PROJECT 7OO7X0 | MAKING SPACE 2020-2012 Q1

THE DESIGN OF A STRUCTURE

Department of the Built Environment | Bachelor Second Year
Unit III: Architectural Urban Design and Engineering
Eindhoven University of Technology

Please consult Canvas for further information

© Copyright: Eindhoven University of Technology, 2020

PROJECT INFORMATION
Course: 7OO7X0 project 1
PRS: -
Planning: Semester A, Quartile 1, Timeslot E
Prior knowledge: 7N1X0 BAU Studio 1 compulsory 7T2X0 BAU Studio 2
recommended 7N3X0 and 7T8X0
Responsible teacher: ir. J.P.M Swagten, coordinator
Co-lecturers: ir. Wouter Hilhorst
Prof. ir. Paul Diederen
ir. Jan Schevers
Information: j.p.m.swagten@tue.nl
Studio space VRT floor 3 and 4 and 2.50 2.06 2.07, exact location per
group will follow later
Studio time: Tuesday afternoon (5th – 8th hour)
Thursday morning (1st – 4th hour)

Tutors: John Swagten

Anouk Raaijmakers
Eric Brugman
Floor Frings
Philippe Rol
Christina Nan
Theo van Hoeve
Thorsten Schroeder
Paul Diederen
Ruurd Roorda

You are expected to work in the studio on studio-days and be present online
on online-days. Studio times may differ for groups. Absence influences your
process mark! Since the project amounts to 5 ECTS you also have to work
outside of the tutoring hours!
ASSIGNMENT
A building has a physical presence: it consists of materials, it has weight, and you can touch it. In
contrast to words, ideas or music, it is made of physical building materials that have characteristics
such as weight, span and tension, heat conductivity, colour, resistance to corrosion, fungus, bacteria
(such as wood rot), and damage by insects. A building always forms a skin in some way and a
building always has a structure with a form and dimensions. This structure is partly formed by the
materials from which it is built.

The materials that realize this structure come together in junction points. The precision in which the
architect has made the design shows itself in the detail: besides proving that a building can really be
made, details can improve the architectural quality of the building. Details show building materials,
sizes of the different parts of the physical structure of the building, the connections between the
parts and their individual role (spatial division, heat and noise insulation, noise reflection, wind and
water proofing, daylight etc.). The technical design needs to be elaborated to the technical details, to
feel the real size and materials of the proposed building. This way of designing will eventually make
the architecture of the building. This is the reason for Kenneth Frampton’s quote on the cover of this
project brief. The detail is not of minor importance, in the contrary, the detail dictates the whole.
“God is in the detail” is another quote, from different authors, such as Flaubert and Mies van der
Rohe. Or, as Nietzsche said, “Der Teufel steckt im Detail”.

LOCATION
Teahouse along the Dommel.

Satellite photo
Google Earth

The design needs to be situated in the Anne Frank park on either side of the meandering Dommel in
Eindhoven, southwest of the Van Abbe museum, which is enclosed by the Wal, the Bilderdijklaan, the
Paradijslaan, and the back of the houses on the Groot Paradijs. The Dommel as a historical aorta of
Eindhoven connects important institutes is a green corridor for pedestrians and bicyclists. The nearby
presence of the Van Abbemuseum and its visitors is important for this site. The Dommel site and its
present vegetation of trees and plants will be respected.
Photos of location
DESIGN BRIEF
The assignment is to design a small tea pavilion that will accommodate approximately 50 visitors: the
design provides a counter, a small storage space, an entrance area, an exposition space, and toilet
facilities. Pedestrians, cyclists, and visitors of the Van Abbe museum should be able to enjoy some
tea or water in the pavilion, possibly with small accompanying pastries. Inside and outside the design
will make places to sit and drink tea.
The building should be usable during all seasons of the year. It should be close to the natural
elements and it should be comfortable to stay throughout the whole year. The pavilion is temporary
and will be built to last for 7 years; once the seven years have passed, the building should be able to
be removed without leaving a trace.

