Drawing Sheet Layout

To the left we've linked a folder in the format you'll turn in at the end of the semester. There are five sheets of drawings. We've laid out each as a template in Illustrator. You will place your composite illustrator files for each location where indicated. Individual file names are prescribed on each image in the template. The only thing you should have to manipulate in the given drawings are the notation elements.

Model Images

Your Work at 2B An Architect

I told you all I took your work and displayed it at a college fair for students interested in Architecture. Here it is on site. It looks good. There's Vanessa, Jigga, JP, Jose, and Clint. Whose grid is that? Whose mode of the garden other than JP's is that?

On the wall behind the work are construction drawings of Koolhaas' Wylie Theater Center and Piano's Nasher Gallery.

Kimball Art Museum

Did you go see some architecture this week?
I did.

Vanessa's Model

It has a very interesting system of floors, walls, frames, columns, panels, and stairs. It works like the British Art Center's facade. The stairs to the upper floor needs work.

My Rendering of Daniel's Project

You all are being far too timid. Do you have a sense of style? You have to work something to design it. Its like kneading dough to get bread. Everything in this model was there when I got a hold of it. It's just been related, associated, systematized- thought through.
You've got to get over problem solving and start just relating, associating, extending, and elaborating stuff. His project works great and there's great references in it back to the garden that really bring the project to "make sense"- project its own system.

You all are relying on color for definition waaaaaaaaay too much.


View inside Daniel's model.

Miami Contemporary Art Museum Review

Look at (once you get past the first few paragraphs of bloviation) how you hear this architecture critic talking about architecture the way we have been this semester. You'll understand what he says pretty "professionally" now, I hope.

LINK

FINAL PROJECT LIST

All sheets are 20 inch wide by 40 inches tall. They need to be laid out, printed and on your wall space by Monday after Thanksgiving during class to get reviewed. All these will be output out of Illustrator.

Your drawing set will consistently use standard drafting drawing conventions- line weights, line types, grayed lines (no colored lines, just Black, White, & one Gray tone is allowed). You can use fields of grays to make the projection drawings (especially those with sections) come up off the page.

Additionally, you should have full and consistent notation on the drawings. Make sure you include a graphical scale with every drawing. Make sure drawings are cross-referenced across sheets (section leaders, for instance). The drawings should comprise a set.

A Sheets: PROJECTION DRAWINGS

Sheet A.1
1/8"=1'0" scale exploded isometric (ISO in FormZ) constructed as a visual catalog of the project's components. The way you break it apart is the way it is made up. This is the most "conceptual" drawing you'll do in the set.

Sheet A.2
Two 1/8"=1"0" isometric sections (you can remove the foregrounded part of the section or you can "explode" it).

B Sheets : PLANIMETRIC DRAWINGS

Sheet B.1
Three 1/8"=1"0" plans

Sheet B.2
Two 1/8"=1"0" transverse sections taken through the most descriptive locations in that direction in the model. (not necessarily the center)
One 1/8"=1"0" longitudinal section taken through the most descriptive location in that direction in the model. (not necessarily the center)

C Sheet : PERSPECTIVE IMAGES

Sheet C.1
Four perspective views along the sequence at eye level from inside the project

and

A MODEL

The model should be at 1/8"=1"0".
The base (the landscape or site) of the project should be a homogeneous and smooth white painted base.
The model should be fully articulated made of blue foam and left unpainted. There should be no foam sheet labels in the model. There should be no joints or articulations except those designed. Piano wire and clean wood dowels can be used for vertical cylindrical elements. White museum board can be used for panels. Clear glass should be left as a hole. Translucent panels can be articulated with thin plexiglas frosted on both sides with sandpaper.

All other material intentions should be requested here as a comment.

Some examples

I scanned these from Peter Eisenman's Diagram Diaries. They may be helpful.

