1) Due Date
Your Skate Pavilion, located at the skating rink at San Pedro Springs Park will be due at the beginning of class on Jury day, 3:30pm December 6, 2010. Your jury will be located at: place to be determined. Your model is to have at least one stair at 6:12 and one ramp at 1:12 from the rink surface. Also required is at least one skate-able feature. Drawings: (1) floor plan and (1) section elevation. All drawings and models at ¼” = 1’-0” scale.
2) Overview of Skate Pavilion Model Components
Your Skate Pavilion model will be judged in the following areas:
· Use of museum board representing concrete and/or masonry construction and basswood representing metal construction and/or wood construction.
· Completeness and Cleanliness of your model.
· Straight and true quality of your model.
· How closely your model reflects a real building.
3) Model Cheat Sheet
· Concrete areas need to be the appropriate thickness: concrete walls 8” thick and floors 12” thick, these are minimums.
· Wood construction: walls 6” thick and floors 12” thick.
· All floor areas where pedestrians are expected to stand need to have appropriate guardrails and handrails shown:
· Guardrails are to be 3’-6” above floor, handrails 2’-10” above floor.
· Windows: to be shown as openings, no requirement to depict glass.
· Headroom – ceilings should be no lower than 7’-0”.
· Stairs and ramps to have landings.
4) Advice
Everyone in studio has the tools necessary to complete their Final Skate Pavilion Model but completion rests on more than tools and skill alone. Please consider the following points of recommendation:
· Budget at least two to three times more time for the overall construction of the final model than what you allocated for the Project No. 6 Final Volume model. This is a recommendation and should be looked at as a general statement and assumes that you have a completed study model. I would expect most to spend even more time than this.
· Strive for high quality standards and don’t settle for sloppy, dirty or crooked work.
· Start on your final model now, not later. The semester finish line is in sight but you have not crossed it, do not let up now! The semester can be lost in the last week.
5) Closing remark: it has been a joy helping you and thank you for letting me accompany you on your architectural career. I wish everyone the best in their future studies and on this Arch 1303 Final Skate Pavilion Project. “If architecture isn’t killing you, you’re not doing it right.” Zaha Hadid
Monday, December 6, 2010
ANSWERS: Project No.10: San Pedro Skate Park Pavilion
1) Background
Your Final Architectural Design 1 Studio Project will be a design problem on a specific site with a simple program. You will be applying all that you have learned this semester, specifically you’re: a) Volume Model, b) Span, and c) Architects Photomontage.
2) Overview
You are expected to site, locate a Pavilion, for a skateboard, roller blade and BMX bike recreational and competitive uses. The Pavilion is to be located on or at the edge of the existing concrete slab called the “Skating Rink” at the San Pedro Springs Park. For this project you will specifically need to address a) the pavilion location, b) approach, c) ramp and path configuration to and through pavilion, d) structure of the pavilion and cladding.
Through this project you will explore the main elements of a buildings circulation system as it responds to the human scale and it’s relationship to the buildings form and function.
3) Assignments
.1 Photo Body Montage
Photograph and scale your body in (3) three separate and different skateboarding/blading/ biking positions at ¼” = 1’-0” scale. At the same time you are to cut two vertical sections, one cross and one longitudinal, through your final Volume model. You will then combine the two, photomontage and drawings, exploring the potential spaces that result from the combination.
.2 Group Drafting and Model Site Exercise
a) Group 1- (assigned members) - you are to draft the site in plan and section at ¼” = 1’-0” scale.
b) Group 2 – (assigned members) – you are to then construct a base model at ¼” = 1’-0” scale. The model will be constructed of corrugate cardboard with a 3” deep base. The walkways and existing slab are to be represented and made out of chipboard.
.3 Sketches and Study Model
Study, through both sketches and preliminary models, your new building using the ¼” =1’-0” scale bodies to investigate the potential spatial relationships of the pavilion. This new building is to be intentionally and specifically sited on or at the edge of the slab carefully considering a vertical circulation element (ramp) into and through the pavilion.
4) Schedule for Final Project
Week Twelve - START FINAL PROJECT - ANALYSIS
11.08.10: Introduce Project No.10 – Final Project, Architect Influence, site analysis, Site Visit, bring volume model to next class
11.10.10: Assign / Lecture: section cuts with scaled figures, (3) building location studies, team site drawings on-going
11.12.10: Team Site Drawings Due; site analysis due and section cuts due, desk crit on (3) site location studies, assign first study model, lecture on stair, ramp and half pipes, bring volume model to class, last day to drop.
Week Thirteen – STUDY DRAWINGS AND MODELS
11.15.10: First pass at Study Model due - Desk crits, Team Study Model Due
11.17.10: Start study Pencil Drawings – plan and section / elev., study models on-going - desk crits
11.19.10: Study Pencil Drawings and Study model class pin-up
Week Fourteen – START FINAL DRAWINGS
11.22.10: Study Pencil drawings and study model due: Assign Final drawing format and final model materials
11.24.10: Final Drawing Desk Crits
11.26.10: College Closed
Week Fifteen - START FINAL MODEL
11.29.10: All Final Drawings Due (plan and section / elev.)
12.01.10: Final Model Desk crits
12.03.10: Final Model Desk crits - LAST CLASS OF FALL 2010
Finals Week - FINAL PROJECT JURY
12.06.10: Design 1 Final Review: 3:30 pm – 4:50 pm.
At 4:50 pm the Fall Arch Design 1 semester is concluded.
Your Final Architectural Design 1 Studio Project will be a design problem on a specific site with a simple program. You will be applying all that you have learned this semester, specifically you’re: a) Volume Model, b) Span, and c) Architects Photomontage.
2) Overview
You are expected to site, locate a Pavilion, for a skateboard, roller blade and BMX bike recreational and competitive uses. The Pavilion is to be located on or at the edge of the existing concrete slab called the “Skating Rink” at the San Pedro Springs Park. For this project you will specifically need to address a) the pavilion location, b) approach, c) ramp and path configuration to and through pavilion, d) structure of the pavilion and cladding.
Through this project you will explore the main elements of a buildings circulation system as it responds to the human scale and it’s relationship to the buildings form and function.
3) Assignments
.1 Photo Body Montage
Photograph and scale your body in (3) three separate and different skateboarding/blading/ biking positions at ¼” = 1’-0” scale. At the same time you are to cut two vertical sections, one cross and one longitudinal, through your final Volume model. You will then combine the two, photomontage and drawings, exploring the potential spaces that result from the combination.
.2 Group Drafting and Model Site Exercise
a) Group 1- (assigned members) - you are to draft the site in plan and section at ¼” = 1’-0” scale.
b) Group 2 – (assigned members) – you are to then construct a base model at ¼” = 1’-0” scale. The model will be constructed of corrugate cardboard with a 3” deep base. The walkways and existing slab are to be represented and made out of chipboard.
.3 Sketches and Study Model
Study, through both sketches and preliminary models, your new building using the ¼” =1’-0” scale bodies to investigate the potential spatial relationships of the pavilion. This new building is to be intentionally and specifically sited on or at the edge of the slab carefully considering a vertical circulation element (ramp) into and through the pavilion.
4) Schedule for Final Project
Week Twelve - START FINAL PROJECT - ANALYSIS
11.08.10: Introduce Project No.10 – Final Project, Architect Influence, site analysis, Site Visit, bring volume model to next class
11.10.10: Assign / Lecture: section cuts with scaled figures, (3) building location studies, team site drawings on-going
11.12.10: Team Site Drawings Due; site analysis due and section cuts due, desk crit on (3) site location studies, assign first study model, lecture on stair, ramp and half pipes, bring volume model to class, last day to drop.
