read White Light, Black Shadow
from Louis Kahn Conversation with Students.
pages 12-33
reading is on the studio folder
November 8, 2010
containers & site
for Wednesday (11.8)
three iterations of the (49) 5-sided container study
1 > relationship between container and simple space: depth of container the same, open face on containers open same side, clear ordering system, deal with conditions of offset
2> relationship between container and varying space: depth of container varies, open face on containers can rotate, multiple ordering systems or systems ordering systems, deal with conditions of offset, rotation, mirror, reflection
3> relationship between container and frame: depth of container varies, open face on containers vary, multiple ordering systems or systems ordering systems, deal with conditions of offset, rotation, mirror, reflection, etc.
site volume
out of cardboard & chipboard, construct the boundary and existing path of your site
*more information to follow
November 5, 2010
precedents & containers
due monday (11.8)
people in lubbock > make three different assembling conditions of 49 containers each, consider relationships of pattern, grid, density and gravity of stacking or gathering relative to your horizontal or vertical plane.
*construct 147 1"x1" by however deep containers (be sure to use the laser cutter to cut for time saving purposes or you probably wont finish)
*containers need to be 4 or 5 sided
people in dallasfortworth > have your sketchbook, tape measure and drawing utensils for recording space types and organization. we will discuss more tomorrow at 9am.
November 3, 2010
narrative submission
for friday (11.5)
revise your drawings and physical model for friday
include your narrative term on the printed drawings
include circulation path on your axonometric drawings
articulate conditions of site/ground plane, narrative/path, grid/structure
submission:
-axonometric of honeycomb & model
-axonometric of model
-longitudinal section w/grid
-cross section w/grid
-digital rhino model
-physical model
integrate principals of spatial sequence
establish a relationship between site and spatial sequence
understand design through analog and digital media
evaluation:
implementation of spatial articulation and sequence to illustrate your narrative
dialog between the site and narrative
formatting and graphic quality of presentation
clarity of space and craftsmanship of physical model
*make sure you are backing up your work on some external drive incase the inevitable should happen
November 2, 2010
circulation represented
November 1, 2010
narrative explored
for wednesday (11/3)
-axonometric of honeycomb & model
-axonometric of model
-longitudinal section
-cross section
*make sure section drawings also have the grid lines
*include colored circulation path in axonometric drawing, refer to example
longitudinal and cross section to be on the same paper, same scale
12"x48" at the longest
12"x24" at the shortest
black book topics
Month of November - sketchbook topics
11/1 . body
11/3 . house
11/5 . city
11/8 . duplicate
11/10 . rotation
11/12 . projection
11/15 . wave
11/17 . pinch
11/19 . swell
11/22 . arch
11/24 . dome
11/26 . slab
11/29 . projection
*collage using magazine cutouts, ink and graphite to illustrate the architectural condition of the above topic on the corresponding date. consider the spatial implications of the word and analyze accordingly.
October 29, 2010
narrative explored
for monday (11.1.10)
-physical narrative model revised
-digital narrative model revised
all drawings on 11x17
-axonometric of honeycomb & model
-axonometric of model
-longitudinal section
-cross section
use the honeycomb grid as a generator to create the intermediate spaces of your narrative sequence. the objective of this exercise to is delineate a spectrum of space that reinforces your narrative. make use of chipboard, basswood and piano wire to work through ways of modeling a range of boundaries and enclosures.
October 28, 2010
atmospheres
reading questions
post answers to your blog by next wednesday (11.3) 8am
1. How does Peter Zumthor talk about the "Magic of the Real" and explain how this compares, in terms of the subtleties, to Michael Benedikt's "Architecture for Reality"?
2. Material Compatibility, Temperature of a Space and Levels of Intimacy are some conditions that both Peter Zumthor, in “Atmospheres”, and Richard Serra, in “Weight and Measure”, make a point of articulating when consider space. Where in their explanation of these overlapping conditions are they similar and where do they differ?
3. Zumthor looks towards experiential conditions when creating architecture, what are other methods architects use when generating architecture and what is the corresponding building?
4. For Zumthor at the end of the day, after figuring use, sound, place, light and the other listed conditions, if the coherence isn’t beautiful the process is started again. Beauty is simultaneously subjective for the individual, as held “in the eye of the beholder”, and universally recognizable. Define your subjective understanding of what beautiful architecture is.
