16 November 2017

Week 11

1.     Allen mentions early on in the article that building code and abstract thought delineates from the building site. Does the building site add restrictions and setbacks to abstract thought of architecture and design? 
2.     Theories and practices are used hand in hand as Allen mentions, and theory is in itself a practice. What kind of theories have been speculated but never put into reality in terms of architecture? Does every design have a theory to it?
3.     In terms of film, and or photography, the theory behind the medium is restricted to a camera or a technology capable of capturing light. How restricted is theory and practice in architecture? Do building codes, ADA, and other such regulation restrict the boundaries of abstract thought and theory?

4.     Practice and project coincide when structure is a factor such as Frank Lloyd Wrights dilemma with his envelope/enclosure. When a design has to be altered in order to be physically constructed, is it advantageous to future projects?

15 November 2017

Week 11 How to Do a Thesis

1.At the beginning of  the article , Seigio mentioned that the results of most thesis are not great. What cause this situtation?

2.Seigio described Le Corbusier's practice model was in fact (Theses). What is your opinion of this statement?

3.At the end of the article, Seigio said that he hopes that this paoer will be used by students in their pre-thesis course as a map of the different options? Do you agree?

4.Within all different operation modes that  Seigio mentioned in the article, which one is the best for most of the students? Or is there really a best one?

5.How influential thesis can be for a student's career? Do you see it as a personal development or personal experiment?

14 November 2017

Ex. 04 - Personal Research Topic_2017

Your final exercise of the semester is a personal research topic. This topic may be related to your current/past studios, Master's project topic or other topic that you would like to graphically research for this course. Your topic may be directly related, tangentially related or reciprocal to architecture(al) thought. You may critique conventions, processes or projects. You may also decide to explore phenomena that are not directly related to architecture, in that, it is not a building, drawing or other.

By 10:30 AM on November 30, you must submit a 500-word abstract of your research topic via d2L Dropbox. Within your abstract you must clearly state the topic as a thesis of inquiry, your methodology for research and your expected out comes. Keep in mind, this topic must be formatted to fit the final document per the syllabus.

To view examples of previous research topics view the blog archive for April 2013.HERE

Please post any questions as comments to this post so that the entire class may benefit.

The format of exercise four and your final document shall be the same as the previous exercises, 8.5x11 Landscape format.

Exercise four will be included in your final document along with exercises 01-03. Your final document is due at noon on December 21. You will upload a SINGLE pdf file to the dropbox on d2L. Your file size may not exceed 20 MB. I will not open/review any document larger than that, and I will not review multiple files. If you do not meet these requirements your assignment will be considered late.

08 November 2017

Collage Making & Thinking

1. (pg. 17) “When the work (collage) is complete, a map of hunches exists and, due entirely to the act of making the soul is temporarily exorcised of what appeared to be coagulating within.”  Does collaging reveal hidden truths and backgrounds of the artist?  “He knows that there is something within the soul that longs to come forward, so he engages in collage making to advance it”

2. (pg. 18) “If the collage is described as the placement of a fragment next to a similar fragment and then the two are spliced together in such a way that the net result is greater than the sum of the parts, one might wonder how this differs from any other artistic activity.”  Who is the net result for, the observer or the artist?

3. What are other forms of collaging to generate inner ideas and thoughts? “It is necessary for an artist to use raw material that is directly associated with the age in which he lives in.” (pg. 18)

4. (pg. 21) “The process of placement of two unlikely objects next to each other causes a pain equal to the sigh of relief released by their new found proximity.”  Does collaging create positive or negative scrutiny?

5. Is Post-Digital rendering an ineffective way of representation?  “Once the fragments find their rightful places the collage can appear to be so correct that it becomes bland. It has lost its spirit, since all the tensions are pushing and pulling with equal forces.”

06 November 2017


1) Shields writes " Collage, as it has evolved, brings with it a number of qualities including representation/ abstract, gestural/ precise, field/ figure, surface/depth, and literal/ metaphorical, all of which are considered within the methodologies of art and architecture", does collage help you better understand architecture because it has these qualities? 

2) How is collage helpful or useful in understanding architecture, does it make you understand it more or less?

3) How is scrap booking and collage different?

