tag:blogger.com,1999:blog-47438279399149739082024-02-19T15:58:22.380-06:00visible certaintyArch390/790 Visible Certainty
University of Wisconsin-Milwaukee
SARUP
Chris Cornelius, Associate Professorctchttp://www.blogger.com/profile/05385815368454291994noreply@blogger.comBlogger302125tag:blogger.com,1999:blog-4743827939914973908.post-51854248106853807502018-12-10T09:06:00.002-06:002018-12-10T09:06:35.669-06:00SangOn behalf of Sang on being able to post...here are her questions<br />
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<ol style="background-color: white; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-size: 16px;">
<li>The acronym SNAFU which describes a "normal" state where things are a little bit off. Have you used Snafu in your design process? Is a snafu manageable?</li>
<li>Tactics are the modes of creative opportunity that operate within the gaps and slips of conventional thought and the patterns of everyday life. What tactic do you use when you first start a project?</li>
<li>LTL states, “while the subject changes, the tactics of investigation remain consistent. Each project begins with a close inspection of an existing situation, triggering a speculative “What if…” question that postulates an alternative derived from the logic of the given object of study.” When you are assigned a new project, what type of questions should you ask yourself when referring to case studies?</li>
</ol>
Natalie Campbellhttp://www.blogger.com/profile/07533091943298582942noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-55073488582050408492018-12-09T21:13:00.001-06:002018-12-09T21:13:23.140-06:00Week 15<br />
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<!--[if !supportLists]--><span style="color: black; font-family: "Calibri",sans-serif; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="color: black; font-family: "Calibri",sans-serif;">A question for Chris: Why
have you chosen to use Snafus as a part of your work? How does this influence
the way you start to think about your projects also what do you learn by doing
these types of drawings?<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: black; font-family: "Calibri",sans-serif; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="color: black; font-family: "Calibri",sans-serif;">LTLs reading talks about
the idea of “two seemingly incompatible conditions occurring simultaneously:
the normal (regulated military) and the fouled-up (Snafu). lf something is
normal, everyday, and ordered then how can it also be disordered, jumbled, and
otherwise out of kilter?” Thoughts???<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: black; font-family: "Calibri",sans-serif; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="color: black; font-family: "Calibri",sans-serif;">“The old standards of
practice have been decisively critiqued by willful destruction.<span style="mso-spacerun: yes;"> </span>In order to participate in the building of
the reconstructed city, the practice of architecture itself becomes as
radically reconstructed as the architecture required by the changed conditions
of living. New principles must be articulated by the architect, and new tactics
invented and adopted.”<span style="mso-spacerun: yes;"> </span>Here Woods says
that in order to build a new city new practices or principles must be built or
established.<span style="mso-spacerun: yes;"> </span>What do you think some new principles
have been recently and what form does this take?<span style="mso-spacerun: yes;"> </span>Is it in the form of materiality, or function
or form? <o:p></o:p></span></div>
<br />Natalie Campbellhttp://www.blogger.com/profile/07533091943298582942noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-53169259305194737402018-12-04T01:38:00.002-06:002018-12-05T01:09:47.200-06:00Ex. 04_personal Research Topic_2018Your 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.<br />
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By 9:00 AM on December 10, you must submit a 300-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.<br />
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To view examples of previous research topics view the blog archive for April 2013.<a href="http://visiblecertainty.blogspot.com/2013_04_01_archive.html">HERE</a><br />
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Please post any questions as comments to this post so that the entire class may benefit.<br />
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The format of exercise four and your final document shall be the same as the previous exercises, 8.5x11 Landscape format.<br />
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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.<br />
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Label your final document files with only the following:<br />
Final Doc_Last Namectchttp://www.blogger.com/profile/05385815368454291994noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-14528647501518165102018-12-02T23:23:00.000-06:002018-12-02T23:23:09.313-06:00Week 14 - Power Point Sucks and here's why1. Tufte states "Especially disturbing is the introduction of power point into schools. Instead of writing report sentences, children learn how to decorate client pitches and infomercials..." I absolutely suck at writing. Even sitting here writing you guys questions is difficult for me. I find more value in presenting an idea rather than writing about it. Do you find more value in speaking to an idea or writing about it?<div>
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2. While Tufte is very much against using Power Points, I feel like as architects our presentations differ than the ones that Banks are putting together for their investors. Are we the exception or have we been doing this whole thing wrong?</div>
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3. I have been always told that during a presentation if I talk about it there should be a diagram or drawing that support it. Tufte in this paper is arguing the opposite, that we should talk more and show less visuals. Why is our profession against some of these things Tufte is saying?</div>
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4. Why does it feel that the School or Architecture is arguable disconnected from the practice of architecture. Every "large" firm in Milwaukee uses PowerPoint for its building pitches, client meetings, staff meetings, basically everything. They all use templates and are a graphic nightmare, yet they still continue to be the largest firms in the entire state. Why is this?</div>
Anonymoushttp://www.blogger.com/profile/17766344125646472916noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-86956500392050667102018-12-02T18:51:00.003-06:002018-12-02T18:51:56.731-06:00week 14 - presenting your work1. tufte shares and example of louis gerstner (then president of IBM) shutting down a slide based presentation being given by employees of IBM. displeased, tufte recalls "indeed, gerstner later asked IBM executives to write out their business strategies in longhand using the presentation methodology of sentence, with subjects and predicates, nouns and verbs, which then combine sequentially to form paragraphs, an analytical tool demonstratively better than slideware bullet lists." has peoples dependence on presentation tools such as power point hindered their ability to write analytically, or even structurally sound?<br />