Week Thirteen – STUDY DRAWINGS AND MODELS
11.15.10: First pass at Study Model due - Desk crits, Team Study Model Due
11.17.10: Start study Pencil Drawings – plan and section / elev., study models on-going - desk crits
11.19.10: Study Pencil Drawings and Study model class pin-up
Week Fourteen – START FINAL DRAWINGS
11.22.10: Study Pencil drawings and study model due: Assign Final drawing format and final model materials
11.24.10: Final Drawing Desk Crits
11.26.10: College Closed
Week Fifteen - START FINAL MODEL
11.29.10: All Final Drawings Due (plan and section / elev.)
12.01.10: Final Model Desk crits
12.03.10: Final Model Desk crits - LAST CLASS OF FALL 2010
Finals Week - FINAL PROJECT JURY
12.06.10: Design 1 Final Review: 3:30 pm – 4:50 pm.
At 4:50 pm the Fall Arch Design 1 semester is concluded.
Thursday, November 4, 2010
ANSWERS: Project No.9: ARCHITECT research
1) BACKGROUND
You are going to shift from your own approach to architecture and that of your design studio to study the design process of a famous architect. You are further going to study the design process of your architect as exhibited by a major multi-storied work with a significant stair that is visible in both plan and photographs
2) VOCABULARY
Photomontage – excerpt from article on the Dada movement
......like superimposition – also attempts to develop a technique for the recordings of events occurring on the threshold between dream and consciousness: a tumultuous collision of whimsical detail from which meanings flash; visual poetry with bitter jests and sometimes with blasphemy. Most photomontages demand a concentrated gymnastic of the eye and brain to speed up the visual digestion and increase the range of associative relationships….
3)ASSIGNMENT
.1 ESSAY
You are asked to collect biographical information on your assigned architect for a verbal presentation to be read in class. It is to be one page in length. You are also expected t to collect images in both scalable plans and photos of a stair / detail from a project of your architect. This will be shown in black / white / color photocopies.
.2 ARCHITECTS PHOTOMONTAGE
Based on your continuing investigation of your assigned architect:
- Essay
- Collection of images / scalable plans / sections of a stair.
You are to assemble a 3D photomontage / collage of your collection in a form that captures and communicates the essence of your architect and focuses in on a specific stair. The overall composition will be made up of photocopies of plans, sections, photos, and should incorporate samples of materials used by the architect. The final size, materials used, and composition are up to each student, but each project should be able to be pinned up in studio!
The sum of the parts of your photomontage, the entire composition, should be greater than each individual part.
4) ASSIGNED ARCHITECTS
1) Caroline Garcia: Rem Koolhaas
2) Beli Ponce: Santiago Calatrava
3) Jessi Khatena: Zaha Hadid
4) Megan Head: Itsuko Hasegawa
5) AJ Lane: Toyo Ito
6) Desirae Barron: Maya Lin
7) Emmanuel Guerrero: Emilio Ambasz
8) Jessica Kisling: Ricardo Legorreta
9) Jason Na: Renzo Piano
10) Olivia Diaz: Thom Mayne
11) Daniel Zuniga: Tadao Ando
12) Gabe Winter: Frank Gehry
13) Joshua Rodriguez: Bernard Tschumi
14) Rob Bishop: Richard Rogers
15) Sanjin Ha: Jean Nouvel
Suggestions: at a minimum please highlight: family history, education / training, carrier highlights, style of work, favorite building materials, notable projects and awards.
ESSAY TO BE ONE PAGE SINGLE SIDED.
You are going to shift from your own approach to architecture and that of your design studio to study the design process of a famous architect. You are further going to study the design process of your architect as exhibited by a major multi-storied work with a significant stair that is visible in both plan and photographs
2) VOCABULARY
Photomontage – excerpt from article on the Dada movement
......like superimposition – also attempts to develop a technique for the recordings of events occurring on the threshold between dream and consciousness: a tumultuous collision of whimsical detail from which meanings flash; visual poetry with bitter jests and sometimes with blasphemy. Most photomontages demand a concentrated gymnastic of the eye and brain to speed up the visual digestion and increase the range of associative relationships….
3)ASSIGNMENT
.1 ESSAY
You are asked to collect biographical information on your assigned architect for a verbal presentation to be read in class. It is to be one page in length. You are also expected t to collect images in both scalable plans and photos of a stair / detail from a project of your architect. This will be shown in black / white / color photocopies.
.2 ARCHITECTS PHOTOMONTAGE
Based on your continuing investigation of your assigned architect:
- Essay
- Collection of images / scalable plans / sections of a stair.
You are to assemble a 3D photomontage / collage of your collection in a form that captures and communicates the essence of your architect and focuses in on a specific stair. The overall composition will be made up of photocopies of plans, sections, photos, and should incorporate samples of materials used by the architect. The final size, materials used, and composition are up to each student, but each project should be able to be pinned up in studio!
The sum of the parts of your photomontage, the entire composition, should be greater than each individual part.
4) ASSIGNED ARCHITECTS
1) Caroline Garcia: Rem Koolhaas
2) Beli Ponce: Santiago Calatrava
3) Jessi Khatena: Zaha Hadid
4) Megan Head: Itsuko Hasegawa
5) AJ Lane: Toyo Ito
6) Desirae Barron: Maya Lin
7) Emmanuel Guerrero: Emilio Ambasz
8) Jessica Kisling: Ricardo Legorreta
9) Jason Na: Renzo Piano
10) Olivia Diaz: Thom Mayne
11) Daniel Zuniga: Tadao Ando
12) Gabe Winter: Frank Gehry
13) Joshua Rodriguez: Bernard Tschumi
14) Rob Bishop: Richard Rogers
15) Sanjin Ha: Jean Nouvel
Suggestions: at a minimum please highlight: family history, education / training, carrier highlights, style of work, favorite building materials, notable projects and awards.
ESSAY TO BE ONE PAGE SINGLE SIDED.
ANSWERS: Project No. 8 – Transformation Space – SPAN - //// EXPANDED ////
1) Supplies: sketchpad, camera and your anthropomorphic proportions.
2) Reading: Architecture: Form, Space and Order, Francis D.K. Ching
5. Circulation: approach; entrance; configuration of the path; and path - space relationships
3) Objectives: human body proportions, site measuring, photo documentation, drawing in plan and section, importance of line weights, and understanding different scales.
4) Background
You have already explored your Transformation Space – SPAN at ½” = 1’-0” scale, human scale: the stair and architectural element relative to the proportions and dimensions of your body. Now we will study our Transformation Space – SPAN at 1/8” = 1’-0” scale and 1”= 20’-0”. This will entail now expanding your investigation beyond the relationship that your site has with your human scale. You will now develop and understanding of how your site relates to other features and spaces that lie around them. This will involve an exploration of approaches, circulation elements and path configurations.
5) ASSIGNMENT
Span Expanded
As has been discussed in class, using your site, (the stair and architectural element at ½” = 1’-0” scale) you are asked to expand your scope of investigations to both 1/8” = 1’-0” and 1” = 20’-0” in both plan and section elevations.
6) SCHEDULE (SUBJECT TO CHANGE)
Week Eight
10.15.10: Discuss Reading, Assign Body Sketches, Photomantage discussion.
