ITG Assignment #3

ArchiCAD Interactive Training Guide

- Chapter 6 (Documentation: Zones, Dimensions and Detail Callouts)
- Chapter 7 (Documentation: Interactive Element Schedules and Lists)
- Chapter 10 (Documentation: Layouting)

Finish above materials by the beginning of next class (Tuesday, July 31st, 10am)
** Chapter 8 & 9 (Presentation & Publishing) are optional

ITG Assignment #2

ArchiCAD Interactive Training Guide

- Chapter 3 (Design Evaluation: Developing the Exterior)
- Chapter 4 (Design Evaluation: Adding and Adjusting Openings)
- Chapter 5 (Design Evaluation: Adding Circulation and other Objects)

Finish above materials by the beginning of next class (Tuesday, July 24th, 10am)

ITG Assignment #1

ArchiCAD Interactive Training Guide

This training material is the easiest way to learn about capabilities and design sequences in ArchiCAD, and crucial to your project. You have to focus and follow every single step in the training material, to grasp full functionalities of ArchiCAD (in a broader sense, BIM).

- Getting Started (video clip, it has the introduction to user interfaces and navigation)
- Chapter 1 (Design: Creating the Building Envelop)
- Chapter 2 (Design: Completing the Building Envelop)

Finish above materials by the beginning of next class (Tuesday, July 17th, 10am)

Tuesday 10h00 McGill Studio

Welcome to MTLSummerII ConDocs,

The first MTLSummerII ConDocs meet at Tuesday (July 10th) 10h00 at McGill studio. Starting with progression check pinup:
- assignment 2 to 5 (Research, Control Line Drawing, Foundation, Structure, & Skin)
- wireframe printout of current 3d model
- everything you have until this point

Requirement for MTLSummerII ConDocs:
- ArchiCAD 10 is running on your machine
- update ArchiCAD & Library: open ArchiCAD 10, and Help > Check for updates…
- download and install "ArchiCAD Interactive Training Guide" from: http://www.graphisoft.com/products/archicad/ac10/ITG/

Tuesday . July 10th . 10h00 . McGill Studio

Meet on Thursday Morning

The weather suggests that our best chance for a good class are on Thursday morning. We'll meet at the corner of Ste-Catherines and St-Laurent at 10h00 and do a tour fo construction types ending at the Bibliotheque National for questions about your pavilions.

THURSDAY MORNING!!!

Sunday Meetings

I'll be at TamTam watching the medievalists on the downhill side at 13:30h and I'll be at Cafe Olympico at 15:30h for two hours. I'm ready for some condocking.

Donk your pavilion up right.


Brian

Small Group Meetings

I need to meet with you in small groups. Can a few of us meet on Friday, a few on Sunday, and a few on Monday (two meetings)?

Assignment #4: Foundations

Please build the concrete foundations of the project as they are found along the control lines. Build this on top of your Assignment #3 work. Put all elements on appropriate layers in the file. Post a image of your foundation work.

Assignment #3: Control Lines & Construction Taxonomies

What are the control lines that regulate and shape your project? What were the first lines inscribed on the site that guided the construction process?
What are the major components of your pavilion and what sequence would they have to be constructed in to build the structure?
For class on Monday the 11th of June have these two files ready and posted:
A) Create a dwg, dxf, or fmz 2-d drafted file that is useble as a base file by the modeling program you will use to model the pavilion later in the semester. In this file there should be a hierarchy of control lines, regulating lines, centerlines, setbacks, guidelines, and context limits. These should show geometric rhythm, hierarchy, and proportion in the pavilion. Use the sort of technical conventions used in your pavilion's drawing set in terms of lineweight and line type to delineate these (centerlines are almost always a long-short-long combo) types of lines. NO COLORS- Greyscale only and use even that sparingly.
Have a well delineated image posted to your website by Monday the 11th at 10am. The smallest size of the image of your drawing you post should be 1000px. We'll grade off these images. Make yours clear and sharp so we can grade accordingly and so you'll have a good foundation to start subsequent work from. Construct it
B) Research the basic ideas and techniques behind the Critical Path Method (CPM) and its diagramming tools- PERT and GANTT charts. Make a list of the trades and components of the building (you can use the associated specifications included in the set of drawing) and post it to your page. Then make a graphically sophisticated and informative CPM style chart of the construction process for your pavilion in illustrator. Post an image of this chart to your web page.