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2. over and over again tufte expresses his disapproval of power point presentations because of their tendencies to stack information in a way that does not allow for people to learn and draw connection , giving the content a surface level, almost vain quality. he gives a few options that in his opinion enhances the viewers experience, one being "high resolution handout allow viewers to contextualize, compare, narrate, and recast evidence." how do we as architecture students utilize this, and do you think it is as successful as tufte believes it to be.<br />
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3. recount a presentation you have given (slide based or otherwise), how do the tools and methods you used to present your content/work were effective or ineffective?<br />
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4. agrest states "...the understanding of the world based on establishing similarities between things, images, and words-in short, representation worked by establishing analogies." she goes on to give alberti's definition of beauty "...for example, a chain of signifiers that goes from nature to the human body, to proportion, and then to geometry allows for a particular concept of beauty to be transposed to architecture." as designers, how do we use analogies to help us today?<br />
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5. "the representation of the gothic, classical, and beaux arts styles serve to link the old and the new, imposing the new by representing the familiar. architecture becomes self-referential and buildings are representing other buildings, thus transferring their history and myths to the new." what are some examples of modern buildings being represented by other contemporary buildings and why do we do this?Anonymoushttp://www.blogger.com/profile/14839056754536064108noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-34562251038294550482018-12-02T10:06:00.002-06:002018-12-02T10:06:26.126-06:00Week 14 QuestionsLTL:<br />
1) Throughout the opening few pages, the essay makes reference to the unexpected and chaotic with respect to a conditioned norm. What is your opinion on the necessity of rules or 'the norm' to serve as a backdrop for innovation and chaos to shine?<br />
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2) When discussing form and function, LTL suggests renaming the common phrase "form follows function" to "function fucks with form." Why do you think they chose to word it that way instead of simply swapping the object and subject to "form follows function?" Specifically, the choice of words implies that form need not be a predetermined outcome (form) of a set of inputs (function) but that form is a multitude of possible outcomes that takes influence from the inputs, but not in a necessarily deterministic way.<br />
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3) LTL describes surrationalism as, "the self-conscious examination of the rational...Surrationalism is first and foremost a conscious, critical, and rational project..." If you consider the rational as "the norm" and surrationalism itself as a rationalizing reimagination of the norm, then would it not eventually result in the same rationalized norm that it seeks to reconsider?<br />
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Woods;<br />
1)Woods describes the temporal nature of establishment and innovation by stating, "The architect must become, more than ever, a creature of the present, fusing all that is remembered and all that is dreamt within it..." What are the implications of equating the past with the established and the future (dreamt) with innovation?<br />
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2) Though Woods talks about the architecture of old as a service, his pleas for a new architecture with new methods, values, and tactics still treats architecture as a service. Why do we, as a profession, consistently value architecture based on its ability to solve a problem - to "save the world"?<br />
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3) Woods states on rebuilding the city, "Because the architect has a more intimate knowledge than others of the city's physical structures and their processes of coming into being, it falls to the architect to act in the void left by the disruption or collapse of institutional authority." He says this despite saying, several paragraphs earlier, "Architects are no longer able...to view the city from high above, as though it were an object to be manipulated and dominated." Do you see a non sequitur here? Is there a way for architects to take charge using our knowledge while still being cognizant of the greater society at large? Do we need to?Ben Schenckhttp://www.blogger.com/profile/17625700734781936419noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-72422990479801107382018-11-26T11:11:00.001-06:002018-11-26T11:11:50.527-06:00Digital<div aria-label="Conversation" autoid="_rp_2" role="list" style="background-color: white; font-family: wf_segoe-ui_normal, "Segoe UI", "Segoe WP", Tahoma, Arial, sans-serif;" tabindex="-1">
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<li>In the Picon reading he states, "computer generated images play a role in this crisis of scale", do you believe this statement holds true in your own work? </li>
<li>In the Picon reading he states that architectural form used to appear as the ultimate result of a process of research, he then continues to say a computer generated architectural form can no longer pretend to achieve this status. Do you believe this statement to be true? Can an architectural form solely begin with a computer generated process?</li>
<li>In Allens reading he claims traditional architectural representation has power because of its abstracted approach, do you think that oversimplification or over abstraction can lead to a faulty design?</li>
<li>Are there new technological advancements in computer generated design that can help solve the problems discussed in both readings? Do you think virtual reality is the future of architectural design?</li>
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ctchttp://www.blogger.com/profile/05385815368454291994noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-77175774093974327202018-11-24T22:57:00.000-06:002018-11-24T22:57:15.974-06:00WEEK 13_AVOIDING DIGITAL PITFALLS1. In the reading Architecture, Science, Technology, and the Virtual Realm, Antoine Picon discusses how architecture operates in the virtual dimension. What are the advantages and disadvantages to this? In the future, do you believe there will be advances in technology that could push us closer to full actualization?<br />