Program tea pavilion

Guest room For 50 seated guests

Space for the preparation of the tea 12 m2 minimum
Small exposition on tea Maximum of 10m2
Storage 3 m2
Technical room To be determined
Sanitary facilities At least 1 ladies-, 1 men-, and 1 disabled toilet
Outdoor space Terrace for 50 seated guests (covered/non-covered)
Personal space Take in account the personal space needed to drink a cup of
tea (tea for two…, etc) defined by the design proposal

When designing, a start will be made by setting up a structure as a starting point for a pattern plan of
the building. This structure will be defined by the schedule of requirements, the location, the
orientation of the building, and appropriate span directions and dimensions. Subsequently, through
the choice of materials (of the load-bearing structure and of the dividing elements), the choice of
wall and façade openings, daylight admission, room heights, and shape, this structure needs to be
elaborated into a building design on a scale of 1:100. The next step is to elaborate on this building
design structurally and technically on a scale of 1:20. Simultaneously with this first part of the design
task, a text, and a reference project need to be analysed on aspects of supporting structure, material,
the shape of space, daylight admission, and architectural detail. After this, the structural and
constructional design needs to be further refined and elaborated in detail on a scale of 1:5. The
relationship between the detailing and the architectural design on the scale of the building is of high
importance. The three workshops will give you a chance to investigate structure, form, and
components which you can use and implement in your design.

Be aware that all your results on analyzing location, program, reference project, text, three
workshops, and the inspiration lectures are the ingredients for your design!
PLANNING
The project tutoring will take place partly online and partly on campus. You are expected to work in
the studio on studio-days and be present online on online-days. Absence influences the process
mark. In the planning is shown on which dates tutoring takes place online and on which days on
campus. When tutoring takes place on campus it takes place in small groups of students. Your tutor
will inform you each week in which time slot you need to be present.

Week Date Location Studio sessions Uploads

I Structure
1 Tuesday tba per group Introduction; John Swagten
01-09-2020 Lecture & Workshop 1; Wouter Hilhorst
Thursday Online Tutoring
03-09-2020
2 Tuesday Online Collective meeting
08-09-2020
Thursday tba per group Tutoring Sunday
10-09-2020 13-09-2020

II Form
3 Tuesday tba per group Introduction; John Swagten
15-09-2020 Lecture & Workshop 2; Paul Diederen
Thursday Online Tutoring
17-09-2020
4 Tuesday Online Collective meeting
22-09-2020
Thursday tba per group Tutoring Sunday
24-09-2020 27-09-2020

III Components
5 Tuesday tba per group Introduction; John Swagten
29-09-2020 Lecture & Workshop 3; Jan Schevers
Thursday Online Tutoring
01-10-2020
6 Tuesday Online Collective meeting
06-10-2020
Thursday tba per group Tutoring Sunday
08-10-2020 11-10-2020

IV Synthesis
7 Tuesday tba per group Introduction; John Swagten
13-10-2020 Presentation drawings 1; Dario Sposini
Thursday Online Tutoring
15-10-2020
8 Tuesday Online Collective meeting
20-10-2020
Thursday tba per group Final Presentation Wednesday
22-10-2020 2A1 portrait posters 21-10-2020

10 Thursday Feedback sessions

05-11-2020

Retake delivery date: Thursday week 2, quartile 2 (19-11-2020), hand-in hardcopy to own tutors and
upload on Canvas.
I STRUCTURE
Finding a spatial system

You will analyze the program, group the sized (m2) functions and find through analysis a position on
the location for the program. In this part of the design process it is essential that your thoughts get
well structured, so you have acquired all the information needed for the rest of the design. To obtain
this, you will have to search for information about the assignment, analyze it, and interpreted it.
Reading texts and analyzing reference projects can also be helpful to inform yourself about the
project you want to make. To start off, an introduction session will be held, followed by a workshop.
The workshop provides you a structure, a form, and components you can use and implement in your
design.

