only held if there are students who, with reference to the above, have the right to take the exam.The date the re-exam and/or make-up exam is to be held, as well as the location and the starting time for the exam, is announced in accordance with the provisions in section 1.1. Students who are required to attend the re-exam or make-up exam must have the possibility within the following time periods:1) For ordinary exams held during the spring semester (summer exam): No later than August2) For ordinary exams held during the fall semester (winter exam): No later than February8.3. Documented illness and make-up examinationsIn the case of illness, the program secretary must be contacted as quickly as possible.For absence due to illness, the student is registered as ―absent‖ unless a doctor’s testimonial, that documents that the student was ill at the time the exam was held, is submitted to the program secretary. The same applies if it was necessary for the student to leave an examination room due to illness during the exam and is entitled to a make-up exam.In general, the doctor’s certficate can only be accepted as documentation of a valid reason for absence if the student has consulted with the doctor on the actual day of the exam. Any expenses for obtaining the certificate are paid by the student.The doctor’s certificate must be submitted no later than 2 weeks after the exam is held. With submission of the doctor’s certificate on time, the absent student is registered as ―ill‖ and the absence thus does not count as an examination attempt.Make-up examinations are held under the conditions that apply for re-examinations.8.4. Re-examination and re-assessment following an appealA re-examination following an appeal is understood as an extraordinary holding of an examination (i.e., outside the ordinary exam periods) in a program activity, where the holding of the exam is due to the student having been offered a re-examination in connection with a complaint or an appeal, or is due to an exam in connection with a complaint or an appeal, or because of an irregularity in an exam, an exam is annulled and a re-examination is arranged.Re-assessment means a re-evaluation of the case file, including the assignment, the answer to the assignment, the complaint, the statement of the original assessors, the complainant's statement, the complainant's comments and the university's decision by new assessors prompted by the student having been offered re-assessment of a written test in connection with a complaint or an appeal.A re-examination or re-assessment in connection with an exam appeal can result in a lower grade than that which was given for the examination which the appeal concerns.A re-examination or re-assessment following an appeal must be completed as soon as possible.8.5. Re-examination in projectsRe-examination in a project can take place in the following ways:a) The student is assessed according to the rules corresponding to those of the previous examination on the basis of the original project report.b) The student submits a project report that, in relation to the original report, is revised and/or extended. The revised project report is handed in before the

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expiration of a time limit agreed upon with the main supervisor. The student is assessed according to the rules corresponding to those of the previous examination, but on the basis of the new project report.c) The student is assessed on the basis of a new project.If a re-examination is due to the fact that the student has not passed an exam, a short written statement must be prepared on the initiative of the main supervisor and sent to the student and the study board no later than 8 days after the exam is held. The statement must include information on the reason that the student’s performance could not be considered as fulfilling the objectives of the project, and a substantiated recommendation stating in which of the above ways the re-examination should take place. In connection with this, guidance is given to the student as to what improvements will lead to the student being able to fulfil the objectives of the project.The study board makes a decision on the way the re-examination is to take place. The decision is made on the basis of a recommendation, if any, from the main supervisor and a statement from the student obtained with at least one week’s notice.The time period for holding the exam is stipulated by the study board on recommendation from the main supervisor and the student with 4 weeks’ notice. The time limit can be shorter than 4 weeks if this has been accepted by the student.Particularly for Master’s theses, the student hands in a project report with a revised formulation of the subject matter within a stipulated deadline, after which an exam is held on the basis of the new project according to rules corresponding to those of the previous exam. See also the regulations on this in the Framework Provisions (Section 5.1.2.3)A similar procedure is used with any additional re-examinations.8.6. Re-examination in coursesA re-examination in a course is normally held no later than 8 work weeks after the ordinary exam. The date the exam is to be held is communicated to the students in accordance with the provisions in section 1.1. An individual, written registration is submitted to the program secretary.The examiner can decide that a re-examination in a course can have another examination or assessment format than the ordinary exam. If another examination or assessment format is selected, this must be communicated to the students no later than the announcement of the date the exam is to be held.Students who must have their class participation evaluated a second time can demand to take an exam instead. Class participation that involves practical exercises, however, cannot be replaced with an examination.