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2.<span style="font-size: x-small;"><i> "From an architectural standpoint, the major consequence of this preeminence is the destabilization of form, a destabilization all the more paradoxical since it is the operations of the designer and the calculations of the computer that simultaneously and rigorously, define form" (Picon, 303).</i></span><br />
Does the use of digital architecture help or hurt our abilities to design form? If you believe it helps, how so? If you believe it hurts, how can we fix this issue while still allowing for digital platforms?<br />
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3. In both readings, Allen and Picon discuss the dangers of the destroying the field. How can we use technological advances to help redefine the field and keep it from becoming a "terminal velocity"?<br />
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4. <i><span style="font-size: x-small;">"The aim of the architect is no longer to propose 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"(Picon, 307).</span></i><br />
Do you believe the idea that we are operating in a virtual dimension plays a role on this trend/do you believe advances in technology has brought this about? Do you believe it is more beneficial to operate in the manner of realism? If you believe so, to the architect or the client?<br />
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5. Both readings discuss scale through computer-generated images. In what ways do you believe scale is being lost/advanced through digital platforms?<br />
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6. Allen mentions that a disadvantage of working through a computer is that everything is accumulative and nothing is lost. Have you ever found this to be a disadvantage in your own work while designing through a digital software vs by hand?<br />
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<br />Anonymoushttp://www.blogger.com/profile/01978083644230689155noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-51743923728560667092018-11-18T22:42:00.001-06:002018-11-18T22:42:58.735-06:00Week 12: Research Methodologies<br />
<div class="MsoNormalCxSpFirst" style="line-height: normal;">
1 Let’s take a poll and
see if there are any overwhelming majorities. How would you classify yourself? (anonymous
– write on a piece of scrap paper - pick just one)<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
Herzog and de Meuron or
{{{{Operations}Projects}}}<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
Aranda\Lasch or
{{{{Operations}}}Movement}<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
Le Corbusier or
{{{}Projects}Theses}Movement}<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
OMA or
{{{{}Projects}Theses}}<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
Bruno Taut or
{{{{}Projects}}Movements}<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
Enric Miralles or
{{{{}Projects}}}<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
Diller + Scofidio or
{{{{}}Theses}}<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
Are the results a
product of the faculty/curriculum of this school, or mostly a personal choice? <o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
Is your classification
the same as your favorite architects? <o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
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<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
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2 <i style="mso-bidi-font-style: normal;">“Movements are usually defined as organized effort to achieve a common
goal” – Pineiro II<o:p></o:p></i></div>
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<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
What are the current overarching
(or most exciting to you) movements of architectural practice? Do we expect
these to change in the next five years (or near future?) – Thinking about what
we will encounter as we enter the working world.<o:p></o:p></div>
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3 <i style="mso-bidi-font-style: normal;">“The process of design and construction is characterized by constant
tactical adjustments made to the demands of clients, codes, consultants,
budgets, builders, and regulatory agencies, not to mention the complex
logistics of construction itself?” – Allen XI</i><o:p></o:p></div>
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<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
Do any of these types
of demands worry you more than the others in studios or as you think about
entering practice? <o:p></o:p></div>
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4 <i style="mso-bidi-font-style: normal;">“It is precisely when practice and experimentation turn up
inconsistencies in the “normal science” that new theories are produced” – Allen
XII</i><o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
Which of the classifications
as presented by Pineiro best facilitate the balance of practice and experimentation
required to produce new theories?<o:p></o:p></div>
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5 <i style="mso-bidi-font-style: normal;">“…doubt returns thought to openness before the world; it involves a
loss of control which places thought in a more vulnerable relation to the world
than before” – Allen XV<o:p></o:p></i></div>
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<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
How much does doubt
weigh on your thoughts throughout the design process? Is it a tool or an
impediment? Is it more prevalent in the beginning (when choosing what the
project should be), at the end (when thinking about what the project could have
been), or some other time? (I’m thinking of doubt as “hard-headed” skepticism
here. Self-criticism, client desires, best approaches, etc…)<o:p></o:p></div>
<br />Kenny Adamshttp://www.blogger.com/profile/10596039214553493142noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-28493105111024686802018-11-18T12:57:00.001-06:002018-11-18T15:19:14.029-06:00week 12_research methodologies<i>Allen, "Practice vs. Project" Introduction, Practice, pp X-XXIII:</i><br />
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1. <i>"Constraint is not an obstacle to creativity, but an opportunity for invention, provoking the discovery of new techniques." (p. XV)</i><br />
<br />
How does constraint benefit and/or effect our own work in studio and what are some of those constraints that we are faced with?<br />
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2. <i>"Meaning is not something added to architecture; it is a much larger, and a slipperier, momentary thing. It is not located in the architecture; it is what happens to and around architecture as part of a complex social exchange. It happens in the interval, as the result of an encounter between architecture and its public, in the field" (p. XIV)</i><br />