Week Nine
10.18.10: Site Visit
10.20.10: Pin-up Body Sketches, Pin- up Field Notes, work in class
10.22.10: Pin-up photomontage, pin-Up ½” Plan and ½” Section Drawings
Week Ten
10.25.10: Final Review ½” Scale / Photo Montage, Assign 1/8 scale
10.27.10: 1/8” = 1’-0” preliminary pin-up and desk crits, Assign 1”=20’-0”
10.29.10: 1” = 20’-0” discussion and computer room tour
Week Eleven
11.01.10: 1” = 20’-0” preliminary pin up and desk crits, assign brochure
11.03.10: Brochure draft due, assign Architect Essay, lecture
11.05.10: Final Brochure Due, read draft of Architect Essay
2) Reading: Architecture: Form, Space and Order, Francis D.K. Ching
5. Circulation: approach; entrance; configuration of the path; and path - space relationships
3) Objectives: human body proportions, site measuring, photo documentation, drawing in plan and section, importance of line weights, and understanding different scales.
4) Background
You have already explored your Transformation Space – SPAN at ½” = 1’-0” scale, human scale: the stair and architectural element relative to the proportions and dimensions of your body. Now we will study our Transformation Space – SPAN at 1/8” = 1’-0” scale and 1”= 20’-0”. This will entail now expanding your investigation beyond the relationship that your site has with your human scale. You will now develop and understanding of how your site relates to other features and spaces that lie around them. This will involve an exploration of approaches, circulation elements and path configurations.
5) ASSIGNMENT
Span Expanded
As has been discussed in class, using your site, (the stair and architectural element at ½” = 1’-0” scale) you are asked to expand your scope of investigations to both 1/8” = 1’-0” and 1” = 20’-0” in both plan and section elevations.
6) SCHEDULE (SUBJECT TO CHANGE)
Week Eight
10.15.10: Discuss Reading, Assign Body Sketches, Photomantage discussion.
Week Nine
10.18.10: Site Visit
10.20.10: Pin-up Body Sketches, Pin- up Field Notes, work in class
10.22.10: Pin-up photomontage, pin-Up ½” Plan and ½” Section Drawings
Week Ten
10.25.10: Final Review ½” Scale / Photo Montage, Assign 1/8 scale
10.27.10: 1/8” = 1’-0” preliminary pin-up and desk crits, Assign 1”=20’-0”
10.29.10: 1” = 20’-0” discussion and computer room tour
Week Eleven
11.01.10: 1” = 20’-0” preliminary pin up and desk crits, assign brochure
11.03.10: Brochure draft due, assign Architect Essay, lecture
11.05.10: Final Brochure Due, read draft of Architect Essay
Wednesday, October 20, 2010
ANSWERS: Project No. 7 – Transformation Space – SPAN
1) Supplies: sketchpad, camera and your anthropomorphic proportions.
2) Reading: Architecture: Form, Space and Order, Francis D.K. Ching
5. Circulation: approach; entrance; configuration of the path; and path - space relationships
3) Background
Across the street from our SAC campus is San Pedro Springs Park, aptly named for it’s natural flowing spring water. San Pedro Park is the point of origin for the City of San Antonio, meaning, the beginning of settlement in this area. San Pedro Springs Park is the second oldest named / designated park in the United States, second only to Boston Commons. The park is on the National Register of Historic Places and is the home to San Antonio’s first branch library. You will learn this place using your body as a measuring instrument.
4) ASSIGNMENT
.1 Human Body
The measuring of the human body, in order to use the information as a design determinant, is not a new exercise. You are asked to draw your own body in plan, front and side elevation.
.2 San Pedro Springs Park Visit
You will be conducting a site visit to San Pedro Springs Park in order to select a 22’-0” x 22’-0” site on which you will base your next project.
a. Site Selection Criteria
Using your body as a “scale”, you are literally asked to select a section of San Pedro Springs Park that you are able to “SPAN” in between. The span must occur between a stair and another appropriate architectural element.
b. Photomontage
You will be using a camera to take multiple images of the site you have selected. You are encouraged to work in teams of two. Multiple images taken close up is what is desired and not one image taken far way. We will start this activity in class but you are encouraged to return to the site as needed.
c. Plan and Section Sketches
Using only your body, without the use of any measuring devices, you are asked to draw a plan and section sketch of the 22’-0” x 22’-0” site you have selected. We will start this activity in class but you are encouraged to return to the site as needed.
d. Plan and Section Drawings
At ½” = 1’-0” scale, you are asked to carefully draft exact hard lined drawings of your plan and section.
5) SCHEDULE
Week Eight
10.15.10: Discuss Reading, Assign Body Sketches, Photomantage discussion.
Week Nine
10.18.10: Site Visit
10.20.10: Pin-up Body Sketches, Pin- up Field Notes, work in class
10.22.10: Pin-up photomontage, pin-Up ½” Plan and ½” Section Drawings
Week Ten
10.25.10: Final Review ½” Scale / Photo Montage, Assign 1/8 scale
10.27.10: 1/8” = 1’-0” preliminary pin-up and desk crits, Assign 1”=20’-0”
10.29.10: 1” = 20’-0” discussion and computer room tour
Week Eleven
11.01.10: 1” = 20’-0” preliminary pin up and desk crits, assign brochure
11.03.10: Brochure draft due, assign Architect Essay, lecture
11.05.10: Final Brochure Due, read draft of Architect Essay
2) Reading: Architecture: Form, Space and Order, Francis D.K. Ching
5. Circulation: approach; entrance; configuration of the path; and path - space relationships
3) Background
Across the street from our SAC campus is San Pedro Springs Park, aptly named for it’s natural flowing spring water. San Pedro Park is the point of origin for the City of San Antonio, meaning, the beginning of settlement in this area. San Pedro Springs Park is the second oldest named / designated park in the United States, second only to Boston Commons. The park is on the National Register of Historic Places and is the home to San Antonio’s first branch library. You will learn this place using your body as a measuring instrument.
4) ASSIGNMENT
.1 Human Body
The measuring of the human body, in order to use the information as a design determinant, is not a new exercise. You are asked to draw your own body in plan, front and side elevation.
.2 San Pedro Springs Park Visit
You will be conducting a site visit to San Pedro Springs Park in order to select a 22’-0” x 22’-0” site on which you will base your next project.
a. Site Selection Criteria
Using your body as a “scale”, you are literally asked to select a section of San Pedro Springs Park that you are able to “SPAN” in between. The span must occur between a stair and another appropriate architectural element.
b. Photomontage
You will be using a camera to take multiple images of the site you have selected. You are encouraged to work in teams of two. Multiple images taken close up is what is desired and not one image taken far way. We will start this activity in class but you are encouraged to return to the site as needed.
c. Plan and Section Sketches
Using only your body, without the use of any measuring devices, you are asked to draw a plan and section sketch of the 22’-0” x 22’-0” site you have selected. We will start this activity in class but you are encouraged to return to the site as needed.
d. Plan and Section Drawings
At ½” = 1’-0” scale, you are asked to carefully draft exact hard lined drawings of your plan and section.
5) SCHEDULE
Week Eight
10.15.10: Discuss Reading, Assign Body Sketches, Photomantage discussion.
Week Nine
10.18.10: Site Visit
10.20.10: Pin-up Body Sketches, Pin- up Field Notes, work in class
10.22.10: Pin-up photomontage, pin-Up ½” Plan and ½” Section Drawings
Week Ten
10.25.10: Final Review ½” Scale / Photo Montage, Assign 1/8 scale
10.27.10: 1/8” = 1’-0” preliminary pin-up and desk crits, Assign 1”=20’-0”
10.29.10: 1” = 20’-0” discussion and computer room tour
Week Eleven
11.01.10: 1” = 20’-0” preliminary pin up and desk crits, assign brochure
11.03.10: Brochure draft due, assign Architect Essay, lecture
11.05.10: Final Brochure Due, read draft of Architect Essay
ANSWERS: Project No. 6: Volume
1) Reading: section on Volume – Form, Space and Order – Francis D.K. Ching.