October 27, 2010
grids & drawings
digital grids
1. create two new layers : grid_H & grid_V
2. use polylines to set up your grid in a single plane
3. extrude the polylines to create a surfaces > vertical grid (grid_V)
4. work on new layer (grid_H)
5. completed honey comb grid
6. select all items and run the "intersection" command
7. set up a view and save this view / you will need to return to it after exporting a file to create a new "make2D" image.
8. once you have your saved view, run "make2D" / one time with hidden lines, one time without
9. export as Illustrator or CAD file
10. adjust line weights in Illustrator
*post questions in comment line if you have some
October 22, 2010
image submission
CD DUE: 8:30am MONDAY (10.25.2010)
All images > .jpg
All line drawings > .pdf
All boards > .tiff
file format:
Project 01.flatland:
xx_flatland01pointdiagram
xx_flatland02point
xx_flatland03field
xx_flatland04...
Project 02.gait_space:
xx_gaitspace01plan
xx_gaitspace02frame
xx_gaitspace03cast
xx_gaitspace04...
Project 03.memory_place:
xx_memory01plan
xx_memory02section
xx_memory03diagrams
xx_memory04...
Exercise B.two_part_model:
xx_2pmodel01...
xx_2pmodel03...
xx_2pmodel04...
October 19, 2010
generate from section
again, good work presenting friday
and yes, relish this time prior to wednesday.
for wednesday: identify the experience through the section and work to create a path of travel that achieves this experience. be critical of hierarchy of spaces, variation of thresholds, change in heights, and adjustments to the ground plane.
from your "new" section - finish the sectional model started in studio and model another version only out of linear basswood framing elements. consider how basswood can define the planer conditions, openings and establish rhythms.
-be familiar with the Vietnam Memorial
-begin verbal sketchbook
October 15, 2010
presentation
order
09:00 - Matt C. Smith / Adrianna / Neal
09:20 - Kelsi / Austin / Matt R. Smith
09:40 - Elmer / Rodrigo / Erika
10:00 - Justin / Alejandro / Kelly
10:20 - George / Tyler / Gio
10:40 - Heath / Aaron / Cameron
11:00 - Matt M. / Will
9am group will begin on the East wall, 9:20am group will begin on the North wall.
Be pinned up prior to your presentation time.
October 13, 2010
mid-semester review
For Friday
24"x24" memory plan w/grid
12"x48" memory section w/grid
12"x48" site based memory diagrams (3 diagrams plus architecture plan)
site based memory model
site based memory diagram models (3 total)
*sleep so your brain functions and you are able to present
make sure you have working templates, let me know if you need a different illustrator version
October 11, 2010
memory writing
for wednesday (10.13)
from Chambers for a Memory Palace, by Donlyn Lyndon & Charles W. Moore
choose:
one chapter from "themes"
one chapter from "compositions"
write a one page essay that relates your chosen chapters to the experience of your memory path.
consider questions such as,
where does this "theme" occur in your space?
how does the "composition" play a role in your experience?
what are the similarities and differences between the writing and your experience?
requirements:
no more than 1 page
12 pt Times Roman font
single space
October 6, 2010
weight and measure
reading questions
post answers to your blog by next wednesday (10.13) 8am
1. What were Richard Serra's goals for the installation?
2. Define the field Serra is referring to when he states that his sculptural elements need to create "enough tension within the field to hold the experience of presence in the place". How do you define "experience of presence"?
3. How do the columns, pedestal condition, octagonal space and vertical axis challenge Serra?
4. What is effective in terms of the shape, scale and number of the two square elements in the Duveen Galleries?
5. Describe the differences and similarities between Barnett Newman's and Richard Serra's work.
memory model situated
for friday (10.8)
working with your site ruins and topography, expand upon your memory model to fully realize your term of description. with your memory model as a framework, locate an entrance at the edge of your site then model the experience as it relates to your word using the site conditions as moments of reinterpretation.
using basswood and chipboard construct a model that embodies both the memory and word description of place.
again, consider how elements of circulation, rooms and thresholds in combination with hierarchy and scale can spatial describe your experience.
retain a scale that relates to your memory plan.