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This idea of social infrastructure and interaction creating meaning in architecture is very powerful, developments can create social and architectural impact on a multiplicity of scales. How do we as designers create these scenarios? In the context of Milwaukee, I think of developments such as Fiserv Forum, The Hop, and the Summerfest grounds.<br />
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3. <i>"Two important senses of the word practice intersect here: practice designating the collective and peripatetic improvisations of multiple inhabitants in the city connects to practice as the creative exercise of an intellectual discipline by an individual." (p. XIX)</i><br />
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Where these two senses of practice intersect there is spectrum of intensity between strict and creative. Are there nodes along this spectrum that are more applicable to different aspects of the design process? The above quotes relate to the Lopez-Pineiro reading as it describes a bridge between practice and production in both a professional and academic construct.<br />
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<br />
<i>Lopez-Pineiro, "How to do a Thesis: Practice Models as Investigators for Academic Theses", pp 1-9:</i><br />
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4. In regard to the categories described within the Lopez-Pineiro reading (p. 3-7):<br />
<br />
<ul>
<li><i>Herzog and de Meuron or {{{{Operations}Projects}}}</i></li>
<li><i>Aranda\Lasch or {{{{Operations}}}Movement}</i></li>
<li><i>Le Corbusier or {{{}Projects}Theses}Movement}</i></li>
<li><i>OMA or {{{{}Projects}Theses}}</i></li>
<li><i>Bruno Taut or {{{{}Projects}}Movements}</i></li>
<li><i>Enric Miralles or {{{{}Projects}}}</i></li>
<li><i>Diller + Scofidio or {{{{}}Theses}}</i></li>
</ul>
<div>
<br /></div>
<div>
How would you classify your own design characteristics/process in relation to the above categories?</div>
<div>
<br /></div>
<div>
5. Pre-thesis students: 30-second elevator pitch of your current thesis research (i.e. topic, location, advisory, concept, etc.). What are your personal opinions of the process so far?</div>
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6. Even if you are not in thesis, how could these ideas described in the reading be applied to daily studio/seminar work to better evolve projects and create more innovation? </div>
Davidhttp://www.blogger.com/profile/13986778032631516413noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-57012042832141849102018-11-17T19:13:00.001-06:002018-11-17T19:13:13.191-06:00week 12 - research methodologies<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;">1 allen states "theory's promise is to make up for what practice lacks, to confer unity on the wildly disparate procedures of design and construction." in your experiences interning with or working for an architectural firm, how hove you found practice and theory interact?</span></span></div>
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<span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;">2 because visual and material practices have rules that differ from those of textual practices, allen says "...architecture has never been particularly effective as a vehicle of criticism." that it is inherently affirmative and instrumental. as architecture students who receive criticism in regards to our visual and material based architectural projects, do you agree or disagree with this?</span></span></div>
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<span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;">3 "...image culture belongs to the new ways of thinking and seeing that have emerged with modernity: shifting mental schemas that mark our uncertain position in the modern would and force us to see how the practice of architecture has been constantly revised by the complex current of twentieth century thought." how are imagerial representation (images, film, graphics, etc) seen as fleeting (or are they not?) and help us better understand ever-changing contemporary architecture?</span></span></div>
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<span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;">4 lopez-pineiro wonders of traditional thesis rituals in schools of architecture "why do we-the architectural community at large-ask students to do a thesis if most practicing architects do not work in this manner?" as a first year grad, i also wonder. for those of you currently in thesis, are you 'enjoying' the process so far/would you prefer another way of structuring thesis? if so what would that look like for you?</span></span></div>
Anonymoushttp://www.blogger.com/profile/14839056754536064108noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-16574890967719087122018-11-12T10:34:00.001-06:002018-11-12T10:34:10.335-06:00colllage1. Shields writes “a work of architecture contains accumulated history as it is lived and engaged rather than observed.” How as students are we able to convey a sense of history or engagement with a studio project? How can collaging aid this process?<br />
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2. Through your own projects what has collaging been most effective at conveying? Was this information easily comprehended by the audience?<br />
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3. On page 163 Corner states he is “struck by the range of types and forms of representation in comparison to the relatively small number of techniques used in the landscape, architectural, and planning arts.” Do you think this limit in representation is due to the field of our study?ctchttp://www.blogger.com/profile/05385815368454291994noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-65135494753192263812018-11-12T07:41:00.000-06:002018-11-12T07:41:09.686-06:00Week 11 <br />
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<li><b style="text-indent: -0.25in;"><span style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; line-height: normal;"> </span></b><span dir="LTR" style="text-indent: -0.25in;"></span><span style="text-indent: -0.25in;">“collage has transformed
throughout the past century as the conception of space has evolved Materially,
the choice of fragments is also distinctive, revealing evidence of the time and
place in which the collages were constructed” (Shields : 9) </span><b style="text-indent: -0.25in;">Since collage
has gone through evolutionary changes, in what ways does that effect how people
think about collage and how it has an effect on the design of architecture. </b></li>
<li><span style="text-indent: -0.25in;">“The collagist’s
tools are simple: a scalpel used </span><span style="text-indent: -0.25in;">in tandem with a probe or a pair of tweezers
and small tabs to keep things in the right place prior to the gluing operation.”