2) Supplies: 1/8” x 1/8” square section basswood – 3’ long, 1/16” Chipboard, and 1/8” thick cardboard.
3) Background
Volume: “A plane extended in a direction other than its intrinsic direction becomes a volume. Conceptually a volume has three dimensions: length, width, and depth. All volumes can be analyzed and understood to consist of:
- Points or vertices where several planes come together
- Lines or edges where two planes meet
- Planes or surfaces that define the limits of boundaries of a volume
4) ASSIGNMENT
Volume
Using your composite, shallow relief, and base line drawing as guides you will be constructing a three dimensional model. The dimensions of the model are as follows:
- 5-1/2” x 7-3/4” x 5-1/2” deep (the original open box, envelope, is to be used as a starting point).
- This volume is to be bound on three sides and open on top and bottom.
- The envelope volume is then to be subdivided by the vertical line and thickened planes if/as directed by your base line drawing.
At this stage the models will only be viewed from above as plan, or from the ends as sections. Additionally, the volume of the envelope is to be placed within the 11” x 11” field space, which is to be constructed of contrasting chipboard as in your shallow relief, and is to be understood as a solid. In all cases, both the shallow relief and composite are to be carefully analyzed and should influence your decisions to have various planes advance and recede from the original 2-D field space.
Exact instructions as to the making of the study and final models will be given in class and are to be followed precisely. Kraft and care in the conceptualizing of the studies as wells as the making of the final models will be critical.
5) SCHEDULE
Week 6
10.01.10: Final Review for COLOR, discuss study model materials
Week 7
10.04.10: Begin study model for Project No.6, charette
10.06.10: Study model due end of class; discuss final materials
10.08.10: Begin Final Model, Assign reading
Week 8
10.11.09: Desk Crits
10.13.09: Final Review of Volume
10.15.10: Discuss Reading and Lecture on Plan and Section
2) Supplies: 1/8” x 1/8” square section basswood – 3’ long, 1/16” Chipboard, and 1/8” thick cardboard.
3) Background
Volume: “A plane extended in a direction other than its intrinsic direction becomes a volume. Conceptually a volume has three dimensions: length, width, and depth. All volumes can be analyzed and understood to consist of:
- Points or vertices where several planes come together
- Lines or edges where two planes meet
- Planes or surfaces that define the limits of boundaries of a volume
4) ASSIGNMENT
Volume
Using your composite, shallow relief, and base line drawing as guides you will be constructing a three dimensional model. The dimensions of the model are as follows:
- 5-1/2” x 7-3/4” x 5-1/2” deep (the original open box, envelope, is to be used as a starting point).
- This volume is to be bound on three sides and open on top and bottom.
- The envelope volume is then to be subdivided by the vertical line and thickened planes if/as directed by your base line drawing.
At this stage the models will only be viewed from above as plan, or from the ends as sections. Additionally, the volume of the envelope is to be placed within the 11” x 11” field space, which is to be constructed of contrasting chipboard as in your shallow relief, and is to be understood as a solid. In all cases, both the shallow relief and composite are to be carefully analyzed and should influence your decisions to have various planes advance and recede from the original 2-D field space.
Exact instructions as to the making of the study and final models will be given in class and are to be followed precisely. Kraft and care in the conceptualizing of the studies as wells as the making of the final models will be critical.
5) SCHEDULE
Week 6
10.01.10: Final Review for COLOR, discuss study model materials
Week 7
10.04.10: Begin study model for Project No.6, charette
10.06.10: Study model due end of class; discuss final materials
10.08.10: Begin Final Model, Assign reading
Week 8
10.11.09: Desk Crits
10.13.09: Final Review of Volume
10.15.10: Discuss Reading and Lecture on Plan and Section
Tuesday, September 28, 2010
ANSWERS: Project No. 5.5 – Composite
1) Background
Composite – material - a material that is made up of other materials.
- particle - a particle that is made up of smaller particles.
- alloy – a composite metal and another element.
- concrete – a composite material composed of cement, aggregate and water.
2) ASSIGNMENT
.5 Composite
You are asked to explore a COMPOSITE of your two EXTENSION studies taking the qualities of saturated primary and unsaturated muted color spaces that were found to be most spatially stimulating. You are expected to compose your COMPOSITE using color photocopies cut up and pasted onto a final interrelated space drawing or photocopy.
Note: not all of the surface of the drawing needs to be colored. The selective aspects of each of your two Extension studies are to be combined into one final study based on visual perception and your knowledge of color and light as compositional elements.
What's Next? This will be your final color study, from which you will embark on your first three dimensional volume study interpreting the new “color space” that has resulted in your COMPOSITE, along with your previously completed shallow relief model.
Composite – material - a material that is made up of other materials.
- particle - a particle that is made up of smaller particles.
- alloy – a composite metal and another element.
- concrete – a composite material composed of cement, aggregate and water.
2) ASSIGNMENT
.5 Composite
You are asked to explore a COMPOSITE of your two EXTENSION studies taking the qualities of saturated primary and unsaturated muted color spaces that were found to be most spatially stimulating. You are expected to compose your COMPOSITE using color photocopies cut up and pasted onto a final interrelated space drawing or photocopy.
Note: not all of the surface of the drawing needs to be colored. The selective aspects of each of your two Extension studies are to be combined into one final study based on visual perception and your knowledge of color and light as compositional elements.
What's Next? This will be your final color study, from which you will embark on your first three dimensional volume study interpreting the new “color space” that has resulted in your COMPOSITE, along with your previously completed shallow relief model.
ANSWERS: Project No. 5 – Simultaneous Contrast of Hue
1) READING
- excerpts from Interaction of Color, Joseph Albers
2) SUPPLIES
- Pure color cut outs from magazines, pad paper, contact cement, scissors
3) ASSIGNMENT
.3 Transparency
Select a 5-1/2” x 5-1/2” frame from your interrelated space drawing. The frame should be an area of rich interaction and line weight variation. You are to photocopy or redraw this frame on an 11” x 11” drawing pad paper. There are to be (3) examples of transparency within the frame. The transparency should be the “effect” of color transparency or “phenomenal transparency” not literal transparency. Do not use transparent films or paper. The paper samples are not actually transparent but appear that way because of proper selections. Note: the transparency will always be at least as dark as the darkest color in the combination, and will be less saturated than either of the colors producing the effect.
Your composition is to also illustrate the effect of color vibration. Vibration occurs when two hues of equal value are placed next to each other. There should be (2) examples of Vibration. Note: yellow and violet will not vibrate but red and green will.
The composition should illustrate the effect of color vibration. Vibration occurs when two hues of equal value are placed next to each other
- excerpts from Interaction of Color, Joseph Albers
2) SUPPLIES
- Pure color cut outs from magazines, pad paper, contact cement, scissors
3) ASSIGNMENT
.3 Transparency
Select a 5-1/2” x 5-1/2” frame from your interrelated space drawing. The frame should be an area of rich interaction and line weight variation. You are to photocopy or redraw this frame on an 11” x 11” drawing pad paper. There are to be (3) examples of transparency within the frame. The transparency should be the “effect” of color transparency or “phenomenal transparency” not literal transparency. Do not use transparent films or paper. The paper samples are not actually transparent but appear that way because of proper selections. Note: the transparency will always be at least as dark as the darkest color in the combination, and will be less saturated than either of the colors producing the effect.
