19 May 2013
I am proud to have my work featured in the next publication by The Draftery, "Figure 03."
They are running a Kickstarter campaign to help fund the publication, please consider supporting this project.
06 May 2013
- [Page 9, Mechanistic, Dreamy Outside Rooms] “The twentieth century, like no century before it, was defined by technological development, particularly the exponential and accelerating power and dexterity of the machine.” Technology continues to develop at an even greater exponential rate in the 21st century. Should this be of concern and is there a way to balance the growth of technology and the capacity of the architect?
- [Page 9, Mechanistic, Dreamy Outside Rooms] “Conversely, some visionary work of this period sought to purvey a more agrarian attitude, seeking non-industrialized materials, antique construction methods, figurative compositional protocols and naturally occurring phenomena that might create a meaningful architecture.” Are the methods or ideas listed here the only way to create a meaningful architecture? What defines a meaningful architecture to you? Can the advancements in technology help create this, or will it hinder the creation of this meaningful architecture?
- [Page 12, Drawing Prisons] “Piranesi also anticipated the other great tradition of twentieth century visionary architecture: exploring the gap between the architecture of architectural drawings and the architecture of real built buildings.” Is the gap between drawings and real built buildings increasing or decreasing? Photo realistic rendering capabilities won't capture the true essence of the built environment, so to what degree should these capabilities be used?
- [Page 13, Drawing Prisons] This question relates to the previous question... Spiller describes how Piranesi pushed his drawing style to the limit. “His vanishing points are unaligned, and his projection planes multiply with unparalleled fecundity as he constructs the representation of an unrealizable group of objects and spaces.” Can digital media assist in the production of such drawings or would an image like this be more effective if done by hand?
- [Page 28] “The forces of reaction, as cynical and self-serving as ever, are eager to fill the void left by a destruction that they themselves to a large degree have caused.” Woods mentions war and violence which have clearly caused mass destruction in our past and the need for reformation and reconstruction tends to follow such an event, but can this idea of reconstruction refer to events that aren't directly caused by our own actions, such as natural disasters? Unless of course, we begin discussing the topic of global warming, and our effects on the environment...
- [Page 28, Instigate change] “Destruction has set in motion a reformation of the city that is both radical and irreversible.” This is directly followed by the statement “when change could be more easily resisted or controlled.” Sadly, I think it's true that the majority of the population are not as open to change and prefer a more stable environment, but as architects, should be we forcing change as the future is ever changing?
- [Page 29, Make second-order designs] “The architect must now design the rules of the rules, therefore the languages for comprehending and describing the space of a new dynamic stability. The task of the architect in the reconstruction of the damaged city is to make “second-order” designs, that is, to design the architecture of architecture.” What does Woods mean when he says to design the architecture of architecture? Can the describing of the space of a new dynamic stability be done solely through representation?
- [Page 30, Recycle, re-form] “The technique most essential to this process is a conceptual one: see the old as if had never before been seen. From this, all technical means will follow.” The technique being the way in which the architect transforms the material of destruction into the genuinely new.
- [Page 30, Recycle, re-form] “The technique most essential to this process is a conceptual one: see the old as if it had never been seen. From this, all technical means will follow.” Although we have advance technology would you agree or disagree with this statement?
- [Tactics] “Architecture has always been defined by strategies-witness Vitruvius's writings on the orders of architecture; Diderot's reclassification of the orders in his Encyclopedie; Le Corbusier's five points; and the recent codes of New Urbanism.” Do we anticipate new strategies to be developed in the near future or will we continue to use past orders of architecture or would it be in our best interest to take ideas from all strategies?
- [Surrationalism] “Surrationalism is first and foremost a conscious, critical, and rational project, its goal being the liberation of rationality from the encrusted habits of convention.”“ If surrealism seeks to explore the more-real-than-real world behind the real, then surrationalism uses rationalism to test the boundaries of rationalism itself.”
01 May 2013
30 April 2013
29 April 2013
22 April 2013
1) Explain PP is The Software Corporation Itself vs. Presentations are like Good Teaching (pg 161)
2) What problems arise in PP when determining hierarchy
3) Sometimes or most times, PP presentations are too straight forward and mind-numbing. why do you feel this is? what is missing most times that does not include the audience?
4) Compare how the readings shortcomings of PP can be related to the shortcomings of SARUP student presentations of studio work on the alcove walls.
