Project III - Final Requirements

Due Monday November 25:

Final Review

Minimum Requirements:

Be prepared to talk about how you have dealt with the existing site conditions.

• site model (with your massing studies inserted) at 1/16”=1’-0”

• site section at 1/16”=1’-0”

• relevant site analysis

Drawings must include context and the artwork drawn to scale, and the sections should

include scaled figures.

• plans at 1/8”=1’-0”

• sections at 1/8”=1’-0” (at least 2)

• model at 1/8”=1’-0” which includes site context

• paraline drawing (can be cut away or exploded) at 1/16” = 1’-0” or 1/8” = 1’-0” (with diagram overlays)

• 3 perspectives (with a view of each art piece)

• relevant diagrams

REMEMBER TO BRING

• printed images of the art (know name of artist and the artwork)

• art abstractions

• relevant process including study models, sketches (photocopied, scanned/printed, or trimmed originals)

Project III - Exercise 08

Exercise 08 due Monday November 18:

•  Construct 1 model at 1/8” = 1’-0”.  Hybridize and breed earlier iterations together to refine your structure.  Keep going back to the concept that is driving the decisions you are making. Don’t be afraid to question or revise your concept as you discover new relationships.

•  Using your axonometric drawings from Thursday's class as underlays, begin generating diagrams on trace paper addressing the following:

- circulation

- views

- material (opacity/porosity, texture, color)

- exterior envelope

- interior structure

•  Draft two sections of your scheme. Remember, don’t just document your models with these drawings, but rather focus on representing the intent for the design. Since these sections are at a larger scale, you can provide more information than could be built into the models and you should especially consider material thickness.

• 1 long section at 1/8”=1’-0”

• 1 short section at 1/8”=1’-0”

Explore the procession/path of the visitor and the different relationships (whether internal or external)

between the artworks themselves, the viewer and the artworks, and the viewer and other viewers. Don’t

forget to include the art works drawn to scale and a scale figure (traced, not drawn freehand).

Project III - Exercise 07

Exercise 07 due Thursday November 14:

•  In class on Thursday we will be doing a drawing workshop on axonometric and perspective drawing. You must bring a drafted plan and section at 1/8” scale of your scheme within the site to class in order to complete the in-class exercise. If you want a preview of the process for constructing these before Thursday, you can refer to Chapter 5 in “Architectural Graphics” by Frank Ching. It is available in the BAC library at call number:    NA2700 .C46 2003

• Formalize your concept statement in writing (1-4 sentences) and post it to the blog.  Your concept statement should be pithy and succinct, yet abstract and able to adapt to many design moves.

Project III - Exercise 06

Monday November 4:

Review and discuss Exercise 05


Exercise 06 due Monday November 11:

•  Working from the studies you generated for today, create at least 6 design proposals. For each proposal, build a 1/16” = 1’-0” model. Model through a combination of iteration and variation.  Use your site model for context and insert your models into this site for evaluation. Model with material that is expedient, but consistent with your thoughts about how the program (art), circulation, site, and other researched factors work together.

•  For each scheme, create a series of sketches (plans, sections, diagrams, perspectives) which show how the massing influences or reacts to site conditions. The type of drawing you create will vary depending on the information you are trying to communicate. Take some time to think about what type of drawing best describes the conditions you are interested in. These can be drafted or done freehand. The important thing is to work through and communicate your concept. Consider circulation, sequence and views.

Project III - Exercise 04 & 05

Exercise 04 due Thursday October 31:

•  Visit the site.  In order to gain a better understanding, visit the site at different times of day and days of the week, so plan on returning several times throughout the project.  Catalog your thoughts and impressions through sketches, diagrams, and photography. In particular, consider: traffic patterns (including cars, public transportation, pedestrians and bicycles), sun/shade and air patterns, textures, ground conditions (including vegetation, hardscape, and soils), as well as more atmospheric qualities of sound.  Think about the way you are representing this information. Are you communicating it through the type of notation, the density and orientation of your marks, their texture or tone? It may be helpful to use plan and sections as an underlay.