Your composition is to also illustrate the effect of color vibration. Vibration occurs when two hues of equal value are placed next to each other. There should be (2) examples of Vibration. Note: yellow and violet will not vibrate but red and green will.
The composition should illustrate the effect of color vibration. Vibration occurs when two hues of equal value are placed next to each other
ANSWERS: Project No. 5 – Simultaneous Contrast of Hue
1) READING
- excerpts from Interaction of Color, Joseph Albers
2) SUPPLIES
- Pure color cut outs from magazines, pad paper, contact cement, scissors
3) ASSIGNMENT
.1 Choose two color samples as “fields” 2” wide x 3-1/4” tall. Samples should be near the same value as possible. Choose a “figure” color and place smaller rectangular pieces ½”w x ¾”t in the middle of the “field” samples. The object of this assignment is to make the same “figure” pieces appear to be as different as possible.
.2 Choose two color samples as “fields” 2” w x 3-1/4”t. Samples should be as near the same value as possible. Choose two color samples as “figures” and place smaller rectangular pieces of them (1/2” x ¾”) in the middle of the “field” samples. The object of this assignment is to make the “figure” pieces appear to be the same, beginning with as different figure samples as possible. Also, place additional samples of the “figure” pieces in the bottom right corner of the page for comparison.
Notes: in both assignments the “field” should be the same value in order to eliminate the effects of simultaneous contrast of value.
Both exercises should be glued, with contact cement not Elmer’s, to an 11” x 11” piece of drawing pad paper and the fields should be centered with 1” spacing in between.
4) SCHEDULE
Week Five
09.20.10: Introduce Color Vocabulary, Color Wheel, Albers readings, review color database, Assign Project 5.1 and 5.2, My Favorite Painting
09.22.09: Prelim. pin up of Proj. 5.1 and 5.2, Assign Project 5.3
09.24.09: Project 5.3 Transparency prelim pin-up and discussion, Project 5.1 and 5.2 Final due beginning of class, Assign Project 5.4 Extension
Week Six
09.27.09: Project 5.4 Extension prelim pin-up and discussion, Final Project 5.3 due at the beginning of class
09.29.10: College Closed till 5pm
10.01.10: Final Review for COLOR in the Jury Room
- excerpts from Interaction of Color, Joseph Albers
2) SUPPLIES
- Pure color cut outs from magazines, pad paper, contact cement, scissors
3) ASSIGNMENT
.1 Choose two color samples as “fields” 2” wide x 3-1/4” tall. Samples should be near the same value as possible. Choose a “figure” color and place smaller rectangular pieces ½”w x ¾”t in the middle of the “field” samples. The object of this assignment is to make the same “figure” pieces appear to be as different as possible.
.2 Choose two color samples as “fields” 2” w x 3-1/4”t. Samples should be as near the same value as possible. Choose two color samples as “figures” and place smaller rectangular pieces of them (1/2” x ¾”) in the middle of the “field” samples. The object of this assignment is to make the “figure” pieces appear to be the same, beginning with as different figure samples as possible. Also, place additional samples of the “figure” pieces in the bottom right corner of the page for comparison.
Notes: in both assignments the “field” should be the same value in order to eliminate the effects of simultaneous contrast of value.
Both exercises should be glued, with contact cement not Elmer’s, to an 11” x 11” piece of drawing pad paper and the fields should be centered with 1” spacing in between.
4) SCHEDULE
Week Five
09.20.10: Introduce Color Vocabulary, Color Wheel, Albers readings, review color database, Assign Project 5.1 and 5.2, My Favorite Painting
09.22.09: Prelim. pin up of Proj. 5.1 and 5.2, Assign Project 5.3
09.24.09: Project 5.3 Transparency prelim pin-up and discussion, Project 5.1 and 5.2 Final due beginning of class, Assign Project 5.4 Extension
Week Six
09.27.09: Project 5.4 Extension prelim pin-up and discussion, Final Project 5.3 due at the beginning of class
09.29.10: College Closed till 5pm
10.01.10: Final Review for COLOR in the Jury Room
Friday, September 10, 2010
ANSWERS: Project No. 4: 3D – SHALLOW RELIEF
1) READING
Architecture – Form, Space and Order, Francis D.K. Ching
- Volume
2) SUPPLIES
- chipboard, X-acto knife holder and blades, cutting surface, elmer’s glue (there is no substitute, so bring elmer’s glue)
3) INTRODUCTION
A plane extended becomes a volume. A volume has three dimensions: length, width, and depth. All volumes consist of the basic elements, however:
- points – where planes come together
- lines – where two planes meet
- planes – the boundaries of a volume
Your first few assignments of this course involved manipulating the basic primary elements while composing two-dimensional compositions. You then worked with figure ground, which, showed the emerging three-dimensional potential of these two-dimensional images. Now, we will use these same elements and make a shallow relief.
4) ASSIGNMENT
a) Use your final interrelated space drawing as a guide for interpreting visual line weight,
b) Use your figure ground drawing to express the relationship of the object to a field.
With both guides stated above you are to translate your drawings into shallow relief. The relief is to be built up to form a surface composed of four layers of 1/8” thick chipboard (or cardboard) totaling ½” for a portion of the shallow relief. Contrastingly, at least some part of the 11” x 11” is to be void or have no material, with the remaining areas to be defined by one (1), two (2), or three (3) layers. The over all shallow relief is address the entire 11” x 11” composition.
5) SCHEDULE
Week Three
09.06.10: San Antonio College – CLOSED – Labor Day
09.08.10: Final Presentation Project No.3 and introduce Project No.4 / Charette
09.10.10: Project No.4 study model due pin up and / or desk crits
Week Four
09.13.10: Project No. 4 Second Generation Study Model Due
09.15.10: Start Project No. 4 Final Model in Class
09.17.10: Final Model Presentation Project No. 4, Jury
Week Five
09.20.10: Introduce Color, assign color data base, Albers readings
Architecture – Form, Space and Order, Francis D.K. Ching
- Volume
2) SUPPLIES
- chipboard, X-acto knife holder and blades, cutting surface, elmer’s glue (there is no substitute, so bring elmer’s glue)
3) INTRODUCTION
A plane extended becomes a volume. A volume has three dimensions: length, width, and depth. All volumes consist of the basic elements, however:
- points – where planes come together
- lines – where two planes meet
- planes – the boundaries of a volume
Your first few assignments of this course involved manipulating the basic primary elements while composing two-dimensional compositions. You then worked with figure ground, which, showed the emerging three-dimensional potential of these two-dimensional images. Now, we will use these same elements and make a shallow relief.
4) ASSIGNMENT
a) Use your final interrelated space drawing as a guide for interpreting visual line weight,
b) Use your figure ground drawing to express the relationship of the object to a field.
With both guides stated above you are to translate your drawings into shallow relief. The relief is to be built up to form a surface composed of four layers of 1/8” thick chipboard (or cardboard) totaling ½” for a portion of the shallow relief. Contrastingly, at least some part of the 11” x 11” is to be void or have no material, with the remaining areas to be defined by one (1), two (2), or three (3) layers. The over all shallow relief is address the entire 11” x 11” composition.