Agrest: pg 163-177
1) Architecture is produced in three different registers, through three different texts: drawing, writing, and building (pg 161) Will this list grow? With how important computers are becoming in architecture will they ever be able to add to the list? And what could it add? (augmented reality, films etc.)
2) Out of the three current “texts” architecture is being conveyed through, has writing lost its importance? Should it be used more? And is there away you can incorporate writing within a drawing to be more then notations?
3) “It seems that the computer only operates as a tool in the production of an architecture that in terms of its mechanism of representation is not very different from previous historical periods” (pg 176) How can we make the computer go further in architectural representation then its current capacity?
4) “the same system that lays out the grid of the surface in the design process can in turn drive the machine that cuts those elements. Design and Fabrication are linked together...” Besides models how can we start to utilize these technologies to represent our architectural designs?
5) (Not directly from reading) Is the computer becoming the standard for the representation of architectural design? This comes from Will Bruder's keynote speech at MAM on the 6th of April. He basically stated that there is no need for computers to be in student design studios and emphasized how hand done work far surpasses the work done by computers.
6) How do you have to represent a city differently then a buildings? Why? (representation of a city is on pages 171-174)
7) “Exurbia is to the computer what suburbia was to the highway” (pg 176) Is the computer/cybernetics the downfall of the city as we know it today?
8) How can you represent cultural aspects of a city?
9) “Representation, theater of life or mirror of the world” - Michel Foucault, The Order of Things (pg 163) when we represent architecture what are we aiming for? To be an act of the real world or to try to be the real world? In our representations how real do we want them to be, and where is the line they become too determinate on the architecture?
10) How does the added complexity of architectural representation that it has in itself a double representation effect how and what we choose to represent about the architecture?
11) “representation can thus be thought of as the place of articulation between architectural practice and theory. It is precisely in such moments of change where critical thought and new theories are produced and practice is radically restructured” are these new theories proven true in drawings alone or do they have to be built to become a new practice?
15 April 2013
Antoine Picon - Architecture, Science, Technology, and the Virtual Realm
1. “In recent years a growing number of images and metaphors taken from mathematics, physics, and molecular biology have spread among architects… The productive character of certain episodes in history of relations between science and architecture is perhaps attributable to the existence of similarities between operations upon which science and architecture are based” (pp. 293-294.) In the reading, Picon lists topology, fractals, chaos theory, and DNA sequencing as some contemporary examples of this trend. Can you see a productive character between architecture and design processes and some of these metaphors, or are they simply “mere rhetorical habit?”
2. “What is the reality of architectural design? It is precisely a virtual reality.” (p. 296) How is design among the virtual dimensions of architecture?
3. Picon postulates that architectural form in a computer-based virtual reality no longer is the ultimate result of a process of research, and is instead the result of an arbitrary stop in an endless process of geometric transformation; a cross-section in a continuous geometrical flow (p. 303.) What do you see as the difference between computer-based virtual reality and more conventional design methods that would cause these new forms to become more like a “snapshot or videogram?” Do you agree with Picon’s sentiment?
4. From the last question, Picon questions our ability to judge the beauty of forms created through computer-based virtual reality, due in part to an impression of arbitrariness. How has the ascent of use of diagrams in design being used to as a possible antidote to combat this arbitrariness? (pp. 304-305)
5. Is the computer “symptomatic of a profound change in the way we make worlds,” as Picon states on page 301? Or, is the way that we design being fundamentally changed to accommodate the computer?
6. The UN Studio (Ben van Berkel and Caroline Bos) use diagrams as a part of “deep planning,” which aims to integrate as many data as possible, with the goal of avoiding any preconceived idea of what urbanism and architecture should be about, and to stave off any premature recourse to form (pp 305-606.) Can the use of data and diagrams as evidence successfully stave off all preconceived notions?
7. “The aim of the architect is no longer to promote an alternative, and allegedly better, world but to take the world as it is, to contribute to the further actualization of its potential rather than bring about the advent of a remote utopia” (p. 307.) How is this definition more (or less) suitable to what we as architects would like to accomplish?
8. What are some of the problems that Picon notes about digital architectural forms in regards to scale and texture?
9. What is the significance of Picon’s use of the cyborg as a metaphor on page 310?
10. How does digital architecture represent opportunity to reestablish links with contemporary science? (p. 311)
- Dan Kornaus -
14 April 2013
|Nicholas Szczepaniak_A Defensive Architecture|
+ pushing the boundaries of digital rendering
+ use of collage/montage
+ descriptive geometry
+ image/model hybrids
+ analog/digital hybrids
+ diagramming and mapping
+ architectural narrative
eight students – option b
you will enroll in arch 794 pre-thesis (3 cr.)