To do (at least, by hand/2D CAD-programmes/Illustration programmes):

• Inspiration lecture; try to reflect the most important message of the lecture on structure.
• Context analysis
o Orientation and sunlight (1:500)
o Functions (1:500)
o Structure (1:500)
o Green (1:500)
o Routing (1:500)
o History
• Design brief analysis
o Relationship scheme
o Morphological variants (1:100)
o Mass models (1:100), put on location photo
o Quality requirements for daylight conditions, acoustics, climate control, accessibility,
etc per function (table/scheme/diagram)
o Serving and served spaces (1:500)
o Schemes and diagrams of conclusions
• Reference project analysis
o Context (1:500)
o Structure (1:100)
• Read literature I, Deplazes – The importance of the material
o Analyse the text
o Find out how to use the text for your design
• Workshop: find a structure
o Physical model 1 Structure (1:100) on base of 30x30cm.
• First Design Idea (1:100)
o Building structure
o Plans
o Sections
o Routing
o Zoning
o Sizing
o First ideas and sketches
• Upload deliveries (see deliverables)
II FORM
In part 2 you will decide how to give form to the spaces and structure you have designed. What
materials correspond to the structural structure or dividing walls? How are openings in walls and
facades made? What about daylight facilities, spatial heights, shelter, and shapes? This shall be
introduced in a lecture with a connecting workshop. Besides watch the documentary Spirit of Place
about Glenn Murcutt (https://www.npostart.nl/close-up/07-09-2018/AT_2092693) to get inspired by
his fluid way of connecting inside and outside of his houses and the way he shows the structure and
use of material in the small houses.

To do (at least, by 2D CAD-programmes/Illustration programmes):

• Inspiration lecture; try to reflect the most important message of the lecture on form.
• Reference project analysis
o Material (1:100)
o Detail (1:5)
• Read literature II, Kenneth Frampton – Studies in tectonic culture
o Analyse the text
o Find out how to use the text for your design
• Workshop: translating into form
o Physical model 2 FORM (1:50) on base of 30x30cm.
• Sketch Design (1:50)
o Plans
o Sections
o Elevations
o Shelter
o Materials
o Enclosure
• Upload deliveries (see deliverables)

III COMPONENTS
The next step in the design process is to consider the components and the junctions between the
decided materials. How is the structural design and different or similar materials connected? You will
have to make a combination drawing of a plan, section and elevation in one drawing and need to
start working on details to explain the different components of your design. To introduce this, a
workshop will be given where you will make new drawings and new physical model.

To do (at least, 2D CAD-programmes/Illustration programmes):

• Inspiration lecture; try to reflect the most important message of the lecture on components.
• Read literature III, Peter Zumthor – Thinking architecture
o Analyse the text
o Reflect the text on your preliminary design
• Workshop: considering components
o Physical model 2 COMPONENTS (1:20) on base of 30x30cm.
• Preliminary Design
o Plans (1:50)
o Sections (minimal 2) (1:50)
o Elevations (minimal 4) (1:50)
o Combination drawing (1:20) plan/section/elevation in one drawing
 o Situation drawing (1:200)
• Upload deliveries (see deliverables)

IV SYNTHESIS
The last part of the design process is for deepening of details, but also the recapitulation of the
project. This is the time to make the design a whole and let abstract concepts come back in an
architectonical detail. Architecture and technique become one entity. In the last lecture you will
learn about the presentation of architecture. A workshop and a document on presentation will help
you to order your panels. The most important drawing is the combination drawing, showing a part of
plan, section and elevation as one related drawing allowing you to check architectural image and
technique.

