Give us more Italian.

http://archrecord.construction.com/news/2014/05/140528-Obituary-Graphic-Designer-Massimo-Vignelli-Dies.asp

A sketchbook entry from stops on a squiggly line through Europe

First, Duomo Firenze and Brunelleschi's dome
The colorful one is a painting sketch I did in Tuscany outside of Florence with pigments of the local earth; coffee, olive, grass, chianti and just a little blue from my kit.
Finally, sketches of Ronchamp. We've spent three days in this region so we are becoming familiar with the shapes and landscape.
Peace all. Happy graduation!

Sketching Finals

Final Exam
Do not miss sketching tomorrow, Tuesday. This will be our last session. You should be prepared with your large format sketchbook (8x11), and your kit of tools. We will adjourn to a suitable location for a sketching exam. No pressure. One purpose of analytical sketching is to awaken and sharpen your ability to see and convey spatial observations quickly and richly. We are documentarians of concept and phenomenon. With this in mind, you will be given 90 minutes to compose and sketch a scene accurately using techniques learned in the class; Measure, Contour, Figure Ground, Planar Development, Wandering Line, Tone, Depth Cues, Color, Horizons. You will employ the drawing tools used on class; soft lead pencils, vine charcoal, charcoal pencils, bamboo stylus with ink, water color, acrylic wash. You cannot possibly use all the techniques or all the tools. Part of the problem is in the choosing. To be successful, remember that this course has the following fundamental goals and objectives: freehand drawing skill development, hand-eye acuity, active thinking through drawing. The goal of the exercises and your practice is to be able to draw what you see rather than what you ‘think you see’. You will remove this sketch from your book and turn it in at the end of class with your name on the back.

Portfolio
Following the syllabus, at the end of the term, a portfolio of work must be prepared by each student. However, we will depart from the syllabus; you will be NOT be expected to submit two print copies (A3 format). Please do not print!

The paper size will be legal, 8.5x14. There is no preference, landscape or portrait, rotate sketches to fit. You will submit a .PDF copy and a properly saved InDesign package on a CD, DVD or a USB flash drive. The scans included in the portfolio, should be full-size digital scans of these drawings at minimum 300dpi. This will be submitted no later than April 16, the document day.

Choose at least one but no more than three sketches from each week of the semester. You do not have to include the exercises from class as they should be posted to the blog already. The portfolio is a selection of your best work. The portfolio shall proceed in chronological order. The layout of each page should be simple. It must include a single drawing, full size (or as close as possible if you have large works). The drawing should be centered on the page. Each drawing should have a caption indicating the location of the drawing, the date of the drawing, and listing techniques that were employed. On the first page, include a brief introduction to your work. This shall be two (or so) paragraphs, one of which may be a quote. You may use this sentence as a prompt if you like: One of the purposes of analytical sketching is to cause you to come to a realization of the operative value of sketching in the creative processes we rely on as designers.

Important. Please be sure to export your InDesign file to piece using high quality print preset. Choose pages, not layouts.

Revisiting the Work Plan - Triage for the Final

We are headed quickly toward the end of our time here. We have the review scheduled for Monday morning/afternoon and Tuesday morning. We will send another email/post regarding how this will be run. We will likely have two outside reviewers, but not at the same time.

We have one week to complete the project. It is important to us that you pursue the completion of this project in a way that completes this phase of your education.
caps off the design sequence.

Work plan
March 10 - Commence (COMPLETE)
March 18 - Program proposal (COMPLETE)
March 25 - Schematic design (COMPLETE)
April 1 - Detail exploration (SORT OF COMPLETE)
April 8 - Integrated project (UNDERWAY)
April 15 - Final presentation drawings complete (IN PLANNING)

Integrated Project
We necessarily must fold integration into preparing the presentation. This is possible. The goal of the integration phase was to use the exploration of the details to refine (or completely revisit!) the schematic design. In other words, the exploration of detail would give you the ability to better understand the proportions and composition of the elements of construction that make up your design. This information would be present in the drawings and images of the overall project.

Structuring the Presentation

You must present a comprehensible project from a set of fragments (as always). By fragments I mean drawings and images, perhaps models (digital). I also mean fragments in the sense that this project is a part of both the park and the city. These fragments will be meaningless without context. Be sure that all of your drawings include context. The "layouts" in the Piano Exhibit did this well. Even if the context was only 'light", it was indicated. Most of the time context was much more. Even in the most basic drawings context was made visible.