4) In today's society is it better to use printed catalogs as a source of medium or other raw materials? (Nicholson, 18)

5) Does collage have to have a specific order? (Nicholson, 20)

02 November 2017

1)  Allen starts off by comparing two arguments for the true sense of a work of architecture.  First argument states - the truest sense of architecture lies in the drawings and the notations and that the realized construction of it must always make compromises.  Second argument states - only the realized construction has the truest sense of architecture making the drawings irrelevant.  He appears to argue in the middle and claims that the continual shuttle between the drawings and the realized construction is the truest work of the architect.  Does this interpretation insinuate that all architectural work needs both the (at least potentially) realized construction and the drawing?  Is that too narrow of a description?

2)  Allen states, "The drawing as artifact is unimportant.  It is rather a set of instructions for realizing another artifact."  Later he states, "Architectural drawings are neither an end in themselves, nor are they simply transparent technical instruments."  Do you agree?

3)  Many famous sculptors in history were often not the sole physical creators of their work.  One could imagine that the sculptor, often working transiently between reality and drawing, produces a set of instructions with notations for an apprentice to carry out on the stone.  What are the similarities to the work of the sculptor in this case and the work of the architect?  What then, under Allen's argument, separates the two?  Can they be separated?  Do they need to be separated?  What about the engineer?  The military general?

4)  What if the architect is also the sole constructor of a building?  Does the work become completely autographic?  Must there be a division between architect and builder?  What if there is no set of instructions or drawings produced?

5)  Allen states, "technique is never neutral, and the mans of representation always leave a trace on the construction."  What are some examples of this?

6)  Why is the progression of modern technology, specifically communication, global economy, internet, modern warfare, problematic for architecture as a discipline?  Is notation truly the technique needed for architecture to engage today's city's focus on time and change?

31 October 2017

Week Nine:

1) Allen writes, "a representational drawing that tries to simulate [light, shadow, reflections, etc.] will always fall short," but notation is better able to anticipate the experience of the real (45). Do you agree with this, or can representational drawing accurately portray these effects?

2) Allen mention that architectural drawings are a combination of autographic and allographic. Does this always have to be the case or are there times when an architectural drawing can be only one of these, or more one than the other?

3) "Drawings become notations precisely at the moment in which numerical or textural information is added" (46). Do architectural drawings need text to be added to be understood? Are there examples of architectural drawings that don't need notation to be effective?

4) Can you think of examples of when diagrams are more useful than notations, or vice versa?

5) "A diagram architecture is part of a new sensibility characterized by a lack of interest in critique or the production of meaning, preferring instead immediacy, simple forms, direct accommodation of program, and the pleasures of the literal" (53). Are there times when this type of architecture is more effective or beneficial?

17 October 2017

Week 7: Sparklines

1. Sparklines were generally used in data-intense, high-resolution field. How can we use sparklines in architectural representation?

2. Tufte mentioned five important elements of displaying data in the article.(number,context, scale, range, parallel comparisons)  How can we apply them to architectural diagramming and mapping?

3. Sparklines are data-intense, design-simple, word-sized graphic. What is the benefit of using sparklines?

4. Aspect ratio, unintentional optical clutter, dequantification and production methods need to be considered during sparklines design. How can we apply these methods to architecture? (Diagram, Mapping, Modeling, Concept)

5. Sparklines efficiently display and narrate binary data. What kind of binary data, relating to architecture, can be displayed using sparklines?

Week 7: Parallelism

  1. Tufte writes that Repton’s before and after comparison of the cottage “yields a parallelism of layered depth,” but later contradicts this by saying that “comparisons are more effective when the information is adjacent in space rather than stacked in time.” Do you think that there are instances when parallelism over time is more effective? (81).
  2. Do you think that faulty parallelisms such as Repton’s embellishments and paradise-like qualities of the after images can help or hurt architectural representation? (102).
  3. Parallelism is only effective when comparisons can be made. Do multiple images/comparisons make it more effective? Do too many make it lose effectiveness?
  4. Which type of parallelism is most effective in architectural representation?
  5. Should we try to avoid unparrallisms or can they be advantageous in certain situations?

