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 email@example.com
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"