(Nicholson: 20) </span><b style="text-indent: -0.25in;">How has technology changed or replaced the tools necessary
to create collage?</b><span style="text-indent: -0.25in;"><span style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span></li>
<li><span dir="LTR" style="text-indent: -0.25in;"></span><span style="text-indent: -0.25in;">“Any recovery of landscape
in contemporary culture is ultimately dependent on the development of new
images and techniques of conceptualization.” (Corner: 153-154) </span><b style="text-indent: -0.25in;">Before the contemporary
culture, 1945 to the present, how would collage helped the recovery of landscape
issues?... like the Great Depression, 1929-1939, or WW2, 1939-1945. </b></li>
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<br />Anonymoushttp://www.blogger.com/profile/04146679770980123125noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-80521594402579498372018-11-11T20:42:00.002-06:002018-11-11T20:42:41.480-06:00WEEK 11_COLLAGE1. On page 22 Nicholson states, "Making requires living with something that is knowingly incorrect. It is this anti-idealistic incorrectness which mysteriously permits the work to advance." This reading also suggests that the act of collage making is as productive as the outcome. Have you used collage as a generative tool during the architectural design process?<br />
2. On page 2 Shields states, "The practice of collage has the capacity to capture spatial and material characteristics of the built environment, acting as an analytical and interpretive mechanism." Can the rendering software that we are taught in school, such as v-ray, capture the spatial and experiential qualities that collage is capable of achieving? What are the shortcomings of v-ray/lumion/ sketchup in comparison to collage and vice versa?<br />
3. How can digital tools successfully be used in conjunction with collage, so that the full potential of collage as suggested by the readings is not lost? Are there any examples that come to mind?Anonymoushttp://www.blogger.com/profile/11402616036703989248noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-68837688576425070542018-11-10T21:17:00.003-06:002018-11-10T21:17:47.174-06:00WEEK 11_COLLAGE1. Throughout all three readings by Nicholson, Shields, and Corner, each brief on the the process of collage making. The readings discuss the advantages of collages as a physical process, but are there any advantages to using digital production in the collage making process? If so, what do you think they are? If not, what advantages could our architectural representations benefit from by using collage outside of the digital platforms?<br />
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2. "The practitioner must have the skill to free the weight of the body, so that it can pirouette about the scalpel blade whist constant direction and pressure is applied to its point" (Nicholson, 20). In this quote from the reading, Collage Making, Nicholson discusses that one must understand the collage making process but also allow the mind to free itself during the process. Do you believe the most successful collage is one that is preplanned or on the spot? How do you create an architectural representation to convey a certain layers of meaning if it is not preplanned?<br />
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3. Do you use collage in your architectural representation to reveal layers of understanding to yourself or others?<br />
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4. Within the reading by James Corner, he discusses landscape and image being inseparable. Do you think landscape in collages heightens or hurts the image? If applied to an architectural representation such as a rendering, do you think it should display "realistic" landscape types or something as imaginative as a collage?<br />
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5. In the readings from Shields and Nicholson, both discuss collage being a tool to allow for layering of information. In this collaged image by Henry Stephens, what are the different layers of information he is trying to portray? Which are the most important?<br />
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Anonymoushttp://www.blogger.com/profile/01978083644230689155noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-80217006586415990762018-10-29T09:06:00.005-05:002018-10-29T10:09:23.902-05:0009 MUYBRIDGE & MOVEMENT | the body in time and space<span style="color: white;"><br /></span>
<span style="color: white;">due to technical issues, Doan's questions were not posted.</span><br />
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<span style="color: white;">... posting oh her behalf.</span><br />
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<span style="font-family: "times new roman" , serif; font-size: small;"><span style="color: white; font-size: 16px;"><b>Allen differentiates between diagrams and notation, and describes “notational systems operate according to shared conventions of interpretations, while diagrams are by definition open to multiple interpretations”. What does this have to do with architectural drawings?</b></span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: small;"><span style="color: white; font-size: 16px;"><b>On page 50 & 51, Allen gives out multiple definitions of what a diagram can be. I think the most basic definition that best explains a diagram is "an explanatory device to communicate or clarify form, structure, or program" (50) or "a graphic assemblage that specifies relationships between activity and form" (51). Do you agree or disagree?</b></span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: small;"><span style="color: white; font-size: 16px;"><b>Do we read a city by reading its text: "from the language of its inhabitants to the space of the street" (56)? How do we read a city if it has changed so much?</b></span></span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="color: white;"></span><br />Tiahttp://www.blogger.com/profile/09389527673116546719noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-24773742509118985992018-10-27T16:19:00.000-05:002018-10-27T16:21:14.888-05:0009 MUYBRIDGE & MOVEMENT | the body in time and space<span style="background-color: #444444;"></span><br />