Deliverables

1. Site Plan, broad enough to include the whole park and adjacent buildings. Use tone/poche to make this site plan read like an advanced Nolli plan.
2. Aerial Views (2), park and street side showing design elevations
3. Plans of public floors, including annotation; labels and column lines.
4. Sections, transverse section and longitudinal section (through significant part of design, and including site; street and park)
5. Wall section (1)/details (3) including annotations (column lines, bearing heights, dimensions, labels)
6. Process (including section matrix and sketches)
7. Other material you propose.

We would like to review all of this material by Friday's studio meeting. Get it all mocked up and laid out for comment. Friday's session will serve as a concentrated conversation to make your project and your presentation of it better. It will focus your weekend efforts.

Addendum to deliverables: item 3, include a plan showing housing.

Scale (include a graphic scale and, when appropriate, north arrows, on all drawings):

Site Plan at 1/32" or 1:40 (so you can take in adjacent fabric).

Plans at 1/32"

Sections (item 4), are building sections and include site information. 1/16". they will be sheet width.

Wall section, 3/8"

Details, 1 1/2”

Section Matrix, Details, Magic

Anita says this is me "in my natural habitat".

 Yes. I finally got to the RPBW exhibit in Padova. I was amazed to see the number of section matrices available for inspection; they were conspicuously positioned next to details. The tables in this exhibit are magnificent portfolio "pages". The juxtapositions of media and models was full of intricate, many-layered purpose and so gave me pleasure. I was also able to detect the impact of the work exhibited on your projects. While making my slow progress through the exhibit I was reminded of conversations we have had about the things you are interested in doing in your projects. Yes? 

When examining these sections it is possible to see the other forces that were considered and that have an affect on the project: light, sound, garden and city. Parameters of these forces are geometrically organized within the site by lines which are indicative of rhythm, structure, edge, etc. They all come together to make the shape(s) of the architecture. Some have strong form (Tjibaou and Chicago Art Institute for example), others

St Giles Court section

St Giles Court detail

Columbia U Manhattanville section

Columbia U Manhattanville(I think) detail

Prometeo section

Prometeo detail

Paganini section

Beyeler Museum detsail

Center Tjibaou section

Center Tjibaou construction model

Morgan section

Morgan section

Morgan again?

Chicago section

Sketching Friday, April 4

Sketching half way up the hill, Monte Berico. Experimenting with color space in successive horizons. Interaction between colors. Used the stone edge as a palette to mix water color. I tried to use vibrant color to get localized interactions. However, the result resembles fruit salad. ;-)

Abandoning the obsession with form?

I clipped this quote from an article about a new OMA building, speaking about the shift away from strong form after CCTV. Hmmm.

"Drawing on 1950s America, and the later buildings of Mies van der Rohe, the G-Star HQ fits into what has been called OMA's “generic” phase, what De Graaf describes as “the more down-to-earth, somewhat understated oeuvre that has ensured since the CCTV building in Beijing – after which we abandoned an obsession with form and a desire to demonstrate a certain amount of virtuosity.” He places it alongside their Rothschild bank in London, completed in 2011, the Shenzhen Stock Exchange and the mixed-use goliath of de Rotterdam, both finished last year, all of which comprise rectilinear volumes dressed in a relatively restrained corporate clothing – “as an antidote to the formal extravagance of the 90s.” He recounts the legend of a memo, sent by Koolhaas to the entire office from a far-flung branch of the Four Seasons hotel, which set the new agenda: “Use 90 degrees only. Good luck, Rem.”

For more read here.
http://www.theguardian.com/artanddesign/architecture-design-blog/2014/mar/25/rem-koolaas-oma-fashion-branding-amsterdam-g-star-raw

P3X4 Didactic Example of Section Matrix

So many questions about the Matrix. I have sketched one for you. A little late for today? Better late than never.
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Quick sketch done on the Nexus 10 with Autodesk Sketchbook

The idea of the drawing is to set up the conceptual limits and locations of the parts of your building that contribute to the experience AND construction of the design.

