1: "A diagram is often thought of as an after-the-fact thing, an explanatory device to communicate or clarify form, structure, or program. But this overlooks the diagram's generative capacity."
A: Should diagrams be stressed more in architectural education (especially in the beginning and middle of design)?
B: Should 'napkin sketches' be taken more seriously or be used in the final stages of critiques?
C: If diagrams are generative, should we be focusing more on iterative diagraming rather than jumping into traditional design so fast?
2: Invisible : "Notations go beyond the visual to engage the invisible spaces of architecture. This includes the phenomenological effects of light, shadow, and transparency; sound, smell, or temperature but also -- and perhaps more significantly -- program, event, and social space."
A: How can we begin to notate these phenomena? Mapping?
B: In what traditional media could these notations be evident in ( plans, sections, renderings, all, none, etc)?
C: Could a new form of media evolve to project these phenomenological effects?
1: Pg 374 : "the thing really gets to be almost completed in my head, even if it is long so that thereafter I survey it in my head at one glance ... And I hear it in my imagination not in sequence, as it will have to unfold afterword, but, at it were, right away all together"
A: Do some of your architectural ideas and theories come about similar to Mozart on music?
2: Pg 393-4: "If a sports match is covered by two television cameras located on opposite sides of the arena, a cut from one camera to the other will naturally invert the picture. The boxer on the left will suddenly be on the right, and vice versa. The obstacle is best overcome by having the cut occur during a pronounced action, which defines the roles of the antagonists so clearly that correct identification is preserved despite the paradoxical location of movement"
A: With regards to action film, contact sports, and entertainment like wrestling, is this a good technique to emphasize action?
B: Is this similar to transitioning in architectural storyboards similar to Machado and Silvetti's Gateway for Venice discussed in the Narrative Armature presentation?