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<span style="background-color: #444444;"><span style="color: white;">“</span><b><span style="color: #6aa84f;">Notations</span></b> <span style="color: white;">belong to time,</span> <b><span style="color: #3d85c6;">diagrams</span></b> <span style="color: white;">to space and organization” <b>(p. 49)</b>. On the following page, the author states that “</span><b><span style="color: #6aa84f;">notational systems</span></b> <span style="color: white;">operate according to</span> <b><span style="color: #6aa84f;">shared conventions of interpretations</span></b><span style="color: white;">, while</span> <b><span style="color: #3d85c6;">diagrams</span></b> <span style="color: white;">are by definition </span><span style="color: #3d85c6;"><b>open to multiple interpretations</b></span><span style="color: white;">”. On <b>page 64</b>, however, </span><span style="color: white;">“</span><b><span style="color: #6aa84f;">notations</span></b> <span style="color: white;">always describe a work…</span> <span style="color: #3d85c6;"><b>open to interpretation</b></span> <span style="color: white;">and change in the course of future performance. “ At first, these statements seem mutually exclusive. Are they really? If not, can you elaborate on why they might not be?</span></span></div>
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<span style="background-color: #444444; color: white;">Recently, I have come to appreciate the value of <b>diagram architecture</b>, even though it does not "produce meaning" and tends to focus more on “immediacy, simple forms, direct accommodation of program, and the pleasures of the literal. “ <b>(p.53)</b> What do you think about it (diagram architecture)?</span></div>
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<span style="color: white; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="background-color: #444444;"><span style="color: white; font-family: "times new roman"; font-size: 16px; line-height: 17.33px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">“The modern city… has gone out of control… it has lost the signifying potencies and structural coherence that it <u>once</u> seemed to possess… can no longer be read in any coherent or predictable manner.” <b>(p.56)</b> <span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"> </span>We haven’t experienced that “once upon a time” period, but can taste its bittersweets character in relation to the urban insertions and modification imposed by the modern, “<b>illegible city</b>” and time. Personally, I see it (the “illegibility”) as a profound reorientation towards a changed world; a legible manifestation of a social, historical and political chaos that also resembles the inherent unpredictability of human nature and times that we are actually familiar with.</span> What does it <span style="background-color: #444444; color: white; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">(the </span><span style="background-color: transparent; color: white; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 17.33px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">illegible city)</span> mean to you?</span></span></div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="background-color: black;"></span><span style="background-color: #444444;"></span><span style="background-color: white;"></span><br /></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "calibri";"></span><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><span style="color: black;"></span><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="background-color: black;"></span>Tiahttp://www.blogger.com/profile/09389527673116546719noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-779992591172670392018-10-22T08:32:00.005-05:002018-10-22T08:33:51.965-05:00Week 8- The form of data<br />
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<li><span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><span dir="LTR" style="text-indent: -0.25in;"></span><span style="text-indent: -0.25in;">To better understand Sparklines
take out one piece of paper and create a sparkline using datawords to describe
the highs and lows of your educational experience in architecture as well as
your social life. Have both lines begin at the same point. Use the font that
best describes you or your personality. (5 minutes)</span></li>
<li> <span dir="LTR" style="text-indent: -0.25in;"></span><span style="text-indent: -0.25in;">How is parallelism
different and similar to sparklines?</span></li>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><span dir="LTR" style="text-indent: -0.25in;"></span><span style="text-indent: -0.25in;">Can parallelism and
sparklines be shown together within architecture, or even in the same image, simultaneously
to explain certain data?</span></li>
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<br />Anonymoushttp://www.blogger.com/profile/04146679770980123125noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-29559722776973368752018-10-22T07:38:00.001-05:002018-10-22T07:38:40.501-05:00Week_08-The Form of Data<br />
<ol>
<li> If sparklines are data lines with word-like graphics, how are only 3% - 5% of the graphics published by major scientific journals considered sparklines? </li>
<li>Would binary code, which is a representation of text and computer instruction, be considered a sparkline?</li>
<li> "...sparkline graphics give us some chance to be approximately right rather than exactly wrong." (63) How can we be approximately right or exactly wrong if all the data needed is already there for us to read?</li>
<li>Would tree rings be considered sparklines? Or would the "resolution" be considered too small for consideration?</li>
</ol>
<div>
<br /></div>
<br />
<br />Anonymoushttp://www.blogger.com/profile/15912104751582459895noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-25938866587544936232018-10-21T23:13:00.001-05:002018-10-21T23:13:12.276-05:00Week 08 - The Form of Data<div class="MsoListParagraphCxSpFirst" style="line-height: 150%; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">1. <span style="font: 7.0pt "Times New Roman";"></span></span></span><!--[endif]--><span style="font-family: "Courier New";">To what extent can sparklines be understood as wordlike graphics if there are no words associated with the graphic?<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 150%; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -.25in;">