1. It begins with site information (data); heights of important near or adjacent elements that contribute or that you suspect might. In this project it might include the height of Corso SS Felice E Fortunado, opposite side of park and directly adjacent heights such as canal wall, Contra Porta Nova, height of water (which is variable), etc. It might also include heights of adjacent/nearby buildings, etc. These are indicated in black horizontal lines. In your drawing they will be fine lines (name them and include heights for info). Next you can draw in the vertical edges of the site, out in the park, in the street, etc.
2. I drew in the general shape of the outermost edge of my construction. This is essentially the blocked out shape of my design at the location of my section. This is shown by the gray shaded area. I could have added another profile that indicated what is close behind my section cut.
3. In addition to this spatial envelope, I have drawn the limit of the atmospheric separation in my construction, the blue area. This is the conditioned space. The area I must keep water and air out of.
4. The structure is next. I decided where the lines of gravity force are carried down. These are vertical lines shown in red. The horizontal red lines are bearing heights. These often correspond to floors but not always. These will be fine weight centerlines in your drawing.
5. Finally, I have added the denotative information. These are a set of standard symbols that provide specific information about what is shown; bearing height marks and numbers, column line bubbles with letters or numbers, and the box with rounded corners that calls out the location of my detail!

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This section is cut at a significant place in your project. Yours will not be in full color though it may contain some.
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This design studio assignment folds directly into the work you have to do for methods and materials. This is on purpose. It is not that we want to make it easy for you. It is that we want you to consider it within the scope of each class and end up with some well developed work. This work can be looked at by a future employer and a future professor and both will respect it for similar reasons. For M&M you will choose a signified wall section and Design a detail for the
Joint at roof (sky), joint at intermediate floor (occupant), and joint at grade (earth).

Vicenza Calcio - Last Game Sunday

This Sunday is the last Vicenza Calcio match during our stay here. It is listed at 3pm but they are usually at 2. Hmmm.
Vicenza is in fourth and might be able to pick up enough points to reach third with a win.
Forza Vicenza!

P3 Detail Development Presentation

Be prepared to present your details in tomorrow's studio. This presentation should include a section matrix at 1/8". I explained or sketched this type of drawing with most of you. It is a building section with a minimum of detail. It indicates the limits of the project envelope and the jogs and shifts of envelope that create spaces that mitigate inside and outside (spaces and atmospheres) BUT, most importantly, including lines of structure: column lines and bearing heights (floors in most cases). This section establishes the parameters on which your detail exists. This drawing is very much like the one you will do in the future with your structural and other engineers. You will box out your details in this section matrix.
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Check this post again later for specifics on the details. 

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Now is later.

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As you've heard to many times now detail is very important to me. You've also heard me say that I want to teach you what I can about detail. Without saying it again, I want to ask you to get together and take your best shot at it. I know, it doesn't require a knowledge of Rhino or Photoshop, etc. It does require a knowledge of architecture. Funny, that's what we're supposed to teach you. (Not funny, ha-ha, funny, ironic).

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Details contain the necessary but not always visible substance of architecture. Space and the experience of it exists as an effect or side-effect of the particular combination of materials that details describe. In this way details are sublime. I have a tear in my eye.

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Details also contain the information necessary to describe the constructability and durability of  architecture. The detail is the most important component of the communication between designer and builder. Because of this it is also the place where the practical concerns of building (space creation) are encountered and (hopefully) solved. I have seen hundreds of sets of construction documents, by as many architects. I have seen building contractors curse and admire an architect's details. I always wish for the latter. I wish it for you. I have a tear in my other eye. (On second thought, if they curse you, I want it to be because you have describe a difficult detail in order to create an otherwise impossible experience).

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In our travels we have seen a range of constructions requiring a range of solutions both spatially and technically. On one end is Markli's La Conguinta (the concrete boxes in Giornico), the requirements for which are: a shelter particular to the display of special art, be durable and keep water (rain, snow, sleet, ice) out. Not exactly weather tight in all respects and certainly not comfortable for long human habitation (except perhaps cro-magnon). On the other end might be the Edificio de Oficinas Media-TIC en el 22@ Barcelona by Ruiz. The building is a technical tour-de-force with a mixed use program and climate control craziness suspended in a monkey-bars structure. My point in bringing these projects up is simply to say, your details will demand attention toward different concerns depending on the job the building is doing at the point of the detail. Sometimes space will be virtually all that matters (generically speaking, when water and atmosphere are not concerned). Sometimes water or air or sound will be what matters and envelope will be the driver in the placement and arrangement of material. I describe what I mean by material below. This is important. Many of you think only of finishes.

