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Here is an example of a working model.
Working model(s) are due on Monday at 8h00.
Continue to develop your concept through diagram. We should be extracting ideas both from diagramming and working tactically with our hands. The diagram should be used to not only extract information from the sight, but also to introduce and apply your conceptual ideas to it as well. The diagrams should be viewed in all three dimensions. Please download the presentation to the left and review what we discussed in class on Friday.
Have your diagrams printed on 11x17 sheets for Monday no later than 8h15. We will have a small pin-up. Depending on your concept you may have to do this in section, isometric, plan, and or in 3d space. Again think of the indexical condition of your shirt and the material exercises we battled through. What operations did you perform on the shirt? What was the graphical notation you used to represent those operations in your diagram? Use both. Keep reminding yourself of the concept, use the specific ideas you found in those surface exercise, and just draw and build! Have fun...your projects will be beautiful.
We are playing with the concept of display. Your program should simply be thought of as a verb. This verb display will give you flexibility withing the program itself. We will use your working models to push and pull ideas concerning not only your concept but display as well.
Happy Spring Break!
You are to continue with your models for Wednesday. We learn through tactility, the more you work with your hands the more ideas will be born. You should experiment with these models over the break while working with careful craft.
Again think of the indexical condition of your shirt. What operations did you perform on the shirt? How did your operative model perform. When identifying what materials to use think of your concept and how the model that you make should be an index of that idea. Your models should not necessarily move, but you should think about these ideas found in these initial experiments of this studio. Use what you have as a reference, talk to your shirts, talk to your operative models. Go beyond expectations with these models and simply experiment. Every move you make from this point on in the semester will be important. It is now time to extract form from your concepts. The concepts of the studio range from fit, stacking, unfolding, banding, interlocking, to the site as a singular surface to just name a few. Your study models need to encompass these ideas. On Wednesday we will have a presentation and a short review.
The program we are going to propose for the In Town Inn or the Jim Kimmel Center is a Gallery/Artist in Residence Center. This program will include possibly several galleries, studios for residents, apartments for residents, small offices, library, and lecture/exhibition hall. We will elaborate on the program in the next two weeks.
Below are just a few links to some galleries that also have artist in residence programs....You should be visiting some of these programs during your break or simply just look at the links below. But for those in cities other than Lubbock, you should check out some galleries, small or large that have programs like the ones discussed on Friday. Click here for more.
Texas
http://www.artpace.org/aboutTheResidency.php
http://artpalacegallery.com/main/calendar/
http://www.amarilloart.org/Content.aspx?cid=60
http://www.chinati.org/information/becomeartistresidence.php
Nebraska
http://www.bemiscenter.org/residency/index.html
http://www.artfarmnebraska.org/residency.html
Great Firm
http://www.minday.com/minday2007.htm
Illinois
http://www.mcachicago.org/information/fellowships.php?page=efell
http://www.three-walls.org/index.php?option=com_content&task=view&id=4&Itemid=8
I hope all of you are enjoying your break. Have Fun....
Concept Model ::
Working with the concepts found in your operative models and in the operations of your shirt, start to deconstruct the building and conceptualize again through surface and structure. You are to trace the indexical condition of your idea through the building. You have spent the last week gathering information from the site that is relevant to the ideas (index) in the shirt project. Now you need to physically handle these concepts and build a concept model for Friday. We will have a short presentation on Friday to introduce the new building program, but for now just build. I talked to each of you today about what materials would best display your concepts. Here is a short list : Cardboard (for a base as used above), bass wood sticks (small and no dowels), piano wire of varying diameters (found at Varsity but much cheaper at a hardware store like ACE or my favorite Childress Hardware True Value at 915 Buddy Holly), one-ply museum board, aluminum wire (this will remain straight but is flexible, or floral wire as Jesus used), string, elastic string, ect., ect. You should have fun with this. It will be a nice temporary escape from your drawings. Lets get back to our concepts. Look to your operative models and your operative diagrams for assistance. Here is where the magic lies.
The models are to be built at 1/16" = 1'-0" scale and are due at the beginning of class on Friday. If you choose to model individual parts of the building to experiment with form then you may want to move to a 1/8" = 1'-0" scale. These models should be treated as exploratory objects and will work to transform formal conditions of the building into conceptual ideas of your own.
Your final exploded isometrics are due at the end of class on Friday. They should be pinned up and ready to rock your wall for the entire week and a half long break.
When you get back from break you only have one month of class remaining.
So how do you fill in elements in Illustrator without changing lines?
1. Select the group that you want to render, say all of the columns from the big bar, or the floor slabs.
2. Go to the live paint bucket and click again.
3. De-select
4. Re-select the object group
5. Go to the fill button and fill with what color you want to fill with, say a gray.
6. Then go to the Object pull down menu and click on expand, when you expand a dialog box will appear, de-select the fill and the stroke box leaving the object box the only one checked.