Architecture that "Works Like"

This is a 3+ story tetrahedron made up of a cross (art show), a circle (party), a polygon (movie), and a square (fashion show) side. It is called the "Prada Transformer". It is designed by Mr. Prada and Rem Koolhaas. Each of the sides is used for a particular program. It is built in Seoul, Korea. The pavilion is literally rolled across the landscape to the side that is used next and set up again, over and over. Watch the video and you'll get it. The thing really does what it looks like it does.

Rem Koolhaas : Villa Dall'Alva

"Stairs Between Walls / Stairs embedded in Thick Walls"

le Corbusier

I can find every solution for every project in the work of this man. He's like the Dr. Seuss of Architecture. You can learn to read from him and you can be throughly entertained in the way he manipulates space and time.

Paris Opera / BAC at Yale / Villa Savoye / Villa Curuchet

Paris Opera House by Charles Garnier 1867, "The Stairs Fill the Room and Form the Room". The secret is that to make the Opera work you have to make climbing some stairs up to a hall above a Glamorous Experience. Watch how in the video you sequence from Place to Foyer to Stair Hall to Ante Chamber to Corridor to Opera Hall

British Art Center at Yale University by Louis Kahn, 1972, "The Stairs Sit as an Object in the Room". The Cylinder holds the stairs and the room holds the cylinder. It is a beautiful building. He never saw it because he died right about when they started construction. How do you deal with a sculptural architectural thing in a room full of art?

Villa Savoye at Poissy (outside Paris) by le Corbusier, 1927, "Elements of the Stairs and Circulation Become Discrete and Separate Objects in the Space". Ramp, Spiral, Drive. Look at how things are detailed, especially at stairs.


Villa Curruchet in La Plata, Argentina by le Corbusier, 1957 "Stairs that Span Between and Connect Spaces". A ramp is nothing but a slow stairs. Watch how this one works and is detailed throughout the house. It will make more sense if you look up and look at a plan first.

Wanna Feel Space? Space is a Good Word

Peter Eisenman on Charlie Rose.

Quality Drawings / Presentation

These are images of Peter Eisenman's project for the Guardiola House in Spain. He didn't build this house but he later won a commission from the family to design a 1 million square meter CITY OF CULTURE in Santiago de Compostela.

Stair Terminology

UBCC Available

The Building Code is linked to the left.

Brian's Work - 34th Street

There are three parts to any professor's role in the college. We teach (duh), we do service (like serve on committees or organize events), and we do creative work / research. Those three, pretty evenly spread out, is our jobs. If we're doing this job well the three areas should be fitting into each other. Work in one becomes subject of effort for another.

Here's a space here in Lubbock full of Sequence, Event, and Movement that I've been redesigning. The images are generated in Form•Z, edited and composited in Illustrator, and processed in Photoshop. You will know how to do this by the end of the week.

I made this image last night, starting with a clean computer model. it doesn't "look like". It operates like.

Cathy Giving Out A Grade to Pikachu

It was a great party and wonderful food.


Happy Birthday Cathy!

Cathy Giving Out A Grade to Pikachu

Happy Birthday Cathy!

Notes on Last Friday / Grading

Last Friday some of you needed to leave because of other obligations and we couldn't meet. That's completely understandable. That was the time we had for that task. Next time push your way into a time where you are available.

If you do not have Form•Z then get it.

Those who didn't have three models to show for their work last time or those who worked in board or those whose models were the wrong size or proportion or those whose craft made it almost impossible to see the project...
You will find significant penalties for not completing, working crudely, or not working in the spirit of the project. We aren't going to talk about incomplete or crude work any longer. It is noted when you don't have your work with you in class. The laid back portion of this course is over. It is time to sprint to the finish. There are a lot of these projects that have great potential but to finish them in a sophisticated and clear way you will have to put in the work. See the post below for a framing of our semester's project.