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With the three above paragraphs in mind it will be apparent that your details must include the following information.

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MATERIAL - Material means:

primary structure (steel shapes, precast concrete, cast-in-place concrete, composite systems, timber, engineered wood, etc)

secondary structures (steel shapes, 

sheathing

membranes and flashing

cladding

glazing

screens

and of course finishes (that are not already included above).

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LABELS and GUIDES - labels and guides are the denotative information required to specifically describe the materials and the intricacies of their configuration since they are necessarily shown using a reductive symbol language. Include the following information:

Materials (be as specific as you can. use an arrow with text, called a leader)

Column Lines (use a centerline linetype with a letter or number bubble).

Bearing Heights (use a target elevation mark)

Dimensions (there is a logic to dimensioning: dimension assemblies together and then associate them with a reference such as a column line or elevation line)

If materials are the visible finish label them "exposed". For example, "exposed board formed cast-in-place concrete"

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Deliverables.

Section matrix at 1/8" marked with detail location boxes.

3 details at 1 1/2" = 1'-0" minimum

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Do your best. Deliverables may be posted on blog (be sure they are legible) or posted on wall.

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Pecha Kucha is looking for you, urban innovators.

http://www.pechakucha.org/channels/newcities-whatworks/blogs/calling-all-urban-innovators

 Innovation Month

starts now!

PechaKucha is now in over 740 Cities around the world, and over 1 million people are moving to big cities every week -- the numbers are staggering!

From now until the end of April, PechaKucha is on the lookout for presenters who are working to solve the great urban challenges of our day: think bike-share, solar-powered water purification, or systems that track and combat air pollution.

We are teaming up with the New Cities Foundation to send up to two innovative PechaKucha presenters to speak on their project at New Cities Summit 2014 in Dallas! 

Know someone who is working on an inventive project that is changing your city for the better?

If so, please get in touch with us (info@pechakucha.org) or your local City Organizer.
 
Visit this blog post on the New Cities Foundation: WhatWorks Channel for more details.

Bomb Day in Vicenza

http://m.vicenzatoday.it/cronaca/bomba-day-a-vicenza-tutte-le-informazioni-per-l-evacuazione-il-numero-verde.html

New architecture and infrastructure purposed for Roma

This artist rendering provided by Italian Serie A soccer club Roma, Wednesday March 26, 2014 shows the new stadium to be build on the outskirts of Rome. Three-time Serie A champion Roma plans to build a new privately financed stadium inspired by the Colosseum on the outskirts of the Italian capital. Labeled "Stadio della Roma" for now, until naming rights are awarded, the facility will seat 52,500 spectators and be able to expand to 60,000 for major matches. Building costs for the stadium itself are estimated at 300 million euros ($414 million) but the overall price, including surrounding infrastructure and transport, will run far higher. The new stadium will be in the Tor di Valle area in the city's southwest, about halfway between downtown and Fiumicino airport. Slated to open for the 2016-17 season, the stadium has been a big goal since Roma was purchased by a four-man group of Boston executives, who in 2011 became the first foreign majority owners of a Serie A club. AS ROMA — AP Photo

Read more here: http://www.thestate.com/2014/03/26/3349423/roma-reveals-plan-for-new-52500.html#storylink=cpy

American Owners Oversee a Soccer Renaissance in Rome - NYTimes.com (via http://ble.ac/teamstream-) http://teamstre.am/1iD2CNa

Here is a link with more architecture and siting information.
http://www.thestate.com/2014/03/26/3349423/roma-reveals-plan-for-new-52500.html

The architect is Dan Meis.
http://www.meisarchitects.com/meis-architects/photos-pi_4.html

Top Gear: The Modena Challenge!

transcript of the episode:

Jeremy: "You can't spend 5 months in Italy without a visit to the hotbed of automobile style and innovation, Modena."

Hammond: "That's right. So the producers decided not to send us."

James May: "What?! Why not?"

Hammond: "We've already been. It wouldn't be right."

James May (mumbling): "Certainly would."

Jeremy: "So the producers, in their infinite wisdom, decided to send... a group of design students."

James May (whining): "What?... You've got to be kidding."

Jeremy: "...and their professor."

...Cut to the email conversation between the students and their professor...