<span style="font-family: "Courier New";"><br /></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">2. <span style="font: 7.0pt "Times New Roman";"></span></span></span><!--[endif]--><span style="font-family: "Courier New";">What are some ways that this strongly statistical graphic might be used in the architecture field?<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -.25in;">
<span style="font-family: "Courier New";"><br /></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">3. <span style="font: 7.0pt "Times New Roman";"></span></span></span><!--[endif]--><span style="font-family: "Courier New";">How might sparklines reinforce the ideas and graphic language read from the parallelism reading?<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -.25in;">
<span style="font-family: "Courier New";"><br /></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">4. <span style="font: 7.0pt "Times New Roman";"></span></span></span><!--[endif]--><span style="font-family: "Courier New";">The Salyut 6 space flight used a cyclogram to layout their time in space, but initially failed due to its reminding of how much time they had left. How might you have fixed the graphic to look forward to the future and stay excited for their return to Earth?<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "Courier New"; mso-fareast-font-family: "Courier New";">5. <span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"></span></span><!--[endif]--><span style="font-family: "Courier New";">How might architecture utilize ideas of parallelism without being directly related?<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/08326601520413787579noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-45249322268397195602018-10-21T00:09:00.002-05:002018-10-21T00:11:23.128-05:00Week 08 - The Form of Data<br />
<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->“Worldlike sparklines should often be embedded
in text and tables, which provide a helpful context for interpreting otherwise
free- floating sparklines” (49). Do sparklines need to be accompanied with text
for understanding to be attained?<o:p></o:p></div>
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For instance, if one’s heartrate
were to be monitored and captured graphically from before one’s beginning of
life to after death, could that be understood visually without text?<o:p></o:p></div>
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<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->In the same instance of heart rate monitoring,
can sparklines be understood auditorily? Can music be described as auditory
sparklines?<o:p></o:p></div>
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<!--[if !supportLists]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->Moving away from visual and auditory
perceptions, can sparklines be understood tactilely? <o:p></o:p></div>
<div class="MsoNormal">
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<!--[if !supportLists]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->Christopher Wilmarth’s “Gift of the Bridge” (84)
describes the degradation of his birthday card. In architecture, we can see not only the
effects of erosion and the changing climate but also material degradation as an
indexing of environmental change through time. How/Should can design be done to
capture this effectively?<o:p></o:p></div>
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<!--[if !supportLists]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->In the cyclogram narrative of the Salyut 6 space
flight, we see various amounts of information captured as once. Does presenting
this vast amount of information at once mitigate the understanding of critical
events as opposed to seeing more detailed day or week by week events shown separately?
(See World Map)<o:p></o:p></div>
<br />Anonymoushttp://www.blogger.com/profile/05899223786618228726noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-17326516190884925672018-10-14T15:31:00.000-05:002018-10-14T15:32:12.249-05:0007 The Narrative Armature<br />
<br />
1. On page 29, McCloud talks about how when we simplify a face it still registers as being just as "real" as a a direct copy of a face. Why is that without all the details it still seems real to us?<br />
<br />
2. Icon and symbol are often used interchangeably but are they actually separate things? McCloud classified icon as meaning any image used to represent a person, place, thing, or idea. Would you agree with this?<br />
<br />
3. "The storyboard determines the sequence of shots to be taken for a film." Do you think that architects do something similar to this during the design process?<br />
<br />
4. Davids talks about montage. He says that "montage is characterized by the unusual: a collage of seemingly unrelated shots run in sequence for dramatic effect." Do you think that something like this can be used in architecture and benefit a presentation or would it be harmful to the presentation?Erinhttp://www.blogger.com/profile/15009383438715060900noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-77356515811997395132018-10-14T14:40:00.002-05:002018-10-14T14:41:11.009-05:0007_Representation 1. What is your favorite comic? Why? Has it changed since you read McCloud's and David's readings?<br />
<br />
2. Do you get distracted by the details of a comic if it is complex? Does a detailed comic make it hard to follow the story line?<br />
<br />
<br />
3. McCloud mentions on page 31 how film critics "sometimes describe a live-action film as a 'cartoon' to acknowledge the stripped-down intensity of a simple story or visual style." Translating that to the architecture world, do you think that is how architectural critics think? When presenting your work, do you allow your critics to simplify your project on their own or do you help them through this process? Is that the point of creating diagrams, tracings, and mappings?<br />
<br />
3. McCloud said that "we assign identities and emotions (to things) where none exist." Why do you think we do this?<br />
<br />