These are the categories for what we're grading now. This grade will be for 1/2 of the semester. It takes the grading up to about October 15th. We'll have a current progress indication on the grading sheet to give you some insight into where we think you are now. We'll deliver these grades on Wednesday. Have these things at your wall:

1) Linguistics : Writing, Notating, & Talking (10 points total)
1a) Garden Catalog 03 ______________
1b) Project Narrative 03 ______________
1c) Notation on the Garden Models 04 ______________

2) Graphics : Drafting & Diagramming (20 points total)
2a) Plan Diagram of the Garden 07 ______________
2b) Section Diagram of the Garden 06 ______________
2c) Plan Projection of the Garden 07 ______________

3) Volumetrics : Spatial & Operational Modeling (20 points total)
3a) Sequence and Event Model of the Garden 07 ______________
3b) Solid Model of the Garden 07 ______________
3c) 15 Cubic Grid Models 03 ______________
3d) Five Cubic Grid Models 03 ______________

TOTAL out of 50

Wednesday Class w/ Summer Sutton

This Wednesday we'll have a visitor with us - Summer Sutton, who is from Lubbock and just finished her M.Arch. at Cornell. Be sure to have all your stuff ready to show someone in class that day. Below is the letter I wrote her explaining where I'm coming from and what we're doing in the studio.

Summer:

That would be a great day to come in to the studio.

I'm a student of the old Cornell Rowe-Eisenman-Graves contextualist and historicist 1970s / Cooper Hejduk-Scofidio-Abraham conceptualist and graphic process driven 1980s / Columbia Tschumi-Allen philosophical1990s schools of thought.

This semester I've returned to some roots in my studio. This studio is very much drawn out of an amalgam of these sources. The garden subject of the study, the cube, and the site are straight out of old Cornell; the process of transformation and the emphasis on narrative are from Eisenman and Hejduk; and the understanding of space and the relationship between event and form is from Tschumi's "Disjunctions".

The project is a semester long formal narrative focusing on teaching architecture as "Sequence, Event, & Movement" in/through/of/around or embedded into the organizational sensibilities of formal space. The compression of both event (durational) space and object (extensive) space into tectonic form is our laboratory for architectural thought. The pedagogy is made up out of discrete exercises of "Drawing, Modeling, & Diagramming as Designing" that each can stand on their own as a lesson in design and are linked together to form a continuous project.

We've already:
a) Made a drawn, cataloged, & modeled analysis of different italian renaissance & baroque gardens
b) Made modeled studies of various formal permutations of a cube inscribed through / by a grid
This ended about October 15th.

Now we're working towards a synthesized single designed thing by:
a) Putting the analysis of the garden in the cube (designing surrounded space)
b) Siting the cube on the side of a dam (designing surrounding space)
This will end about November 1.

Then we'll continue refining these things as we make the thing of tectonic components and spatial scales:
a) We'll filter the spatial organization & order with Anthropometry
b) We'll translate the spatial structure through a palette of self-referential building components such as stairs & ramps, columns, pilasters, beams, bearing-walls, panels, & fenestration.

The final presentation will be a recorded narrative delivered over a display of a few key touchstone moments of analysis, translation, & design such as a garden model or drawing and / or a particular cubic grid system and then a set of final models that transform these into a single thing, some siting studies, some tectonic studies, and a final set of planimetric & axonometric drawings, a digital model, a physical model, and a record of the project narrative.

The students will be presenting their first attempts at siting a cubic volume in a given site on the day you visit. Although I'm not sure what opportunities may open up in the Spring we sure would like to make you part of our academic community and engage you in our events and instruction for as long as you are in Lubbock and are interested in coming over to the building. Our final semester reviews for this class are on Monday, November 30th. We'll have reviews for third year studio on Tuesday, December 1st, and graduate studio reviews on Wednesday, December 2nd.

We'll start at 9:00AM on Wednesday and go until 11:30AM. We're in room 401, 401A, and 402. My associate faculty member is Yang "Cathy" Luo and we're working on this studio together. You are welcome for any part of that meeting. If you'd like, we can go to lunch after the class session and talk further.