Shane Lamay: "Matt Mark, Sam, Christian, Luis and myself are renting the car from Padua at 9:00am. We can meet you in Bologna or we could follow you or we can go on our own, whatever works for you guys..."

Bender: "We pick up ours here at 9 also. We should plan to meet there (Modena). My group probably moves slower than you guys. It looks like it will take 1 hour and 45 minutes of driving from Vicenza to Modena. We will probably arrive at noon. If it seems like you will get there much earlier than us then we can overlap rather than synchronize. I don't want to hold you up!  Let's talk on the way. Yes? My phone is out of euros but Anita's and the kid's are well funded."

Shane Lamay: "No problem. I think Matt wanted to get there around 11/11:30, but I have  a feeling it'll take us longer than 2 hours to get there too. We'll call you guys when we get on the road then.See you tomorrow"

Bender: "Xlnt. Will you go down to Bologna or back through Vicenza and over to Verona?"

Shane Lamay: "Through Ferrara"

Bender: "Thanks. We'll be on the opposite track. Maybe we should do a Top Gear style challenge?"

Shane Lamay: "haha we have to. we'll both leave at 9 then? we're team Jeremy"

Bender: "We'll take Hammond.

Bender: "Any idea what car you're bringing to the challenge?

Shane Lamay: "We'll be cruising down the autostrada in a in a four-door fiat panda. A "Saloon style" I believe they call it. what do you have?"

Bender: "They have offered us this one. One can never be sure... http://www.lancia.com/com/en/models/delta/"

Shane Lamay: "Blast! we got this bad boy"

Probably should have showed you this instead:

Bender: "You're not planning an off course route are you? Jeremy would not likely approve as he is more prone to the smooth roads!"

Shane Lamay: "We'll see what happens. these things never go according to plan."

Bender: "Indeed. May the best Reasonably Priced Car win!"

Veneto Tour, first stop

Traversi-Vighy

Our first stop is an excellent experiment in design and sustainability. Read about it before we go.
The architects, Giovanni Traverso, Paola Vighy, collaborated with the university in Padua and engineers to design and study this project. Collaboration is key.

http://www.traverso-vighy.com/tvzeb-zero-energy-building/
http://www.tvzeb.org/
http://www.archdaily.com/340669/tvzeb-zero-energy-building-traverso-vighy/

The project is also on MIMOA.

http://fieldtripper.com/c/mOjBOcVcIbY/designers-studio I thought you might find this interesting, too. *It's your world, explore it.*: http://fieldtripper.com

P3 Schematic Design Milestone

Please be prepared to address the requirements of schematic design for studio Tuesday the 25th. You will present 6 slides in 12 seconds each, a modified version of a PechaKucha. Use images, collages, sketches, drawings, etc. Use small amounts of text as needed (Italian, if possible).

Schematic design phase is as much about exploration as it is about communication (to client, to competition jury, in this case to us and your peers) so test your ideas on us in as convincing a way as possible.

Address:

• Overall project size and program components, address your choice and mix,
• Project performance as an urban intervention that considers morphology, program and scale,
• Project performance as an architectural construction that considers structure, material and detail,
• Project performance as a speculative theoretical proposal that considers experience, history and urban planning.

None of these ideas can be rendered fully at this point. We know that. It is up to you to figure out how to evoke the idea for the moment required in order to convince us of it.

Go!

Bridge Unchained in Verona

http://costruirecorrettamente.org/site/approfondimento/informative_detail.php?doc_id=113

Sketch in fog at Guardino Salvi

For sketching class.

Vals Sketches

Quotes from Zumthor that lead to a way of thinking about sketching.

"I don't see how anyone could think that a building could be conceived abstractly, with lines on paper, and only much later 'materialized'.

"The process was not deciding shadow but letting the light in and letting the view come in..."

"Materials are a passion of mine. When you use two or three together in the right way - say, smooth black steel with an oily shine, varnished oak, light grey canvas - they can become more than just raw materials: they can start to charge each other, creating a tremendous power which for me goes far beyond architectural form - and I mean form, not space. Space, this 'mysterious void', is another question - and another passion of mine."

"A building is never just the superficial manifestation of a design concept. Nor can I conceive of the space within a building in abstract terms: it is something physically contained within the concrete structural mass of the object. A space that lies within heavy stone feels very different to one enclosed by a thin membrane of plywood."