5) SCHEDULE
Week Three
09.06.10: San Antonio College – CLOSED – Labor Day
09.08.10: Final Presentation Project No.3 and introduce Project No.4 / Charette
09.10.10: Project No.4 study model due pin up and / or desk crits
Week Four
09.13.10: Project No. 4 Second Generation Study Model Due
09.15.10: Start Project No. 4 Final Model in Class
09.17.10: Final Model Presentation Project No. 4, Jury
Week Five
09.20.10: Introduce Color, assign color data base, Albers readings
Thursday, September 2, 2010
ANSWERS: Project No. 3: 2D – FIGURE GROUND
1) READING
Architecture – Form, Space and Order, Francis D.K. Ching
- Primary Elements: point, line, and plane
2) SUPPLIES
- Black construction paper, white prismacolor, X-acto knife holder and blades, cutting surface, glue for paper
3) INTRODUCTION
As has been discussed, the term space, as referred to by architects, is the void that is defined by the construction of the built environment. Though the void exists without the built environment, it is the built environment that gives the void architectural definition.
---- Space becomes Solid ----
The figure ground drawing allows the designer the ability to visualize the emerging three-dimensional quality of a two-dimensional drawing. Poche (def. – in an architectural drawing, the blackened portions representing solids) is a technique used to fill in between lines.
4) ASSIGNMENT
Using your Final Base Drawing, place the black construction paper in the location of your open box (envelope). Any lines or point that lie within it are to be drawn over the construction paper with white prismacolor. Next, after observing the newly identified figure in your base drawing, you are asked to follow the subtractive and translation operations of your interrelated space exercise and contract or expand you envelope in relation to the surrounding field as your final drawing dictates. Care, precision and craft should be used to describe your final presentation.
5) SCHEDULE
Week One
08.23.10: Discuss syllabus, introduce Project No. 1, ORID
08.25.10: Class Project No. 1 prelim pin-up and discussion, Introduce Favorite Place
08.27.10: Class Project No. 1 Final Due, introduce Project No.2,
Week Two
08.30.10: Favorite Place Final Pin Up, Project No. 2 prelim pin up / desk crits
09.01.10: Project No.2 Final Due and Introduce Project No. 3
09.03.10: Project No. 3 prelim pin up and desk crits., discuss Project No. 4 supplies
Week Three
09.06.10: San Antonio College – CLOSED – Labor Day
09.08.10: Final Presentation Project No.3 and introduce Project No.4 / Charette
09.10.10: Project No.4 study model due pin up and / or desk crits
Week Four
09.13.10: Project No. 4 Second Generation Study Model Due
09.15.10: Start Project No. 4 Final Model in Class
09.17.10: Final Model Presentation Project No. 4, Jury
Week Five
09.20.10: Introduce Color, assign color data base, Albers readings
Tuesday, August 31, 2010
ANSWERS: ORID
4 LEVELS OF OBSERVATION
An exercise in Questioning?
When we finish seeing a movie or TV show our conversation about what we saw usually centers around “did you like it?” or “what did you think of that actor?”. Those are good responses but this exercise in questioning of a movie/clip will help us to look deeper. The tool that we will use to break down the sum into parts is the question(?).
1. OBJECTIVE QUESTIONS
(def: objective - undistorted by emotion or personal bias; based on observable phenomena)
What scenes in the movie/clip do you remember?
What objects do you remember?
What noises do you remember?
Who were the main characters?
What were some on the lines of dialogue?
What things in the movie/clip did you see as symbols?
2. REFLECTIVE QUESTIONS
(def: reflective - the capability of quiet thought or contemplation)
Who do you like or hate?
Where did you see emotion on the screen?
Where did you experience emotion yourself?
What was your mood at the end of the movie?
Who did you identify with? Is that something you wanted to happen?
3. INTERPRETIVE QUESTIONS
(def: interpretive - to identify and explain meanings, usually from a particular perspective)
What was the main character struggling with?
How did he/she deal with his/her struggle?
What was the movie/clip really about?
4. DECISIONAL QUESTIONS
(def: decisional - having the power or authority to make decisions)
What would be your title for this movie/clip?
Where do you see this movie/clip going on in your life?
What did you learn about yourself from this movie/clip?
What did you learn from the movie/clip that you would apply to your life?
An exercise in Questioning?
When we finish seeing a movie or TV show our conversation about what we saw usually centers around “did you like it?” or “what did you think of that actor?”. Those are good responses but this exercise in questioning of a movie/clip will help us to look deeper. The tool that we will use to break down the sum into parts is the question(?).
1. OBJECTIVE QUESTIONS
(def: objective - undistorted by emotion or personal bias; based on observable phenomena)
What scenes in the movie/clip do you remember?
What objects do you remember?
What noises do you remember?
Who were the main characters?
What were some on the lines of dialogue?
What things in the movie/clip did you see as symbols?
2. REFLECTIVE QUESTIONS
(def: reflective - the capability of quiet thought or contemplation)
Who do you like or hate?
Where did you see emotion on the screen?
Where did you experience emotion yourself?
What was your mood at the end of the movie?
Who did you identify with? Is that something you wanted to happen?
3. INTERPRETIVE QUESTIONS
(def: interpretive - to identify and explain meanings, usually from a particular perspective)
What was the main character struggling with?
How did he/she deal with his/her struggle?
What was the movie/clip really about?
4. DECISIONAL QUESTIONS
(def: decisional - having the power or authority to make decisions)
What would be your title for this movie/clip?
Where do you see this movie/clip going on in your life?
What did you learn about yourself from this movie/clip?
What did you learn from the movie/clip that you would apply to your life?
ANSWERS: Class Blog name list
www.noeticbricolage.blogspot.com
www.happypeep.blogspot.com
www.untitledbeginnings.blogspot.com
www.itssandwichday.blogspot.com
www.change-heaven.blogspot.com
www.standardprinting.blogspot.com
www.inceptualdesign.blogspot.com
www.TransformersNerd.blogspot.com
www.sourpatchkid.blogspot.com (could not get working?)
www.ufcarch.blogspot.com
www.5designer5.blogspot.com
www.sacarchitectureideas.blogspot.com
www.on-a-day-like-this.blogspot.com
www.blackwoodranch.blogspot.com
www.likethatswhatshesaid.blogspot.com
www.sourpatchkid23.blogspot.com
www.fr33b1rd.blogspot.com
www.archdes1fall10.blogspot.com
www.happypeep.blogspot.com
www.untitledbeginnings.blogspot.com
www.itssandwichday.blogspot.com
www.change-heaven.blogspot.com
www.standardprinting.blogspot.com
www.inceptualdesign.blogspot.com
www.TransformersNerd.blogspot.com
www.sourpatchkid.blogspot.com (could not get working?)
www.ufcarch.blogspot.com
www.5designer5.blogspot.com
www.sacarchitectureideas.blogspot.com
www.on-a-day-like-this.blogspot.com
www.blackwoodranch.blogspot.com
www.likethatswhatshesaid.blogspot.com
www.sourpatchkid23.blogspot.com
www.fr33b1rd.blogspot.com
www.archdes1fall10.blogspot.com
ANSWERS: Project No. 2: 2D PRIMARY ELEMENTS: INTERRELATED SPACES
Project No. 2: 2D PRIMARY ELEMENTS: INTERRELATED SPACES
1) READING
Architecture – Form, Space and Order, Francis D.K. Ching
- Primary Elements: point, line, and plane
2) VOCABULARY
- Design concept or “parti”, visual weight, spacing, direction, overlay, design process, and abstract thinking
3) SUPPLIES
- Drawing Pad Paper, Triangle, T-square, Tracing Paper, Lead Holder and leads:
4) ASSIGNMENT
Design a series of Interrelated Spaces within your field, making one of these new spaces more dominant than the others. You are to have for review at least three overlays, each exploring different options based on your original point line and plane base. Additional drawings and models will be assigned in later phases!