October 4, 2010
site for memory
treating the conditions of your terrain
using one of your memory models and half of your two-part shoe model, construct a topography that deals with conditions of depression and relief. site your memory model above the half model with some point of overlap, and place the half model into the plaster to gain variation within the slab. overlap, overhang, and intersections are acceptable and desired. this will be your new site from which to construct and situate your next model.
use potter plaster #1.
in a 12"x24" frame over 1/4" plywood (or similar rigid material), cast roughly 2-3/4" thick plaster slab.
as slab is curing imbed your half of the two part shoe model at least 2" into the plaster.
the memory model should not exceed 1" into the plaster site.
*photo document your memory models before sacrificing them to the plaster site
the site is priority for wednesday (10.6)
weight and measure
for Wednesday (10.6)
read Richard Serra, Weight and Measure 1992
Interviewed by Nicholas Serota and David Sylvester
pages 9-25
book is held on reserve at the library
October 3, 2010
physical memory models
for monday (10.4)
from the composite digital model of your memory plan and section, have three physical models for discussion on monday. distill and separate from the entire digital memory model elements of circulation, room and intersection. models should embody spatial conditions of your memory: light, open, compressed, dark, long, short, empty, cramped.
present one model from each of the following that deals with integral elements of:
your circulation through the memory space.
moving through your memory rooms.
spaces of intersection.
models are to be constructed of chipboard and basswood & built to the same scale of your memory plan
September 30, 2010
black book topics
Month of October - sketchbook topics
10/01 . steel truss
10/04 . mineral mine
10/06 . mesa top
10/08 . tree grove
10/11 . theater
10/13 . library
10/15 . warehouse
10/18 . canyon topography
10/20 . city population
10/22 . goods distribution
10/25 . caravan
10/27 . pilgrimage
10/29 . migration
*collage using magazine cutouts, ink and graphite to illustrate the architectural condition of the above topic on the corresponding date.
September 28, 2010
digital memory model
for wednesday (9.29)
from the memory section distill a grid diagram that illustrates primary, secondary and tertiary boundary conditions. create in illustrator corresponding the hierarchy of boundary conditions to selected line weights.
final size 12"x48", can be printed on same sheet with revised memory section.
create a digital memory model within rhino from your composite memory plan, section and grid diagram. construct the memory model as a closed tube form, translating the conditions in your memory drawings to the digital 3d. review tutorials from digital toolbox and help section of rhino to assist in modeling techniques.
September 25, 2010
drawings and documentation
for monday (9.27.10)
*corrections > the final print should be on 12"x48" not 12"x24" as was posted before
drawings:
draw experiential section through your memory plan
on 12"x48" translucent paper (i.e. mylar, vellum, trace)
revise memory plan and architectural plan
do not include text or arrows
if drawing digitally all drawings need to have the line weights adjusted in adobe Illustrator
documentation:
photograph plan, elevations and perspectives of all casts, negative frame and shoe 2-part model without scanning dots
post on your blog one photo of each cast
September 23, 2010
architectural drawing
on a separate 24"x24" sheet of paper draw a scaled plan of your memory building using architectural graphics and line weights. gather information from the library, internet, google earth and image based research to compile an accurate drawing.
questions have been posted under your blog memory drawing.
I will be in studio Thursday at 5pm to further discuss memory and architectural drawing.
revise your memory drawing for Friday.
have both (memory and architectural) drawings printed and pinned up by 8:30 am on Friday.
September 21, 2010
memory drawing
exercise in experiential and constructional representation
architectural drawing takes many forms, and each form requires an awareness about the information recorded and information communicated. for Wednesday you will reconstruct a memory map of your chosen building. with this drawing you are to illustrate your movement through the building, over thresholds, against boundaries and around space. maintain a proportional accuracy to your defined path.