+ topic development
+ readings and discussion on image/representation
+ technique exercises – analog/digital
you will enroll in arch 891 master’s project (6 cr.)
+ must have at least one additional committee member
+ 500-word abstract of your thesis idea/topic of exploration.
+ the five (5) best images you have created to date.
email these items in .pdf to firstname.lastname@example.org
I will set-up individual meeting after reviewing your material.
09 April 2013
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 Class-time on April 16, you must submit a 500-word abstract of your research topic. 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.
You will be presenting your research topic, methodology and progress in class April 30. Your progress must be documented and summarized in a .pdf file that you will upload to the d2L Dropbox.
Please post any questions as comments to this post so that the entire class may benefit.
07 April 2013
1_What are your pre-conceived notions about “research,” Do you think of it in terms of experimentation, information gathering, the studying of a subject, inquiry, etc?
3: the collecting of information about a particular subject
2_ Nietzsche states “experiments are not limited to the controlled tests that demonstrate or provide evidence of some universal truth; that is, they are not synonymous with the scientific method. Experiments are also previously untried, decidedly risky operations aimed at creating something of-the-moment and new.” (33) Do you think there is a place for both types of experimentation in the field of architecture, is one more prevalent than the other, is one more closely related to “research” as we previously discussed?
8_What is a material practice? Is architecture the only thing that fits into this type of category? What aspect of a material practice is it that separates architecture from all other discursive practices? (Xlll-XV)
02 April 2013
Chris Cornelius received an Award of Excellence in the Observational Category from the American Society of Architectural Illustrators! His drawing of Brunelleschi’s Pazzi Chapel in Florence is one of fifty-five pieces chosen from a field of over three hundred entries from around the world.
His drawing will be part of the 28th annual Architecture in Perspective exhibition and catalogue publication. "Architecture in Perspective: Selected Entries"
26 March 2013
ARNHEIM 376- Arnheim seems to suggest suggests that the mind is not capable of remembering events as sequential, even if the even is clearly perscribed by a linear structure that is time? Is this so? Why?
ARNHEIM 377- Arnheim talk about perception of an event as it relates to the route of disclosure, specifically referring to Hamlet. How important do you think the route of disclosure is to architecture? as designers do you think we try to force this? ie architectural promenade
ARNHEIM- How do you think movement effects fixation?
ALLEN 48- How do you perceive architecture's "in-between" situation? what are some newly arising examples of where this can be advantagous?
ALLEN 56- Allen relates the history of cities to a collection of memories, but as technologies advance and information exchange is more easily communicated, the memories of cities are erased. Can the same be said for our memories/identities?
Allen 57- with the advancement of technologies, do you really think that the "discipline of architecture itself" has been marginalized as Allen says?
ALLEN & ARNHEIM- how does architectures "in-between" situation relate to an event that is experienced in a simultaneous manner?
ALLEN 46- Allen says "Architecture, like music or dance, is not concerned to imitate reality", but later goes on to praise diagram architecture. Is this in a way contradiction?
24 March 2013
05 March 2013
04 March 2013
1. Sparklines are "small high resolution graphics that are usually embedded in a full context of words, numbers, and images. " Explain how sparklines move through multivariate spaces and how the implications may result in a diagram of embedded value. pg. 47
2. Why are typographic sparklines so effective? Can these traces of sparklines within characters and fonts imply different moods, feelings, and meanings? pg. 48
3. When writing with data graphics, or producing sparklines within a set of images, words, or text, is the message of your intent amplified or lost (muddied)? Tufte defines this as "one of the best analytical designs ever." Is his stance accurate? 49
4. When taking analysis from financial reports such as stock readings or exchange rate readings for over a year, we are inputing quantifiable variables to produce sparklines. In what way can quality driven sparklines interfere with quantity driven sparklines? pg. 50
5. The diagram on pg. 52-53 of chromosome readings produces effects that graphically may imply architectural elements, such as an elevation or an abstract diagram. What elements of the graphic layout of data make the sparklines read architecturally?