4. David mentions in his reading the importance of scale figures in drawings. He gives the example of Le Corbusier's drawings of jardin suspendu, where the scale figures in the drawings are interacting in the space and moving within it. With this example in mind, how does thinking about the placement and activity of the scale figures in your drawings make you think about space? As opposed to just dropping them in?Natalie Campbellhttp://www.blogger.com/profile/07533091943298582942noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-38830531252329509462018-10-13T22:40:00.001-05:002018-10-14T18:48:16.580-05:0007 THE NARRATIVE ARMATURE<span style="font-family: "calibri" , sans-serif; font-size: 16px; text-indent: -24px;">1. What are some advantages of depicting characters as more abstract and cartoon than realistic? Could this be applied to architecture? (McCloud)</span><br />
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; font-size: 16px; text-indent: -24px;"><br /></span>
<span style="font-family: "calibri" , sans-serif; font-size: 16px; text-indent: -24px;">2. Why do some artists employ the strategy of utilizing detailed and realistic backgrounds in combination with characters drawn as cartoons? In what ways, if any, could this technique be beneficial for communicating architecture? Would it be better in reverse? (McCloud p 42)</span><br />
<span style="font-family: "calibri" , sans-serif; font-size: 16px; text-indent: -24px;"><br /></span>
<span style="font-family: "calibri" , sans-serif; font-size: 16px; text-indent: -24px;">3. McCloud discusses the ranges of pictures and words within the scale of received to perceived, how can we use this idea to think about how we communicate architecture? (McCloud p 49)</span><br />
<span style="font-family: "calibri" , sans-serif; font-size: 16px; text-indent: -24px;"><br /></span>
<span style="font-family: "calibri" , sans-serif; font-size: 16px; text-indent: -24px;">4. </span><span style="font-family: "calibri" , sans-serif; font-size: 16px; text-indent: -24px;">Storyboards in film are a preliminary design tool, in what ways could they be a design tool for architecture? (Davids)</span><br />
<span style="font-family: "calibri" , sans-serif; font-size: 16px; text-indent: -24px;"><br /></span>
<span style="font-family: "calibri" , sans-serif; font-size: 16px; text-indent: -24px;"><br /></span>
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<span style="caret-color: rgb(0, 0, 0); font-family: Calibri, Helvetica, sans-serif; font-size: 16px;">Tyler's Questions</span><br />
<div>
<span style="font-family: Calibri, Helvetica, sans-serif;"><br /></span></div>
<ol style="caret-color: rgb(0, 0, 0); font-family: Calibri, Helvetica, sans-serif; font-size: 16px; margin-bottom: 0px; margin-top: 0px; text-size-adjust: auto;">
<li>McCloud notes, "When two people interract, they usually look directly at one another, seeing their partner's features in vivid detail. Each one also sustains a constant awareness of his or her own face, but this mind-picture is not nearly so vivid; just a sketchy arrangement... a sense of shape... a sense of general placement."<ol>
<li>Spend one minute drawing your neighbor to the right and one minute drawing yourself. Is the class able to match the drawings to the correct people? Is there a higher success rate with one over the other? More detail? </li>
</ol>
</li>
<li>McCloud discusses the abstraction of faces to their simplest forms. He also claims that we are better at connecting with abstracted figures rather than highly detailed ones (p. 36). Is this accurate? Is this why architects use objects to abstract inspiration from rather than making "duck" buildings. Does this empower the observer?</li>
<li>Storyboards. Architects regularly use storyboards to express their projects. Perspective renders are typically a key component but growing trends outsource these images to other companies. Is there an inherent value in developing the content of the storyboard or does the value exist solely in the final product? Is the same true for physical models?</li>
<li>How can architecture express time? Why is this important? </li>
<li>Davids says, "The shift away from illustrating the human figure in architectural space is a shift away from architectural form as a setting for life in favor of architecture as a form of personal expression." Why do you agree or disagree? Why do we tend to use entourage in renderings but photograph buildings without people? </li>
</ol>
</div>
patrickhttp://www.blogger.com/profile/08800864154870167538noreply@blogger.com0tag:blogger.com,1999:blog-4743827939914973908.post-53402521882551045532018-09-30T22:14:00.002-05:002018-09-30T22:14:34.184-05:00Week 05_Index<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant-caps: normal; line-height: normal;"> </span><!--[endif]-->On page 198 of Krauss’ <i>Notes on the Index</i>we are introduced to the painting <i>Tu m </i>by Marcel Duchamp. How do you think this influenced the ideas of an index?<o:p></o:p></div>
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<!--[if !supportLists]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant-caps: normal; line-height: normal;"> </span></span></span><!--[endif]-->What medium is best to represent something? Are there pieces of the physical object lost in photography, painting, or drawing? Can these differences be used to our advantage in architecture?<o:p></o:p></div>
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<!--[if !supportLists]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant-caps: normal; line-height: normal;"> </span></span></span><!--[endif]-->Deborah Hay gave a performance in which she explained to her audience “instead of dancing, she wished to talk” Was she successful in her attempt to become completely in touch with her body? Is the form of linguistic index completely different from an index of movement of the human body?<o:p></o:p></div>
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<!--[if !supportLists]-->4.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->In part 2 of Krauss’ <i>Notes on </i>the Index, she explains that dance is no longer interpreted as something symbolic but as an index. Are signs and indexes viewed differently by different cultures?<o:p></o:p></div>
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