drawing should:
plan only
on 24"x24"
line drawing
use of line weight
for Wednesday by 8:30am
have 24"x24" drawing printed, pinned up and posted on blog
learning objectives:
representation of path, place, transition
articulation of boundary, thresholds
variations of architecture drawings
grading criteria:
clarity of experiential representation
communication of architectural elements
September 20, 2010
drawing references
some Architecture Drawing sampling
Richard Meier - Douglas House 1973
plan drawing with clarity of openings, walls and columns
Corvin Matei - 1994
alludes to a space and construction
Diller Scofidio - 1991
perspective and plan drawing of house
follow this link to New Jersey School of Architecture Drawing Database to view more Drawing references
September 16, 2010
tools to cast
supplies for Friday's casting
petroleum jelly (i.e. vaseline) - important material to protect your skin, no substitutions for this one
bucket for mixing plaster - a 3 gallon size
container to hold water - also 3 gallons or slightly less
funnel for tight pours
duct tape
scoop
also review this video on mixing plaster,
Friday you will learn the empirical way of mixing plaster instead of by weight:
preparing to cast
For Friday / 9.17.10
revise shoe plan drawing based on Wednesday's critique
post to blog and print 1:1 scale for pin-up
*learning objective
understand relationship between surface and volume
understand hierarchy of joints and elements
graphically convey material variations and patterns
*grading criteria
representation of shoe function
pattern clarity and layout
use of line weights
finish negative shoe frame
slightly sand down bracket gaps for smooth removal
construct 4 shoe sleeves
3 fabric & 1 re-stitched shoe
September 13, 2010
constructed frame / fabric
creating the negative of your positive for your positive
an exercise in solid/void relationships
For Wednesday:
find felt along with two other fabric options for casting (3 fabric options in total)
fabric needs to be large enough to cut out shoe pattern
needle and thread (or equivalent stitching device) to seam your fabric together
pottery plaster #1
bucket for mixing
pitcher to hold/pour water
mixing utensil
*have negative pancake of shoe frame constructed
use mdf or masonite
frame must be constructed in two parts divided lengthwise down the center line
stack individual negative frames at the same increment you recorded your shoe
create base layer for cut model to stack above
offset using bolts and nuts as seen in the image below
attach bolts to base layer for stability
final model should be proportional to original shoe
example of bolt and nut construction method (not shape) for negative frame
*image from Robert Arens Cal Poly Studio
September 10, 2010
refining your shoe
update your plan shoe drawing using Justin's and Austin's drawing as good line weight and shoe layout examples.
all drawings can better articulate the change in material, absence of stitching, and material texture through line type and weight.
reprint and pin over current drawing for Monday morning
Rasmussen reading
For Wednesday / 9.15.10
read "Experiencing Architecture", by Steen Eiler Rasmussen
Chapters 5 and 6, Scale & Proportion and Rhythm in Architecture
light, volume and shadow
use the architecture photolab with black backdrop and spot lamps to document your model. test the lighting so as to achieve a strong composition of shade, shadow and light
objective is for you to successfully capture the space, planes, openings and shadows created by your 2-part model as well as demonstrate a skill of documenting your work.
have the following printed on one 11"x17" portrait piece of paper, pinned up for Monday
post larger size photos to your blog by 8:30am 9.13.10
black & white photos required:
4 plan: shot in plan with open side face down, four varying spot light positions
4 elevation: rotate the model 90 degrees for each photo
1 hand holding: to show scale
1 hand inside model: to show use
* two examples of strong light, shade, shadow images
black book topics
Month of September - sketchbook topics
9/10 . tomb
9/13 . wall
9/15 . floor
9/17 . roof
9/20 . threshold
9/22 . bridge
9/24 . stair
9/27 . timber frame
9/29 . clay brick
*collage using magazine cutouts, ink and graphite to illustrate the architectural condition of the above topic on the corresponding date.
September 9, 2010
pattern plan
for Friday - draw the plan of your unfolded shoe
make sure to:
De-stitch your shoe to make a flat pattern, retain some continuity between all fabric forms.
The pattern does not have to be symmetrical.
Staple back together any cut or slice you artificially made in the fabric.
Discard stuffing, filling, soul inserts or other tertiary elements.
All drawings are to be 1:1 scale.
Print on a sheet size that accommodates your shoe plan.
Use variation of line weights and line types to distinguish material outline, fabric overlap, change in material, previous stitch seams, or other assembly components.
seminar one synthesis
upload your answers to the questions and comments to our discussion on your individual blog pages by the end of the day Friday.
note that for upcoming seminars the format of uploading your answer to questions and relevant comments based on our discussion by the end of the second day will be routine. I will expect now after our seminars you will upload your synthesis without being prompted to do so.
more
Unit as part to whole architecture
National Assembly Building, 1983 by Louis Kahn
Field condition architecture
Yokohama International Port Terminal, 2002 by FOA
Here are two other references when describing object based and field based architecture, in addition to the examples from 'Field Conditions' of classical architecture and the Cordoba Mosque. Louis Kahn mastered building by proportion, utilizing an overall geometry to define one part (i.e. an opening) in relation to the entire building. As for field conditions, the Yokohama Terminal building uses the path as their base unit to construct a space designed around circulation and movement.