What relationship exists in your work between your summations in A and B? Does the set of lines drawn in A relate to the words describing the variety and order of trades and materialities in B?

That will keep you busy for a week.

Class Change

I have a proposal that should be good for all of us. Class on Mondays starts at 2PM and ends at 6PM. Rather than hold this class on Tuesday mornings, lets change it to Monday from 7 to 9PM! That way we'll all get all of Tuesdays as a personal work / touring day. You'll have an hour between classes to grab some food.

Let's start today! I'll see you at 2 and then again at 7. Today we'll meet at McGill for both meetings. I'll do a tour to Expo for you all on Tuesday. All will be welcome for that outing. We'll limit the Monday evening class meetings to just those enrolled so we can get down to the business of construction drawing.

Pavilion Choices

I've just assigned the remaining people their pavilions. If one of you wants to trade for Iran, let me know. I'll keep the choices posted here.
Asterisked pavilions are ones that I will use for additional research about experimentation with cinematic spaces of projection at Expo '67. Those with asterisks will be contacted about this in a few days. We'll all talk about this in a few weeks.

19 Place d’Accueil : Matt Slingerland
23 Labyrinth* : Justin Brown
24 & 25 Habitat : Jack Mussett
36 Polar Regions* : Will Denman
46 Netherlands : Scott Stewart
46 Scandinavia : Lauren Rentschler
47 Telephone* : Stuart Allison
47 Iran
47 Japan : Will Butler
48 Korea : Forrest "Damon" Faulkner
48 Maine : Mark Stanley
50 Western Provinces ; Adrian Larriva
54 Czechoslovakia* : Sean O'Brien
55 Cuba : Lauren Segapeli
55 Chatelaine Magazine : Jonathan Creel
57 & 58 Ethiopia : Akilas Abera
58 Kaleidoscope* : Brielle Rouse
59 CP/Cominco* : Craig Dixon

Assignment #2 : Archival Research

Once you select a pavilion and I verify your selection then you are ready to start research.

You will need to go to the Archives de Montreal.
Those of you whose pavilions are on the same reel (bobine) should go together to do this task.
There are two machines that read the reels and print them onto 11 by 17 paper. You will want to get the best copies you can possibly get. You will copy every image associated with your pavilion on the reel(s). The photocopies will cost you money.

Archives de Ville de Montréal
Hôtel de ville de Montréal
Salle de consultation Conrad-Archambault
275, rue Notre-Dame Est, R-108
Montréal (Québec) H2Y 1C6
(Métro Champ-de-Mars)
Heures d’ouverture : Lundi au vendredi (sauf les jours fériés) de 8 h 30 à 12 h 00 et de 13 h 00 à 16 h 30

LINK TO THE ARCHIVES

Everything about this archives is en francais. You research what you want, fill out a request slip, wait, receive your documents, and peruse.
I am emailing the archivists about you, what you will be doing there, and what you will need. I am friends with them and I work with them on my research. I am opening up this close contact to you all and trust that you'll impress positively on these people. You should just go in, be incredibly respectful, and engaged. Dress in better than your worst. Don't go in after working out. It is an archives- a clean space. NO FOOD.

The material in the archives is divided into "Fonds" (or Folios in English) which are collections of documents based on either who donated or the organization by which they were produced. The Fonds we're interested in are:
P67 : Collection de la compagnie de l'Exposition universelle de 1967 - 1964 à 1967.
Index 33 (23-5-1) There are 72 reels (bobines).

Find out these things:
Know these things:
Architect
Landscape Architect
Exhibition Designer
Engineer(s)

Site Location
Neighbouring Pavilions and Features
Construction Type
Cost
Duration of Construction
Date of Demolition (when demolished?)
Formal Definition
Programmatic Features
Dominant Method(s) of Construction
Dominant Method(s) of Exhibition

Once you're done at the archives go over to the Architecture Library (across the green from the building) and find the pavilion in images in print and on the internet.
Do an Avery Index search on it and it's architect in that time period. Get magazine articles that relate to your pavilion and the architect.

Assignment #1 : Selecting a Pavilion

I've published a syllabus to the right. In it is a list of possible pavilions that you can work with this summer. The list will be a first come, first served venture based on who emails me first at b.rex@ttu.edu with what choices. No other pavilions are available for consideration.