To do (at least, 2D CAD-programmes/Illustration programmes):

• Inspiration lecture/document; try to set input on the way you want to present, make a layout of
two A1 portrait posters.
• Physical Model I, II and III (based on workshops)
o Use the template which you can download on Canvas and include the pictures of the
3 models and upload the document together with the final delivery moment.
• Text on design and process drawings as sketches, variants and models
• Definite Final design
o Situation drawing (1:200)
o Building structure / grid plan (1:50)
o Plans (1:50)
o Sections (min 2, 1:50)
o Elevations (min 4, 1:50)
o Combination drawing (1:20)
o Detail of technique and architecture in combination: floor, wall (1:5)
o Detail of technique and architecture in combination: wall, roof (1:5)
o Detail of technique and architecture in combination: structural knot (1:5)
• Upload deliveries (see deliverables)
DELIVERABLES
Upload moment 1 (see planning, before 23:59):
• Bundled pdf-file with:
o All relevant material made these 2 weeks (see I structure, to do)
o Photo study model workshop 1

Upload moment 2 (see planning, before 23:59):

• Bundled pdf-file with:
o All relevant material made these 2 weeks (see II form, to do)
o Photo study model workshop 2

Upload moment 3 (see planning, before 23:59):

• Bundled pdf-file with:
o All relevant material made these 2 weeks (see III components, to do)
o Photo study model workshop 3

Upload moment 4 FINAL DELIVERY (see planning, before 23:59):

• A3 booklet (+ 1 hardcopy hand in to tutor during final presentation) with:
o Final material (see IV synthesis, to do)
o Piece of explanatory text SYNTHESIS inclusive references to the literature and reference
project (approx. 500 words and sketches)
• Filled-in template with photos of the three workshop models (template can be found on Canvas)
• 2 A1 posters portrait on design
• 2 times A3 reduction of the two posters (for each tutor one set)

Final presentation
The final presentation will be a poster presentation. The exact information will be communicated
later by Canvas.

Besides, upload on the day of the final presentations your final posters in the right folder in
‘discussions’ on Canvas to create a digital exhibition environment where all fellow students and
tutors are able to have a look at the end products of this project.
REFERENCE PROJECTS
Your alphabetical order number of your surname in your group corresponds to the number of the
precedent project you need to analyse. If you cannot find info on the reference project contact your
tutor or take last number of the list.

Group 1A, 2A, 3A, 4A, 5A

1. Magney House (Australia) Glenn Murcutt

2. Writer’s Kike House (Costa Rica) Giannni Botsford
3. Eshrich House (USA) Louis Kahn
4. St. Benedictus chapel, Sumvitg (Switserland), architect Peter Zumthor
5. NA House (Japan) Sou Fujimoto
6. Rietveld Pavilion (Arnhem) Gerrit Rietveld
7. Kinder Insel Hombroich (Germany)

Group 1B, 2B, 3B, 4B, 5B

8. Burgerweeshuis (Amsterdam) Aldo van Eyck

9. Museum Folkwang (Essen) David Chipperfield
10. Serpentine Gallery Pavilion 2002 (London) Toyo Ito
11. Psyche (Almere) René van Zuuk
12. Ronchamp monastery (France) Renzo Piano
13. Martyrs Pavilion (Oxford) John Pawson
14. Serpentine Gallery (London), SANAA architects

Group 1C, 2C, 3C, 4C, 5C

1. Sonsbeek paviljoen (Arnhem) Aldo van Eyck

2. Park Paviljoen T-Huis (Breda) John Körmeling
3. Fredricks-White house (Australia) Glenn Murcutt
4. Entrance het Loo (Apeldoorn) Koen van Velzen
5. De verbeelding (Zeewolde ) Rene van Zuuk architekten
6. One Man House, (Germany) Oliver Kruse
7. Marika Alderton house (Australia) Glenn Murcutt

Group 1D, 2D, 3D, 4D, 5D

8. Kunsthaus Bregenz (Austria) Peter Zumthor

9. Moore Honey House (USA) Tato architectsCell
10. Stonehenge ( UK ) Denton Cork Marchall architects
11. Serpentine Gallery Pavilion (London) Sou Fujimoto
12. Farnsworth House (USA) Mies van der Rohe
13. St. Henry’s Ecumenical Art Chapel (Finland) Sanaksenaho Architect
14. Kanagawa Institute of Technology Workshop (Japan) Junya Ishigami