7. Go back to the Object pull down menu and ungroup your selected elements twice.
8 Then select one of the filled parts.
9. Go to the Select pull down and click on Same, followed by selecting Same Fill Color, it will select the all of the fill color and not the line. Here you are separating fill from line. This gives you so many more drawing and notational opportunities.
10. While all of the fill is still selected, go to the layer window. Make a new layer. Then go back to the fill that is still selected and find the color box one the right side of the layer window. Grab and drag it to the new layer.
Now you fill and line are in two separate layers, and you can change the opacity of your fill while leaving your line alone.
You should be working on your exploded isometrics or your progressional isometics. Your composition should not be an axonometric. An iso is a diagram you can measure, while an axon distorts these measurements.
Your exploded iso's/progressional iso's should be in simple wireframe (no render) or rendered as wireframe (refer to the white faces, black edges pdf on the blog, analyze the drawing above...this person used live paint in Illustrator as well). These are the only two ways to compose this drawing. You will be moving and organizing entire sets of elements in formZ and then exporting your image into Illustrator to finish the drawing here. In Illustrator you should draw your notational lines and nodes. Reference past notational techniques you used in your operational diagrams. Remember to also make the connections between elements with dashed lines. You all now should be using black and white, grayscale, and red for your color palate. USE REGULATING LINES.
Remember to taxonomize your elements. Identify and classify primary, secondary, and tertiary elements in the drawing. Then diagram the primary, secondary, and tertiary systems that you have analyzed as being integral to your concept.
Have fun with this drawing. It will be beautiful.
This should be printed out no later than 8h30 on Monday morning. You will either have a drawing that is horizontal or vertical in its composition. The drawing should not be smaller than 10 x 30 but do not print out anything gigantic. This diagram should fit nicely on your wall.
Tomorrow we will be updating your walls. Everything new should be printed out tomorrow as well.
On Wednesday I mentioned that you will be turning in four 8.5x11 (landscape) sheets of exploratory building analysis diagrams. For the past week we have been looking at the Jim Kimmel Center as our site. The Building Generator phase of the studio is making connections from the concepts that you found in the shirt into initial conceptions of site. You spent the very first week of studio looking at the shirt and finding ways to measure and then notate these methods on your drawing. You should do the same to the building. You should be building these parallels into the building conceptually as well as graphically.
We are going to dissect the building in a similar way to how you dissected your shirt. The building is our starting point and our initial investigation. In two weeks we will be siting your operations and it is possible that the remainder of the block will come into play, but for now what you need to analyze is the building itself. You are to first identify the elements of the site and then classify them. What elements are essential to your project, what elements are secondary to your concept, what elements are tertiary to your concept?
These sheets should be handed to me at the end of class tomorrow. They can be two plans/diagrams and two sections/diagrams. They could be a collection of Isometrics or Plan Obliques of the building rendered as wire frame. You can pick any combination of diagrams to be the chosen four, but there should be an order to why and what you pick to give me. These sheets will be a part of your mid semester grades that you will receive on the Wednesday before spring break. I will be grading you on your analytic and graphic abilities.
See you tomorrow.
There will be a presentation tomorrow with video and sound.
Continue to analyze the building. Look at the pictures that are on the class shared folder to further discover details that are in the building that might not be on the FormZ model. You all will need to visit the site many times through the course of these next two weeks. The model has too many bays on all sides. In the main bar of the building there are five extra bays, you should have 11 total bays there. Erase bays in the middle of the model, leave the sides alone. The two side bars both have one extra bay. So erase one bay in the middle of the two smaller bars, again leave the ends alone. The model is not perfect, nor is it detailed. You all need to delineate and get to know this building like you did with the shirt. This will require a detailed analysis. Several people are going tomorrow to measure the dimensions between the columns. Everyone should be on top of this.
You should have a more complete FormZ model on Wednesday, not finished, but continue building and fixing. If you are still having problems with FormZ draw the plans in AutoCad and detail them in Illustrator. All of the plans and two sections through the building should be completed for Wednesday. I know most of you have them complete, now you just need to fix the mistakes. Refer back to the email I sent over the weekend or just email me. I apologize to those I did not get to talk to today. I will start with you on Wednesday. For those I did talk to today, continue doing what we discussed.
Many of you are having issues with FormZ. I am willing to help you in class, but there are people in our class that know the program very well. The best way to learn these programs is from each other. If you do not work in studio, then you will spend more time at home trying to solve problems on your own. I will continue to say that if you are struggling with this class, then work in studio during class and outside of class. Help each other or you will continue to be frustrated. The ones who do best in studio are often the ones that work in studio.
I've created a shared folder at this location:
Mac:
smb://Archlab.arch.ttu.edu/arch_2502_s08_gottsch
Windows:
\\archlab\ARCH_2502_S08_Gottsch
