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
Wednesday, October 20, 2010
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
Subscribe to:
Posts (Atom)