Brian

References

I am driving from Dallas.

I've been thinking about how to proceed in a way that will best suceed in teaching you about form making. We've done some reading. Let's look to some precedents.

grid of planes w/ volumes punched through & space passing through
Lovell beach house by R.M. Schindler

grids & planes modulated & articulated in self referential jointure
Houses I thru IV by Peter Eisenman

reduction & modulation of grid to non-space forming device w/ independant space making system
Toledo Museum Glass Pavilion by Kazuo Sejima (Sanaa)

Tres Grand Bibliotheque
Jui

Assignment for Wednesday

Now we have two model sets.
The garden model set works from specific to general.
The cube model set works from general to specific.

Here's some last things to do to these sets before we combine them.

a) The Garden Models
a.1) Go back to the garden and exhaust the subject on your most recently created objects. Label, mark, tag, or notate an exhaustive description on every component of the garden model.
a.2) Name each component of the garden in the models.
a.3) Re-read the assigned two texts.
a.4) Rinse, later, repeat.

b) The Cube Models
b.0) Reduce your range of cubes to the five that are most cubic and most gridded. These are now your five.
b.1) Exhaustively describe as marks, tags, labels, and notations each component of the five cubic models, each crossing, the spatial relationships in the cube, and the senses of boundary in the cube.
b.2) Write a mathematical or everyday geometric formula for each of the five cubic forms.

Plötzensee Prison

Link

First - Some Readings to Do

To the left are four new readings:
J.B. Jackson's "Gardens to Decipher and Admire"
Georges Teyssot's "The Architecture of Gardens and Architecture in the Garden"
Richard Scherr's "Grid as a Basis of Design"
Rosalind Krauss's "Grids"

The two in bold are required. The two not are strongly recommended.
The rest of the asssignment will go up later today.

Announcement

Students in both Rex and Cathy's classes, please bring your laptop to class on Monday. We will learn to use Adobe Illustrator in class. Before class please install the software in your computer. Thanks!

All the assignments to be reviewed at the end of the Garden section

1) Writings
1a) Catalog
1b) Narrative

2) Drafting
2a) Plan Diagram
2b) Section Diagram
3c) Plan Projection

3) Modeling
3a) Wire or cord model

4) Illustrating
4a) Plan Illustration
4b) Section Illustration
4c) Plan Projection Illustration

Panoptic Penitentiary

Friday Class

Please have a plan and section from the Shepard & Jellicoe book printed out and at your gardens.
We just need one image per garden set. (i.e.- One Torlonia, One d'Este, etc.)

Keep Your Web Page Fresh

Please upload scans of your plans and sections.
Make notes on your web page over the Tschumi article on Sequence.

For the vast majority of you there's way not enough things going onto these web pages.
Maybe you should take notes on your computer on your webpage?
The grading period is nearing.

Joseph Rykwert on Architectural Drawing

To the left, we've uploaded an mp3 for you to listen to that is really about the media issues we've been discussing- drawing. It is a recording of a special lecture at the Canadian Centre for Architecture by a grand architecture professor from the University of Pennsylvania. Bear with it and listen carefully. It gets tough for 2 or three minute stretches and then coalesces. Be patient and put it on your ipod to listen to while you are working. You have to listen intently, though.

Joseph Rykwert...explores drawing as the sign of an intention and examines its passage from drawing to painting, sculpture or building as a process of translation which must acknowledge the autonomy of the different arts.
Joseph Rykwert, Paul Philippe Cret Professor of Architecture Emeritus and former Chairman of the Ph.D. Program in Architecture at the University of Pennsylvania, moved to the United States in 1988, following several years at Cambridge University and the University of Essex, where he set up the world’s first program in History and Theory of Architecture. He has lectured or taught at most major schools of architecture around the world and has held visiting appointments at Princeton University, the Cooper Union (New York), the Harvard Graduate School of Design, and the Institut d’urbanisme (Paris), among others.

