aimee zhao - plan
sol ok - plan
hyun seung lee - section
yoshiki mino - section
Showing posts with label drawing. Show all posts
Showing posts with label drawing. Show all posts
110512 - final drawings
Examples of the final drawings. Go here for a slideshow of more drawings and here for the handout that introduced this exercise.
110411 - conditioning
A dynamic conception of architecture, which overcomes the traditional notion of buildings as a still, tectonic construct, allows us to think of space as practice. This involves incorporating the inhabitant of the space (or its intruder) into architecture, not simply marking and reproducing but reinventing, as film does, his or her various trajectories through space—that is, charting the narrative these navigations create.
- Giuliana Bruno
Atlas of Emotion, Journeys in Art, Architecture, and Film
In an athletic pursuit, repetitive conditioning tunes the body to work exceptionally well within a specific set of performance parameters. In this process, the body gains certain abilities at the expense of others (i.e. a sumo wrestler does not make a good basketball player). A similar type of repetitive conditioning must now occur in systems for building the intervention into the landscape. So far, these systems have been driven by internal relational and transformative logics, now they must be conditioned in response to external demands of program.
As described above, program will be a ‘dynamic conception’ rather than a ‘still, tectonic construct.’ It will be based on a series of converging and diverging trajectories through space, not discreet, static compartments.
PROGRAM
Text sequences from the exquisite corpse writing exercise will conceptualize a program consisting of an itinerary of converging and diverging movement trajectories. Scan all exquisite corpse work, and then with Photoshop, isolate three intertwining strands of text (7-10 words minimum) from the final iteration. Use these sequences of text to imagine and describe three potential movement trajectories of an inhabitant through the landscape / intervention. The inhabitant must move through a series of qualitatively different spatial conditions. Different spatial conditions should be produced by: filtering sunlight in different ways, producing surfaces and enclosures in different ways, and dealing with notions of ground in different ways. Program will not be composed of a single narrative but multiple potential micro-narratives.
MODEL
Build a new version of the intervention in the landscape. It may be in bristol board, basswood or a combination of the two. Condition this model in response to program. Modify and augment rules of its construction and relationship to the landscape so that it begins to support the movement sequences described in the program. Following the example above from Thompson, modify modular systems by stretching and re-orienting components rather than breaking or tearing them. Refine the craft of the model. Increase precision of attachments to the landscape.
SECTIONS
Two 1/4” scale sections are required, one horizontal, one vertical. Sections must document as many different spatial experiences as possible. The vertical section must include shadows and scale figures. The vertical section may be drawn at different times of day or year to document changing lighting conditions. All sections must show deep space by calibrating line-weight and line-type.
- Giuliana Bruno
Atlas of Emotion, Journeys in Art, Architecture, and Film
In an athletic pursuit, repetitive conditioning tunes the body to work exceptionally well within a specific set of performance parameters. In this process, the body gains certain abilities at the expense of others (i.e. a sumo wrestler does not make a good basketball player). A similar type of repetitive conditioning must now occur in systems for building the intervention into the landscape. So far, these systems have been driven by internal relational and transformative logics, now they must be conditioned in response to external demands of program.
As described above, program will be a ‘dynamic conception’ rather than a ‘still, tectonic construct.’ It will be based on a series of converging and diverging trajectories through space, not discreet, static compartments.
Biological form conditioned through environmental forces –
D’Arcy Thompson, variations on the form of a hydriod
PROGRAM
Text sequences from the exquisite corpse writing exercise will conceptualize a program consisting of an itinerary of converging and diverging movement trajectories. Scan all exquisite corpse work, and then with Photoshop, isolate three intertwining strands of text (7-10 words minimum) from the final iteration. Use these sequences of text to imagine and describe three potential movement trajectories of an inhabitant through the landscape / intervention. The inhabitant must move through a series of qualitatively different spatial conditions. Different spatial conditions should be produced by: filtering sunlight in different ways, producing surfaces and enclosures in different ways, and dealing with notions of ground in different ways. Program will not be composed of a single narrative but multiple potential micro-narratives.
MODEL
Build a new version of the intervention in the landscape. It may be in bristol board, basswood or a combination of the two. Condition this model in response to program. Modify and augment rules of its construction and relationship to the landscape so that it begins to support the movement sequences described in the program. Following the example above from Thompson, modify modular systems by stretching and re-orienting components rather than breaking or tearing them. Refine the craft of the model. Increase precision of attachments to the landscape.
SECTIONS
Two 1/4” scale sections are required, one horizontal, one vertical. Sections must document as many different spatial experiences as possible. The vertical section must include shadows and scale figures. The vertical section may be drawn at different times of day or year to document changing lighting conditions. All sections must show deep space by calibrating line-weight and line-type.
110307 - material analysis
Example of the material analysis drawings. This material is composed of wood molding profiles, cut into parts, in assemblies of increasing scales (unit, strand, braid) to construct a landscape condition. Go here for a slideshow of more drawings and here for the handout that introduced this exercise.
unit - sol, girolamo, jenny r, abraham
strand - ned, aimee, jenny b
braid - alyssa, julie, matthew, yoshi
110203 - multiplicities
Multiplicities are rhizomatic…A multiplicity has neither subject nor object, only determinations, magnitudes, and dimensions that cannot increase in number without the multiplicity changing in nature (the laws of combination therefore increase in number as a multiplicity grows).
- Gilles Deleuze
Rhizome Versus Tree
A multiplicity is an organization belonging to the many. A multiplicity is a flexible body that alters its configuration as it repeats (see images below). A multiplicity is defined from its outside through relationships with other multiplicities. Units and strands becoming landscapes are multiplicities. Repetitive alterations to their configurations define transformative logics. Relationships with other units or strands define combinatorial logics.
MATERIAL DEVELOPMENT
Transformative and combinatorial logics derived from the geometries of molding profiles, units and strands yield a type of material. Careful maintenance of these logics – even as they are adjusted in response to the braiding diagram – will produce order and pattern in the material as it is worked. Do not allow other externally defined constraints – size, structural integrity and opacity of the landscape – to override internally defined rules for incremental change (transformative logics) and attachment (combinatorial logics).
MATERIAL ANALYSIS
In Rhino, model the molding profiles, units and strands used to build the landscape. From these models, develop a series of diagrams that unpack the derivation and assembly of this material. Indicate the following:
- Gilles Deleuze
Rhizome Versus Tree
A multiplicity is an organization belonging to the many. A multiplicity is a flexible body that alters its configuration as it repeats (see images below). A multiplicity is defined from its outside through relationships with other multiplicities. Units and strands becoming landscapes are multiplicities. Repetitive alterations to their configurations define transformative logics. Relationships with other units or strands define combinatorial logics.
Four dimensional projections –
E. Jouffret, 1903
Recursively patterned landscape –
Tom Beddard, 2011 (www.subblue.com)
Transformative and combinatorial logics derived from the geometries of molding profiles, units and strands yield a type of material. Careful maintenance of these logics – even as they are adjusted in response to the braiding diagram – will produce order and pattern in the material as it is worked. Do not allow other externally defined constraints – size, structural integrity and opacity of the landscape – to override internally defined rules for incremental change (transformative logics) and attachment (combinatorial logics).
MATERIAL ANALYSIS
In Rhino, model the molding profiles, units and strands used to build the landscape. From these models, develop a series of diagrams that unpack the derivation and assembly of this material. Indicate the following:
- How analyzing curvatures of molding profiles informs cutting and reattaching parts to form units.
- How units attach, rotate, etc. to form strands.
- How strands braid with each other to form the landscape.
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