Interrelated Spaces
Spaces that have a mutual relationship, both giving back to each other.
They have an intimacy or connection – what establishes this, say on a house to site? a person.
Assignment Design Problem – Project No. 2 – Interrelated Spaces
1. Problem - we can’t get from one space to the other!
2. Create a “Construction Line Base Drawing”
- adding the 4th line, the lightest weight line, construction line.
- Construction lines do not exist.
- Step 1: add construction lines to open box.
- Step 2: add (2) vertical lines centered on point, add (2) horizontal lines center on point, 1/8” apart.
- We are going to use this drawing for three overlay sketches.
3. The rules for the (3) overlay sketches: Subtraction and Translation
a.You must subtract at least one line segment from every existing line, (6) lines.
b.What is a line segment – any part of a line that is intersected by an existing line or construction line.
c.Any subtracted line segment must be translated (i.e moved orthogonally) to parallel an exist’g line, construction line, or edge of field.
d.(6) moves, if not you can’t subtract another, so that all of the spaces are connected to each other.
5) SCHEDULE
Week One
08.23.10: Discuss syllabus, introduce Project No. 1, ORID, assign pins.
08.25.10: Class Project No. 1 prelim pin-up and discussion, Introduce Favorite Place
08.27.10: Class Project No. 1 Final Due, introduce Project No.2,
Week Two
08.30.10: pins due, Favorite Place Final Pin Up, Project No. 2 prelim pin up / desk crits
09.01.10: Project No.2 Final Due and Introduce Project No 3
09.03.10: Project No. 3 prelim pin up and desk crits.
1) READING
Architecture – Form, Space and Order, Francis D.K. Ching
- Primary Elements: point, line, and plane
2) VOCABULARY
- Design concept or “parti”, visual weight, spacing, direction, overlay, design process, and abstract thinking
3) SUPPLIES
- Drawing Pad Paper, Triangle, T-square, Tracing Paper, Lead Holder and leads:
4) ASSIGNMENT
Design a series of Interrelated Spaces within your field, making one of these new spaces more dominant than the others. You are to have for review at least three overlays, each exploring different options based on your original point line and plane base. Additional drawings and models will be assigned in later phases!
Interrelated Spaces
Spaces that have a mutual relationship, both giving back to each other.
They have an intimacy or connection – what establishes this, say on a house to site? a person.
Assignment Design Problem – Project No. 2 – Interrelated Spaces
1. Problem - we can’t get from one space to the other!
2. Create a “Construction Line Base Drawing”
- adding the 4th line, the lightest weight line, construction line.
- Construction lines do not exist.
- Step 1: add construction lines to open box.
- Step 2: add (2) vertical lines centered on point, add (2) horizontal lines center on point, 1/8” apart.
- We are going to use this drawing for three overlay sketches.
3. The rules for the (3) overlay sketches: Subtraction and Translation
a.You must subtract at least one line segment from every existing line, (6) lines.
b.What is a line segment – any part of a line that is intersected by an existing line or construction line.
c.Any subtracted line segment must be translated (i.e moved orthogonally) to parallel an exist’g line, construction line, or edge of field.
d.(6) moves, if not you can’t subtract another, so that all of the spaces are connected to each other.
5) SCHEDULE
Week One
08.23.10: Discuss syllabus, introduce Project No. 1, ORID, assign pins.
08.25.10: Class Project No. 1 prelim pin-up and discussion, Introduce Favorite Place
08.27.10: Class Project No. 1 Final Due, introduce Project No.2,
Week Two
08.30.10: pins due, Favorite Place Final Pin Up, Project No. 2 prelim pin up / desk crits
09.01.10: Project No.2 Final Due and Introduce Project No 3
09.03.10: Project No. 3 prelim pin up and desk crits.
ANSWERS: Project No. 1: 2D PRIMARY ELEMENTS: POINT, LINE AND PLANE
…to be able to recognize the basic elements of form and space and understand how they can be manipulated and organized in the development of a design concept,..
Francis D.K. Ching
Project No. 1: 2D PRIMARY ELEMENTS: POINT, LINE AND PLANE
1) READING
Architecture – Form, Space and Order, Francis D.K. Ching
- Primary Elements: point, line, and plane
2) VOCABULARY
- Design concept or “parti”, visual weight, spacing, overlay, design process, and abstract thinking
3) SUPPLIES
Drawing Pad Paper, Triangle, T-square, Tracing Paper, Lead Holder and leads.
4) INTRODUCTION
The point, a position in space, center of a field, intersection, two ends of a line. A line, a point extended, length dominating its width, joins and surrounds. A plane, a line extended, length and width dominates depth. When arranged within proximity of each other on a field, how these basic design elements relate to one another depends on location, direction, and weight.
Over the next few classes, you will explore the arrangements of these basic design elements and their ability to produce an evocative two-dimensional image.
5) ASSIGNMENT
On an 11” x 11” sheet of drawing pad paper (field), you are given a 5-1/2” x 7-3/4” rectangular box (envelop), closed on three sides, by lightly drawn pencil lines. You are directed to first place a point somewhere within your field. Next, the field is to be subdivided by a vertical, medium weight line, into two zones (one thicker than the other). Finally the composition is to be further articulated by the addition of two horizontal planes, thickened lines, into three separate layers. The final composition will become the base for your next project.
6) SCHEDULE
Week One
08.23.10: Discuss syllabus, introduce Project No. 1, ORID, assign pins.
08.25.10: Class Project No. 1 prelim pin-up and discussion, Introduce Favorite Place
08.27.10: Class Project No. 1 Final Due, introduce Project No.2,
Week Two
08.30.10: pins due, Favorite Place Final Pin Up, Project No. 2 prelim pin up / desk crits
09.01.10: Project No.2 Final Due and Introduce Project No 3
09.03.10: Project No. 3 prelim pin up and desk crits.
Francis D.K. Ching
Project No. 1: 2D PRIMARY ELEMENTS: POINT, LINE AND PLANE
1) READING
Architecture – Form, Space and Order, Francis D.K. Ching
- Primary Elements: point, line, and plane
2) VOCABULARY
- Design concept or “parti”, visual weight, spacing, overlay, design process, and abstract thinking
3) SUPPLIES
Drawing Pad Paper, Triangle, T-square, Tracing Paper, Lead Holder and leads.
4) INTRODUCTION
The point, a position in space, center of a field, intersection, two ends of a line. A line, a point extended, length dominating its width, joins and surrounds. A plane, a line extended, length and width dominates depth. When arranged within proximity of each other on a field, how these basic design elements relate to one another depends on location, direction, and weight.
Over the next few classes, you will explore the arrangements of these basic design elements and their ability to produce an evocative two-dimensional image.
5) ASSIGNMENT
On an 11” x 11” sheet of drawing pad paper (field), you are given a 5-1/2” x 7-3/4” rectangular box (envelop), closed on three sides, by lightly drawn pencil lines. You are directed to first place a point somewhere within your field. Next, the field is to be subdivided by a vertical, medium weight line, into two zones (one thicker than the other). Finally the composition is to be further articulated by the addition of two horizontal planes, thickened lines, into three separate layers. The final composition will become the base for your next project.
6) SCHEDULE
Week One
08.23.10: Discuss syllabus, introduce Project No. 1, ORID, assign pins.
