Friedman's essay + beginning to define occupants

Friedman argues that Tuss Schroder played a critical role in Rietveld's design for her house. What role did Schroder play, according to Friedman?

o She had strong and specific ideas about early childhood, open space and modern family. That helped to create and shape an elaborate design that fit the program.

Based on Friedman's essay, what is the program that defined Rietveld's design? Language Diagram: Make a list of its defining actions/ relationships in one column and their associated spatial qualities, including light, enclosure, threshold & boundaries, intensities of occupation, etc. in a second column.

o Defining actions/relationships	o Spatial qualities	o Specific features
o Family can be brought together in one open space o Wide-ranging conversations o Focused activities could be carried out o A room for girls and a boy	o Second floor: Truus’s room, the children’s bedrooms, and a large living and dining area (one large space that can be partitioned by thin, sliding panels) o First floor: studio, library, eat-in kitchen (small and separated by traditional fixed walls)	o Truus wanted to live in close association with her children – a low shelf along the wall in the main living area used as a desk where the could do their homework together o Exchange of ideas in the house – open space, freedom of choice – variety of spaces o Focus on rituals of daily life – opening and closing partitions

How did Rietveld's design accomodate this program? In a third column, list specific features of Rietveld's architectural design in relation to specific aspects of the program and its required spatial qualitities.

How did Rietveld's design create opportunities for events that were unanticipated by the prescribed program?

o White stripe on the floor was always getting dirty so children were jumping over it and considered that a play. Practical issues with the white stripe created an addition to the program that no one thought about

2. Read or reread Exerpts from Bernard Tschumi Architecture and Disjunction in preparation for the workshop and be ready to discuss. Pick a quote from the excerpt that you find compelling: Post and cite the quote on your blog and write a paragraph about what it means to you, and how it develops your understanding of program and its potential for design invention.

“Programs fall into three categories: those that are indifferent to the spatial sequence, those that reinforce it, and those that work obliquely or against it”

Spaces initially might have specific implications of what kind of program can be enacted or might not. So, the program is the only thing that makes sense of the space. One kind of programs correlate with the intentions of space and spatial configurations. Program and space reinforce each other in meaning and action. The second type of programs are independent from the space, Spatial organization has no impact on what is going on and at the same time the program doesn’t affect the space. The last group of programs seems the most unique to me as the space and the program are in collision. The action inside can absolutely change the intended or usual use of space or sequence of spaces. Programs give the power to manipulate the space and at the same time the space can challenge the program. Knowing that one can play with the convenience of space, whether one wants the user to struggle or not even mind, be aware or indifferent, be affected of affect the space.

3. Useful quotes from the movie:

o Have you ever had a feeling when you don’t know whether you are awake or asleep

o He doesn’t like that he is not in control of his life

Pick a film to help you define the occupants for your design: For the next phase of this assignment, you will be choosing a film that will help you to define your occupants and their spatial needs. The film (or films) will function as the basis for your design's program development: The filmed bodies of the movies actors, like your own body motion photographs, will be used to define and analyse the actions and needs of your project's "occupants." The film itself, will provide a larger spatial context for understanding the motivations, desires, and spatial needs of your occupant.

Guidelines: You may choose a film that is fantastical and stretches the spatial imagination or that is realistic and documents real space, you may choose actions that are spectacular or everyday, fairy-tale like or mundane--in some sense you may choose anything, so long as it serves as motivation for your design. Choose a film that can be used to define at least three destinct "scenarios" or activies: that shows bodies "doing" things, that conveys spatial relationships and experience, and that provides opportunity for body movement analysis.

Suggestion: Look for films that offer interesting scenes for spatial analysis; for instance that use camera work creatively, framing bodies in space, invoking spatial dimension, a range of movements, and productive interactions with other bodies in space. Pay attention to use of color, saturation, shadows and light. Notice shifting spatial relationships and shape flow (remember Rudolf Laban's movement analysis). Look for films that invoke tone, mood, desire, social or cultural context, urban landscape. Choose films that show bodies in their spatial relation to the world--e.g. that capture gesture, texture, spatial rhythm, architectural elements such as threshold, scale. Look for films that convey (haptic) spatial experience (think Juhani Pallasmaa)--including acoustic elements like echoing footfalls, or the background rumble of a subway.

Please refer to the list below for possible films to use. In the end, make a choice that provides rich, interesting detail to motivate your design: Pick a film sensitieve to embodied experiences and thick with spatial detail, a film that motivates your design imagination, and inspires your thinking, a film that ultimately suggests the most potential for your design-- defining specific bodies with specific spatial needs to motivate your design.

· Select three moments from your selected film that define actions/activities for occupant #1.

· To further define the actions and motivations of occupant #1, find at least three additional clips that develop our understanding of the "character"--especially anything that conveys the occupant's embodied experience of the world. Look for moments that work to define the motivations, desires, and spatial experience of the "occupant": e.g. scenes articulating spatial relationships (look for architectural elements such as threshold, light and shadow, rhythm, texture, scale, urban landscape); dialogue, imagery, scenery and background, framing, editing, montage, , movement and gesture, repetition, music, interactions with others. Include anything that might work to flesh out the occupant's haptic experience of the world, or that might otherwise provide inspiration and context for your design.

Create your second occupant from the same film, from another film, or based on your own movement studies in response to Occupant #1. Select scenarios and three additional film moments as you did for occupant 1. Your choice does not need to respond to the

"story" of the film or use any plot lines. They might be totally unrelated--e.g. An international Spy and A Dancer, Someone who suffers from Vertigo and a mime.

Once You've chosen your completed the above for occupant #1 and 2, write about each of the actions. What are they doing, and where are they doing it? Describe their actions using concrete, evocative adverb verb phrases, as you've done with your own body motion photographs. Describe their actions in space--articulate relationships to architectural elements and to other bodies. Describe framing and any other spatial information in the clips you've chose.

In writing, sketch out any ideas about the actions, motivations, desires, and spaces that might be ascribed to these characters.
Map out the associated actions that would construct a day for this character.
Think about actions that roughly align with morning, mid-day, afternoon, evening, night.
Create a photo sequence montage or slide show from the "scenarios" of action for each occupant, and include also at least three other photos or filmic elements that further define the spatial needs, desires, and motivations for your occupant. If your scenes include dialogue, write out the dialogue in a separate slide.
Use these sequences to really extend and expand on your notion of each occupant and to define the qualities of spaces you’d imagine them inhabiting.
Isolate key words and create a sideshow of photo/text panels comprised of body motion with verb/adverb phrases, and spatial elements with strong adjectives and specific nouns, as well as words conveying spatial relationships
Create a rough draft of the next language diagram due
BRING ALL this to our workshop on Monday, and be prepared to work on developing program.