6. How can datawords imply different outcomes of events? For example, datawords can read win loss reports for sporting games graphically. What elements make the datawords more legible than a simple character of text or number? p.54
7. In reference to the Chart on pg. 56, the effect of the overtaking of boats, an action or verb, is represented graphically by intersecting two lines accordingly. Explain how grammar is interpreted into form (lines) within the Bumps Chart by Tim Granger. pg.56
8. Which plot reads more effectively, a 2D dotdashplot or a 3D dotdash plot? pg. 57
9.Explain why "lumpy" sparklines tend to read better than "spiked" sparklines and why post processing in other graphics based softwares such as Illustrator or photoshop enhances the quality, clarity, and meaning of a dataword or sparkline. pg. 60
10. Tufte gives a candid response to his positions on computers and their limitations. I wonder if he plays around with Grasshopper and Rhino. How does Rhino, a complex modeling software, and the native plug-in Grasshopper, an open-sourced algorithmic based parametric modeling plug in for Rhino that allows you to input and manipulate data, contest that of Tufte's? pg.63
26 February 2013
- Cartooning isn't just a way of drawing; it is a way of seeing. Which part is more important. (31)
- Why is the cartoon universal? (31)
- Describe the differences in cartoon styles around the world, what is the reason for each? (43-44)
- “Words are the ultimate abstraction” True or False? (47)
- Are words abstracted but a picture is not? (49)
- What makes an image iconic?
- Can the Camera be exchanged equally for the sketchbook? (11.5)
- Is there or is there not, a sense of truthfulness with either the camera or the sketchbook?
- Would you consider the photo sequence “Rolling tire 1972” truthful to the actual event it is trying to depict? (11.5)
- Do storyboards add to or hinder to the creativity of the architect?
- How would you describe “architecture in film,” “filmic architecture”?(100)
- “Architecture at every instant, without being able to grasp the thousandth part of a second in which the transition takes place.” Does true architecture have to be static or can we call film architecture? (102)
- The Cabinet of Dr. Caligari is essentially a film of a play. Can this be considered filmic architecture? (103)
11 February 2013
10 February 2013
04 February 2013
1. Contrast Corner’s distinction between mapping and tracing?
2. What are the advantages and disadvantages of Mecator’s projection and Buckminster Fuller’s dymaxion projection?
3. How does the work of the child psychologists relate to maps relationship with reality?
4. In summarizing Harvey’s argument, what are the inherent problems with New Urbanism?
5. How does the Situationist usage of mapping differ from the Colonialist?
03 February 2013
Being John Malkovich
29 January 2013
Week 03 - Straube, Nissen
Week 04 - Crossman, Buettner
Week 06 - Johnson, Haertl
Week 07 - Jameyfield
Week 10 - Wells
Week 12 - Young, Cady
Week 13 - McMaster, Kornaus
Week 14 - Breunig, Annis
Week 16 - Ruiz, Pirlot
28 January 2013
- (Tufte 130-131) Tufte talks about how 2-dimensional technologies "encourage" 2-dimensional (bivariate) thinking. Can the same be said for 2-dimensional technology's effect on inquiry? Why?
- (Tufte 138) Why does representation of evidence become more verbal and less visual when the results yield poorly resolved explanations?
- (Arnheim) Why does Arnheim belittle the distinction between what's "cement" and what's "abstract"?
- (Arnheim 160) Arnheim says "a filter does not abstract." Why?
- (Arnheim 161) What does Sussanne K. Langer mean by primary abstraction?
- (Arnheim) What is a mechanism for abstraction?
- (Arnheim 162-163) What's the importance of induction?
- (Arnheim 171) Arnheim says that "an arbitrary selection of common traits is not often useful." Why is this?
- (Arnheim) What makes for a defining attribute?
- (Arnheim) What is the relation between generalization and concept?
27 January 2013
- P. 131 Tufte "Like good information displays, explanatory investigations, if they are to be honest and genuine must seek out and present all relevant evidence regardless of mode."- How significantly does this concept effect biases, especially when presenting evidence?
- P 137 Tufte "If we ever see the analytical presentations of intelligent beings from other planetary systems, those designs will make multivariate casual comparisons."- Aliens?
- P. 155 Arnheim- What is ontology?
- P. 170 Arnheim- What does extirpate mean?
- P. 174 Arnheim- What is entelechy?
- P. 174 Arnheim- Compare and contrast "Container concepts" vs. "Types"
- P. 179 Arnheim- What is "Normal variability"
- Define abstract design.
- Define abstract thought.
- Is successful abstraction "dynamic" or "static"?