11 October 2017

Understanding Comics, McCloud

1. McCloud states on pg36 that when you look at a detailed drawing, you see another, however, when you simplify the face to a smiley-face cartoon “you see yourself.” Do you agree with this?
2. Now for symbols, in general, are you more likely to identify with a simple emblem or a complex one? Imagine a Peace sign or the UN emblem
3. The ability to create contrast in detail between the characters and the scene is an interesting thought (at least to me). By increasing the level of detail of the landscape while keeping the character in a minimalist state you enable the viewer to place themselves in the scene. Does this hold true for architectural renderings, how can this be applied, is it successful? Are you more likely to place [imagine] yourself in a painting/illustration or a photograph?

4. On pg 44 McCloud talks about the power of objectification of objects, the example of a sword being drawn quite minimally until we want to call attention to it, at which point the detail is significantly raised. How can this contrast be applied in architecture?
5. How do you see yourself applying these techniques of iconic abstraction and non-iconic? Is it applicable for rendering, diagramming, board layouts, building design?

09 October 2017

Week 6

1. It stated that a storyboard is the making of a film. Is it similar to the role of architects construction documents?

2. Does a storyboard for architecture create series, even though they are line drawings & not fully graphical drawings with color or 3D?

3. When a storyboard is applied to architectural representation & has not film does it become a "silent cartoon"?

4. Would you consider the photographic storyboards be related to architecture?

5. Would you consider the Architectural digest as being a form of a storyboard? Could it be related to a form of index?

6. Do you think a storyboard & index are related?

04 October 2017

Week 5: Krauss, Notes on the Index 1

1. Krauss mentions that there is index within photography as referenced in Duchamps Tu’m. Are there any instances where photography isn’t used as an index in art?

2. Is it always necessary to create an index in art pieces?

3. Kraus infers that language is used as index. Is there a dichotomy or a collaboration in language and representation? Example: Pieces that are accompanied with descriptions

4. How important is an index in order to create a deeper meaning to a piece? Can an index alone provoke that kind of thought?

5. Looking at With My Tongue in My Cheek by Duchamp, the title nods to the index of the composition of the piece. Do titles always have a role in art and representation? Do titles necessarily add to the overall depiction or meaning of the art itself? 

20 September 2017

The Agency of Mapping: Speculation, Critique, and Invention 2

  1. One especially important aspect for Arnheim's concept is that the concept is generative.  Corner often discusses mapping in generative terms.  For example, he claims that mapping is an "enabling enterprise that both reveals and realizes hidden potential."  What similarities do Arnheim's concept and Corner's mapping share?  What differentiates them?
  2. More people in the world interact with Google Maps more regularly than any other map.  Corner argues that maps "possess great force in terms of how people see and act."  How do you think Google Maps has forced people to see and act?  Positively?  Negatively?  At all?
  3. Corner looks to Harvey and agrees that "projecting new urban and regional futures must derive less from a utopia of form and more from a utopia of process - how things work, interact and inter-relate in space and time."  I believe that the map feature on Snapchat begins to achieve this in a fascinating way.  Am I right or am I crazy?
  4. I think corner tries to place mapping somewhere between free-form subjectivity and and raw factual objectivity.  Is he successful?  Can there be a balance or does the presence of one begin to implicate or diminish the other?
  5. Corner paints a grim picture of what I might call "red tape culture."  He claims there are plenty of answers to the question of what to do to address the issues of today and very few answers to the question of how to do it.  Do you think that Corner's mapping stands to be the operational factor that address the how

19 September 2017

The Agency of Mapping: Speculation, Critique, and Invention

1) James Corner states; "mapping is particularly instrumental in the construing and constructing of lived space. In this active sense, the function of mapping is less to mirror reality than to engender the re-shaping of the worlds in which people live", how do we see beyond the reality and whats factual to see the abstract? [213].  

2) If tracing is apart of mapping, what separates the two from one another? [214]. 

3) Mapping is suppose to lead you in the correct direction, but there are many options, points of view, and directions in which one can take. Does this make mapping abstract, if not what does? [217]. 

4) What steps need to be taken to distinguish reality and representation? [222]. 

5) How do you know when there's to much context into a map it becomes confusing?  

15 September 2017

Exercise 01_Diagramming a Film


  1. Felber
  2. Winder
  3. Dedrick
  4. Noelck
  5. Monty
The Royal Tenenbaums

  1. Georgeson
  2. Every
  3. Lee
The Grand Budapest Hotel

  1. Dickson
  2. Lorenz
  3. Liebenow
  4. Laluzerne
  5. Lin
  6. Santos
  7. Wosewick