08.25.10: Class Project No. 1 prelim pin-up and discussion, Introduce Favorite Place
08.27.10: Class Project No. 1 Final Due, introduce Project No.2,
Week Two
08.30.10: pins due, Favorite Place Final Pin Up, Project No. 2 prelim pin up / desk crits
09.01.10: Project No.2 Final Due and Introduce Project No 3
09.03.10: Project No. 3 prelim pin up and desk crits.
ANSWERS: Design 1 1303 Course Outline
… the mind remains provoked as the hand develops its skills…
Robert Slutzky, foreword to Creation In Space, Friedman
COURSE OUTLINE
1) TEXT
Required text: Architecture – Form, Space and Order – 3rd Edition, Wiley
Francis D.K. Ching
Optional text: A Visual Dictionary of Architecture, Wiley
Francis D.K. Ching
2) ARCH 1303 DESIGN 1: COURSE DESCRIPTION
Design 1 will be the architecture and interior design student’s first exploration into creative problem solving, the design process, by emphasizing the development of abstract thinking through visual literacy. Design 1 will involve the use of collective design problems that are organized to investigate the basic design elements and design principals. Drawings, models, and oral presentation skills will be utilized to communicate the designers understanding and intent for each design solution.
The design process builds on itself so dedicated participation at every level is required and critical toward achieving success. Each exercise will be supported with lectures, readings, research, and field trips as required. Due dates, deadlines, will clearly be discussed in class and posted well in advance. Respect for the design studio format is expected.
3) DESIGN STUDIO POLICIES
Students are to bring their drawing and model building supplies to each class and be prepared to work in each studio session. Being present in class but lacking the completed assignments, supplies to work in class, or both will count as an absence.
Attendance
Studio attendance is mandatory and will be recorded. Unexcused absences (six (6) for MWF, four (4) for MW) will result in at least the drop of two letter grades and an option to be dropped from the course. (Three (3) tardies for MWF, two (2) for MW) will equal one absence. If you are going to be absent from studio or late, call, text or email me at (210) 843-4503 or renejbalderas@yahoo.com. Provide full name and contact info with all messages.
Housekeeping
No food, music (unless approved), pets or rude behavior will be tolerated. Cell phone use and texting shall be suspended during studio. Students will respect the space by cleaning their area before they leave for the day. Pack in pack out.
Deadlines
Deadlines will be announced and late work will be deducted one letter grade for each calendar day late. No incompletes will be given without a “documentable emergency”. Excuses related to employment will not be accepted. Project jury grade note: a grade is given for the student work and a second grade is given for the oral presentation.
Supplies
Materials will be required to solve each design problem and each student should expect expenditures associated with each project.
4) COURSE GRADE
Studio Projects – 70%, Final Project - 20%, Enthusiasm and Participation – 10%
A - Work that is outstanding, above and beyond what was required with a design solution that was carried to full maturity. High levels of drawing, modeling, and oral skills. Participates fully in studio. A grade of “A” means that you have achieved a mastery of several of the aspects of the project.
B - Work that is above average, more than was required with a design solution close to maturity. Drawing, modeling and oral skills are very good. Work is complete and presented on time. Enthusiasm is shown. A grade of “B” means that you are better than average.
C - You have met the minimum requirement, the design solution shows effort, all required drawings / models are complete and clear. Problem has been solved. Drawing, modeling and oral skills are basic. Work is presented on time. A grade of “C” means that you are average.
D - Work is unsatisfactory, incomplete with a solution that is undefined, shows little initiative. Low levels of drawing, modeling and oral skills. Enthusiasm is low. Work was not completed on time.
F - You have failed at all levels. You do not show an understanding of the design problem. No enthusiasm, never participates in studio, work was not completed and not turned in on time.
STUDENT SURVEY
Name:
Phone No:
Email:
Employed?:
Hours/Week:
1) Why are you interested in Architecture / Interior Design?
2) Have you traveled to any interesting places? Where, why and what did you see?
3) Do you enjoy reading? What do you read and how often?
4) Do you have any previous college experience? Describe.
5) What are your hobbies?
Robert Slutzky, foreword to Creation In Space, Friedman
COURSE OUTLINE
1) TEXT
Required text: Architecture – Form, Space and Order – 3rd Edition, Wiley
Francis D.K. Ching
Optional text: A Visual Dictionary of Architecture, Wiley
Francis D.K. Ching
2) ARCH 1303 DESIGN 1: COURSE DESCRIPTION
Design 1 will be the architecture and interior design student’s first exploration into creative problem solving, the design process, by emphasizing the development of abstract thinking through visual literacy. Design 1 will involve the use of collective design problems that are organized to investigate the basic design elements and design principals. Drawings, models, and oral presentation skills will be utilized to communicate the designers understanding and intent for each design solution.
The design process builds on itself so dedicated participation at every level is required and critical toward achieving success. Each exercise will be supported with lectures, readings, research, and field trips as required. Due dates, deadlines, will clearly be discussed in class and posted well in advance. Respect for the design studio format is expected.
3) DESIGN STUDIO POLICIES
Students are to bring their drawing and model building supplies to each class and be prepared to work in each studio session. Being present in class but lacking the completed assignments, supplies to work in class, or both will count as an absence.
Attendance
Studio attendance is mandatory and will be recorded. Unexcused absences (six (6) for MWF, four (4) for MW) will result in at least the drop of two letter grades and an option to be dropped from the course. (Three (3) tardies for MWF, two (2) for MW) will equal one absence. If you are going to be absent from studio or late, call, text or email me at (210) 843-4503 or renejbalderas@yahoo.com. Provide full name and contact info with all messages.
Housekeeping
No food, music (unless approved), pets or rude behavior will be tolerated. Cell phone use and texting shall be suspended during studio. Students will respect the space by cleaning their area before they leave for the day. Pack in pack out.
Deadlines
Deadlines will be announced and late work will be deducted one letter grade for each calendar day late. No incompletes will be given without a “documentable emergency”. Excuses related to employment will not be accepted. Project jury grade note: a grade is given for the student work and a second grade is given for the oral presentation.
Supplies
Materials will be required to solve each design problem and each student should expect expenditures associated with each project.
4) COURSE GRADE
Studio Projects – 70%, Final Project - 20%, Enthusiasm and Participation – 10%
A - Work that is outstanding, above and beyond what was required with a design solution that was carried to full maturity. High levels of drawing, modeling, and oral skills. Participates fully in studio. A grade of “A” means that you have achieved a mastery of several of the aspects of the project.
B - Work that is above average, more than was required with a design solution close to maturity. Drawing, modeling and oral skills are very good. Work is complete and presented on time. Enthusiasm is shown. A grade of “B” means that you are better than average.
C - You have met the minimum requirement, the design solution shows effort, all required drawings / models are complete and clear. Problem has been solved. Drawing, modeling and oral skills are basic. Work is presented on time. A grade of “C” means that you are average.
D - Work is unsatisfactory, incomplete with a solution that is undefined, shows little initiative. Low levels of drawing, modeling and oral skills. Enthusiasm is low. Work was not completed on time.
F - You have failed at all levels. You do not show an understanding of the design problem. No enthusiasm, never participates in studio, work was not completed and not turned in on time.
STUDENT SURVEY
Name:
Phone No:
Email:
Employed?:
Hours/Week:
1) Why are you interested in Architecture / Interior Design?
2) Have you traveled to any interesting places? Where, why and what did you see?
3) Do you enjoy reading? What do you read and how often?
4) Do you have any previous college experience? Describe.
5) What are your hobbies?
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