10.4 Enclosure 4: Generel submission requirements(http://studieweb.aod.aau.dk/studieinfo/projektaflevering)

The student must be aware of a range of submission requirements. Below are outlined, numbers of reports and further requirements to be fulfilled at submission.Students doing internship or study exchange should follow the requirements in their respective pre-approvals.General submission demandsThe study board has the following general demands for project modules:Number of reports1 report for each primary supervisor 1 report for each co-supervisor1 report for each examiner1 report for the library (not for students substitution assignments)OBS: All reports must include an abstract. If the report is written in Danish, the abstract is in English. If the report is written in English, the language of the abstract is optional.Following must be at the front page of all reports:

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http://studieweb.aod.aau.dk/studieinfo/projektaflevering

- Project title - Semester- Specialization- Group number - Year- Number of characters - Optional: Names of the group members - Optional: confidential declaration - E.g.”Diver, MSc2-ARK8, 2011” or ”Flipside, BSc3-16, 2011” 54.587 characters.Confidential declarationAcknowledgement if the Study Board can use of the project material for PR, exhibitions, etc. Along with the project reports a confidential declaration must be submitted, whether the study board can use the project material for PR, exhibitions etc. The form must be signed by all group members.Formular - Dansk, Form - EnglishUpload to the digital project libraryBefore submission, the project must be uploaded to the university’s digital project library via: http://projekter.aau.dk/projekter/. Login is your STADS username and password. The receipt of upload must be handed in with the project.While uploading it is possible to mark if the project is confidential. If confidential, the project will only be accessible for the person(s) with authorization to the individual education’s archive. If not marked as confidential, the project will be present at the project library at http://www.projekter.aau.dk immediately after the assessment. For upload and further information about the digital project library, see the homepage.The form is (almost) self-explaining. Though, please note the following. •There must not be any CPR-numbers in the uploaded files. • Confidential: Always chose whether a project is confidential or not. • Contact information: Write one of the authors’ names and e-mail address. • Publisher: Write ”Arkitektur & Design, Aalborg Universitet”/”Architecture & Design, Aalborg University” or just ”Aalborg Universitet”/”Aalborg University”. • Year of publication: The field is prefilled with the actual year. In case of year-end, fill the actual year. • Keywords: Added one at a time, not in a long line. • Files: Pdf-files are recommended.

Receipt: After filling the project library a receipt appears on screen, print it immediately, as it cannot be recreated after logging out. The receipt must be handed in to the secretary together with your project report.Semester evaluation Together with the project submission the semester evaluation form must be submitted. The evaluation form is submitted by group, and one form must be submitted for each project module and course module. Note: The form must be printed in A3.The information in the evaluation form will not be passed on to the supervisors before the exam.Each project module and course module must be evaluated individually.Evalueringsskema (print A3!) Evaluation form (English) (print A3!)

Poster for exhibition - Demands for fall semesters (BSc01, BSc03, BSc05, MSc01 and MSc03) and (BSc06 and MSc04)After the exam 1 A0-poster in portrait (841 x 1189 mm) on 5 mm foamboard must be submitted to the secretary with the following content:• Name • Semester • Year• Project title• Synopsis• Abstract of the project. Min 300 words.

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• Illustrations

Demands for BSc06 and MSc04Project title formAlong with the report a title form must be submitted with the title of the project. The title must be in both Danish and English – independent of the written language.Titelblanket BSc6 Title form – MSc4Further specific submission demandsBeside the above defined demands, the individual semester might have specific demands outlines in the respective study guides.Label for CDs If a CD must be submitted together with the report according to the semester specific demands, following label must be used:Label - CDPlease notice: The assessment result will not be notified before all requirements are fulfilled.

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