The number preceding the pavilion name is a reference to the reel # that holds the images. You can look it up on the link "Expo Construction Drawings" provided to the right. The first two numbers in the file name there is the microfilm reel number. (i.e. file name 40-1092 means the image came from reel 40 at counter number 1092)
19 Place d’Accueil
23 Labyrinth
24 & 25 Habitat
36 Polar Regions*
46 Netherlands
46 Scandinavia
47 Telephone*
47 Iran
47 Japan
48 Korea
48 Maine
50 Western Provinces
54 Czechoslovakia*
55 Cuba
55 Chatelaine Magazine
58 Kaleidoscope*
59 CP/Cominco*

Paper Prospectus: Drafting Grounds

Poster Presentation: Drafting Grounds


This board represents the first public representation of some of the 35,000 drafted drawings and images used to design and build Expo ‘67- the 1967 World’s Fair held in Montréal, Quebec. With the considerate support of the Texas Tech library’s interlibrary loan staff we’ve been able to borrow the 72 microfilm reels from the National Archives of Canada and we’ve scanned almost 2000 of the 35,000 images on them.1
The optimism and futuristic vision that Expo ‘67 presented is well documented in books and television documentaries. The space race was at full throttle. Technology was to pave a path to prosperity. Yet, behind this positive exhibition of progress there were some tough questions being asked about what seemed an almost blind optimism and instrumental roadmap for the future. Critical and passionate answers came in the form, content, and success2 of Expo ‘67. The architecture of Expo was a primary expression of this rare moment of criticality, optimism, and passionate energy. Its expression was a macho fest3 of beautiful construction geometries, systems thinking, and exhibition innovations by architects like André Blouin from Montréal, McGill University graduate student Moshe Safdie, the USA’s Buckminster Fuller, West Germany’s Frei Otto, and western Canada’s Ron Thom and Arthur Erickson.
A beautiful thing about World’s Fairs is that they’re as much temporal as they are formal. The constructions for a world’s fair are temporary structures. Only a handful of the 82 pavilions built for Expo ‘67 remain today. For most of these we only have the detritus of the event- postcards and postage stamps- ashtrays and aprons. Much has been written about the event and its structures. What’s fascinating about these drawings is this is where the designer’s intentions and the reality of presentation, delineation, organizing, specifying, and diagramming is now primarily held. The buildings may no longer exist but the architecture is here and clear in this mass of drawings and specifications.

Course Prospectus

FAIR CONSTRUCTION : Making Expo‘67

Expo’67, the 1967 World’s Fair in Montréal, was held on two man-made islands in the middle of the St. Lawrence River in the rapids in front of Montréal. These islands and the 83 innovative pavilions that were built on them were built in 4 years’ time specifically for the event. In recent research I’ve discovered the 35,000 blue-line drawings and specification sheets drawn to make the grounds of Expo’67 and each of the individual pavilions cataloged and documented on microfilm.

Educational Goals:

"Architects don’t make buildings. They make models and drawings of buildings."

Vito Acconci

You will be instructed on how to carry out an analysis of the construction drawing techniques used to make pavilions and projects at Expo’67 via your own drawing, research, observation, and critical skill building work. Students taking the course will learn more about making and recording direct field observations, learn to read a set of construction drawings, and learn rudimentary construction drawing techniques (line manipulation, drawing sets, and notational systems) while developing critical skills for reading and understanding an amalgam of fragmentary drawings as a sort of conducting score for the construction of a building and it’s surroundings.

References or Text:
The individual drawings are by Civil Engineers, City Planners, Architects, Contractors, Building Engineers, Interior Designers, Exhibition Designers, and Landscape Architects. These are available at the Archives de la Ville de Montréal in the basement of the City Hall (Hotel de Ville). I have 2,000 of 35,000 scanned and on an web page for your use. From these you’ll chose a pavilion or project to draw on.

Educational Requirements:
This course will be a graphical study of a building and the grounds that surround it.
It will entail the construction of a set of drawings. I’ll deliver a set of “on-site” presentations on the reasons for a fair, the construction of this fair, and the way that individual projects and pavilions You’ll draw from protracted and direct site observations (most of the pavilions are no longer standing) and from this archive of the original construction drawings of the building and the grounds.