September 7, 2010
representation and reality
Reading Questions to review Wednesday
Be prepared to discuss and answer the follow:
Stan Allen describes field conditions as “bottom-up phenomena: defined not by overarching geometrical schemas but by intricate local connections.” What are some field condition examples that can be found in the road systems of Lubbock?
In part 1, Allen distinguishes a geometric relationship of classical architecture from an algebraic combination of the Cordoba Mosque. How do these two architectural examples differ?
What are some other examples of field conditions that can be observed around campus?
How does a field condition stand to redefine the relation between figure and round?
What is the reality Michael Benedikt writes about?
Benedikt describes degrees of reality in architecture as: Architecture of Dreams, Architecture of Games, Architecture of Illusions, Architecture of Enactments and Architecture of Jokes. What are some example buildings that fall under these categories?
Benedikt describes “direct esthetic experience of the real” as being moments without symbolism. Where in our environment does symbolism occur and where in our environment is symbolism absent? What is an example of this situation?
Although Benedikt’s position pulls examples from the 70‘s and 80‘s to illustrate that an architecture of reality is polar to the post-modern architecture movement, this condition continues to exist today. Where in the city would be examples of an architecture of reality and post-modern architecture?
The four components that define the “realness” of an architecture for reality are: presence, significance, materiality, and emptiness (in two categories). How do these components relate to architecture? and What are some examples of architectural elements that make up these conditions?
September 3, 2010
topography, section and void
Project 2
Review: Wednesday (9.8.2010)>Have topo drawings pinned up by 8:30am replacing/remove old work from boards
Working in teams of two, locate an old pair of shoes, low 3 gallon buck, and died liquid (i.e. coffee, koolaid).
Shoes must be enclosed and reach to at least the ankle and no more than the knee.
Mark the interior of the buck in 1/2" intervals.
Place both shoes upright in the bucket making sure they do not touch. Add rocks or some other heavy material inside the shoes so they do not float.
Begin filling the buck up with "ink" taking a photograph directly above (in the same exact same position) at every increment.
Repeat until the shoe is completely submerged.
Once the shoes are dry begin to deconstruct by removing the vertical seams but leave shoe patterns intact with the sole. Unfold both shoes, add weight above to flatten overnight.
With the photographs, create illustrator 11x17 topographic drawings using only the intersection line of the liquid with the shoe. One shoe topo drawing per page.
Print and pin up by 8:30am Wednesday.
September 2, 2010
studio sketchbook
three times during the semester I will ask that you submit your sketchbook for review.
for purposes of scale, constraints and mobility you are required to have a
4"x6" hardbound black cover Canson, Cachet or equivalent sketchbook.
talking architecture
Following are the questions we discussed today. Make sure to have record of these questions and your comments in your studio sketchbook.
what about architecture have you learned so far?
what are the tools you have learned to practice architecture?
how do you define architecture?
what is the value of architecture?
what is your expectation for this year?
September 1, 2010
flatland submission requirements
7 diagrams and 2 base images are to be uploaded to your blogger website by 8:30am Friday (9.3.10)
Email me your blog site prior to uploading with subject line "arch 2501 blog".
1 point / 1 line / 1 plane / 2 geometric composite >
based on your first image
2 field diagrams >
based on your second image
Save diagrams as medium size jpg, this file type can be created under the export function in illustrator.
Construct all diagrams using only black or grey point, lines, and planes. For the field diagrams do not use tones to define the field conditions.
Learning Objectives:
Demonstrate understanding of geometric spatial diagramming
Demonstrate understanding of algorithmic spatial diagramming
Grading Criteria:
Skill applying fundamental language of point, line, planes
Ability to diagram the spatial relationships of the base image
Visual clarity and communication
Prior to uploading all diagrams must be revised and modified based on group critic and in class discussions. See Methods of Assessing Learning Outcomes in class syllabus for reminder.
August 31, 2010
Virtual Appendage
Our accessible, archival, supplemental studio 2501 forum for throughout the fall semester. I will post updates, summaries, links, required readings, examples, or creative catalysts as needed.
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