Sequences

First, the article is linked to the left. Read the notes below, then read the 9 page text TWICE. This is important. We can tell if you haven't read it.

Some major points of the reading:

In architecture there are sequences of transformation (a device or procedure in making the place) and there are sequences of space (a programmatic sequence).

Tschumi complains that the two sorts of sequence rarely intersect. The device of making is rarely evident in the end product.

Then he introduces the idea of sequences of events or inhabitation that are superimposed on those spatial sequences.

Then there's some of the most important questions that you'll ever ask in architectural thinking: Is there ever a CAUSAL (one leads to the other with certainty) link between a formal system of spaces and a system of events?
Does a form possess a program?
Is there ever a one-to-one relationships between object space and event space?

Does form lead to function? Does function lead to form? Does form lead to form?

Tschumi says that adding event space to object space motivates form.

Later he says the meaning in any sequence (or any architectural situation, for that matter) is dependent on the relation SPACE/EVENT/MOVEMENT (SEM).

Then he discusses the idea of an architectural narrative and its relationship to the idea of sequence.

Manipulations in sequence: Flashback, crosscutting, close-ups, dissolve, collage, montage, superimposition, insertion, disjunction, displacement, distortion, dissolution, repetition, contraction, expansion, combination, symbol. These are transformational devices and they can all be applied to form, event, and movement.

All sequences are cumulative. They are juxtaposed "frames". Each subsequent frame establishes itself on the memory of the preceding until one has a course of events.

Reading

The reading to the left, "Garden as Architectonic Laboratory" is now uploaded and ready for you as well.

Web Pages

Everyone in the Rex section should now have a web page for themselves. I have sent all of you a request for permission to be an author so you can take over the webpage and start posting your material. It came from blogger.com or gmail.com so it may be in your trash. If you don't see it then email Brian so I can get it right.

Everyone in my section should email me from your ttu account. Everyone in Cathy's section should email her from their ttu account so we can get an email list going.

Those of you who made your own pages should make them look like the rest. Template: "Simple II", silver header, arial font.

Taxonomic Catalog

Construct a Taxonomic Catalog
Assess your assigned garden according to this general taxonomic system:

M1 / Masses
masses
S1 / Horizontal Surface
surfaces of and on the earth
S2 / Vertical Surfaces
surfaces standing on the earth
E1 / Vertical Elements
objects standing on the earth
E2 / Path Elements
vectors on the earth
M2 / Mass-Less Conditions
pointless points

Develop specific subsets (i.e. M1.a-d and S1.a-e) in the taxonomy based on the particulars of your garden.

Produce this full and specific taxonomy with material quantities as a .doc format catalog. The catalog can be illustrated. The file name should be, “XXX_Garden_Catalog01.doc”

Garden List

Villa d’Este @ Tivoli by Ligorio in 1550 (Reh)
Villa Medici @ Fiesole by Michelozzi in 1460 (Reh)
Boboli Gardens @ Florence by Tribolo in 1550 (Reh)
Villa Gamberaia @ Settignano in 1610 (Reh)
Villa Torlonia @Frascati by Carlo Maderno in 1623
Villa Dona Dalle Rose @ Valzanzibio by Antonio Barbarigio in 1690
Villa Piccolomini @ Frascati in 1560
Villa Carlotta @ Lake Como by Clerici in 1700
Villa Corsi-Salviati @ Sesto in 1650
Villa Bombicci @ Florence by Santi di Tito (Michelangelo) in 1560
Villa Crivelli @ Inverigo in 1680
Villa Bernardini @ Saltoccio Lucca in 1590
Villa Valmarana @ Vicenza by Scamozzi in 1550
Palazzo Podesta @ Genoa by Castello Bergamesco in 1563
Villa Marlia @ Lucca in 1680

Projecting Architecture