"Film directors and cameramen often seem to have a better feel for the typical spaces of architecture and atmospheric qualities of materials than architects themselves."

Challenge
"To feel what the room does to you, that is something that you could describe almost better in words than in a two-dimensional film. It is really about a sense of place"

Instruction: Capture the sense of place in sketches.

BTW - I don't know of any rules against sketching or painting...
just try not to make too much mess. Also, try not to make any other guests uncomfortable.

Zumthor
"My principal concern - again, another passion - is the materialized presence of the architectural object. A critic once called me a 'phenomenologist', and it's true. I always react to what I see. At
first it may be just a simple reaction - an immediate like or dislike for something I see on the site, on vacation, at the movies. Then, when I get excited about something, I'll to use my head, to find out what it is that I'm really seeing, what it is that excites me. There's a nice word for this process: 'research', or rather 're-search', searching again in my memory, trying to rediscover the reasons for my excitement."

P3 Mixed-use Stitch in Fabric - Proyect Program

Project 3:  (5 weeks)
Constructing an Urban Fabric for the 21st Century
Exploration of urban fabric and detail.
Site in Vicenza

From the syllabus:
Urban Goals and Objectives:
1. To analyze the city and understand it as a dynamic process of invention and experimentation in living.
2. To understand the unique urban fabric of context and place.
3. To consider the role of detail in the urban fabric.

Program Goals and Objectives:
1. To develop freehand sketching as a tool for understanding the experience of space
2. To develop hand drawing as a fluid tool in the design process in conjunction with traditional media, photography, and digital tools.
3. To practice the development of drawings that combine analytical information with conceptual intent, creating spatial impact.
4. To integrate an understanding of materiality and detail into studio design process

Semester Project Synopsis

Wall/Gate - Our first project on Vicenza allowed you to explore the history of the city through its historic edge and materiality. You uncovered the historic wall as fabric, as fragment and as object. The project caused you to react to the way that this edge became transformed because of the growth of the city and the introduction of new conditions of living. Your projects were attempts to recharge the condition of the historic wall through program, material and detail in concert to make space.

Hybrid Bridge - The second project explored a different kind of morphological force, path. In the case of Venezia, the canal. The project caused you to react to this special urban condition as it is present in form and in use. It was also conceived to challenge the notion of a distinct architectural object within a fabric of crooked, bending lines and edges, overlapping, indistinct terminations and beginnings. Your projects were attempts to weave in an intervention by transforming urban space, and by detailing with a focus on connecting old with new.

In both projects it was important to explore and understand the form-making, space-making potentials of the tectonic vocabulary specific to these two cities of the Veneto. The peculiarities are tectonic, spatial and material, across a range of scales. They are typically not isolated elements. When examined in situ they work together as systems, even loosely, to make places.

As stated previously, our goal is not necessarily to have your projects become seamless with the immediate context. Ultimately, ideas are imported to places and become integrated by intelligent adaptation or fortunate misinterpretation, among others. Most integrations are products of translation. However, it is important that your work "React to" it's place. Reacting requires having a position, and having a position requires having an understanding.

On the final project of this semester we will continue the pursuits of the previous work concerning morphology, materiality and detail. You will more consciously consider your work in the context of the issues you were to explore in your speculative essay.

CONTEXT, AFFECT, USE and PROGRAM, FORM, DETAIL, SCALE, PERFORMANCE, MATERIAL, TIME and PROCESS, and LIMITATION

This is a larger and potentially more complex project that must be considered locally, regionally and within international architectural discourse.

P3 Mixed-use Stitch in Fabric
Overall project size, approximately 100,000sf (11,000 sm).

Program Components
Housing - 50 percent or more, of your choice and mix.
Commercial and Civic - 50 percent or less, of your choice and mix.

It is important that this project perform:
As an urban intervention that considers morphology, program and scale,
As an architectural construction that considers structure, material and detail,
As a speculative theoretical proposal that considers experience, history and urban planning.

Site
The site is along the north edge of Guardino Salvi. The existing exhibition hall building will be demolished. Your project must engage the park and Contra Ports Nova. It must consider the loggias at each end, one by Palladio and the other by Longhena. You may integrate the canal.

Work plan
March 10 - Commence
March 18 - Program proposal complete
March 25 - Schematic design complete
April 1 - Detail exploration complete
April 8 - Integrated project completed
April 15 - Final presentation drawings complete