Exercise 05 due Monday November 4:

• Produce (6) site analysis diagrams.  We’ll have a little time to work on these in class on Thursday, but what you need to prepare prior to Thursday’s class is the information that you will be diagramming. You should have a plan of how you will communicate, through diagrams, each layer of information. The final hard-lined diagrammes will be due on Monday

•  Conceptualize the space(s) for the display and experience of each artwork. Continuing from this week, sketch through 3 possible ways to interact with each artwork. Produce well thought out sketches of sectional, planar, and perspective studies or sketch models exploring the relationships between the works as well as sequencing and human experience of the artworks. Each piece of art should be displayed in a space devoted to that work, however, these spaces can overlap or be connected.

Consider the following:

What is the scale of the space in relation to the work of art?

What is the nature of the relationship between the artwork and the space containing the artwork?

What is the relationship between the artwork and the context? (sky, street, etc)

What is the relationship between your three selected pieces? Are the other pieces visible? If so, are they in the distance, foreground, periphery etc.

Project III - Exercise 03

Project III objectives are as follows:

• to further your understanding of human dimensions and how the human body engages in positions of rest and movement
• to further your understanding of human experience: spatial relationships, scale, procession, view, threshold, and transition
• to work with larger and more complex systems through the negotiation of a physical site
• to understand systems present in the character and construction of the art pieces and how they are to be viewed and experienced


Exercise 03 due Monday October 28:

• Using the “memory drawings” from class as a basis for extrapolating a third dimension, build constructions at a size that fits within your site model, at least two iterations for each piece. The purpose of this part of the assignment is to generate a conceptual framework that has a physical expression. The degree to which to the construction integrates with the surrounding context is up to you, however, it must be presented within the site model on Monday.

• Think about how the pieces will relate to one another spatially. Loosely sketch out some initial thoughts on their relationships (plan, section, axon etc). Consider that each piece of art should be displayed in a space devoted to that work, however, these spaces can overlap or be connected. Do you want to stretch out the experience and create an elongated sequence? Are you interested in the viewer having a sense of all pieces at once? While you are brainstorming, generate a list of keywords and ideas that are important to you when considering the experience of the works.
Next week we will delve into the physical experience of the site and the associated systems and conditions that are present when working with a space situated in the urban environment. Eventually, you will join all three elements together: the experience of the artwork + the overall form of the gallery + how it works within the site

Project III - Exercise 02

Exercise 02 due Thursday October 24:

• Finish the site model you started in class. The model should be constructed using chipboard at a scale of 1/16” = 1’-0”.

• Consider the intrinsic qualities of each art work you selected. What is the first thing that comes to mind when you picture each piece? Does it relate to its materiality, construction, scale, narrative, emotion? What is the underlying structure of the piece? What are its most basic components and how are they assembled? What is the feeling it evokes? On chipboard (at least 11” x 17”), one for each artwork, interpret through graphic means what you feel is the spirit of each piece.

The compositions should examine and describe your pieces in broad terms. These will perhaps no longer look like each of your chosen pieces. The goal is not to represent the work as it exists, instead, it should describe the essence of the work or a specific quality that is embedded within the work that you find compelling.

Experiment with a variety of techniques and means of representation.

Project III - Exercise 01

Thursday October 17: Field Trip to ICA

Through sketches and drawings, note your observations of the following:
 - How is the art placed in relationship to the architecture? Exterior landscape?
 - How is the art placed in relationship to the viewer?
 - How does the viewer’s position change according to the medium of the work?
 - How do people move through the spaces? What is the overall sequence through the museum
as well as the path of visitors within each room?
 - What are the types of program spaces in the museum?

Project III will deal with the design of a series of spaces for viewing art.  You will be asked to choose 3 pieces from the following selection of works. These works explore a variety of relationships between viewer and the work, viewer and other viewers, viewer and environment, and the work and environment.

Category 1 (resolution/detail/distance)
Tara Donovan: choose from her “push pin” drawings in the series: “Drawing (Pins)”
Chuck Close: choose from “Lucas” (1987), “Self” (1997), “Phil” (2012)
Gego: choose one large-scale stainless steel wire composition

Category 2 (movement/body relationships/view)
Dan Graham: pick from his pavilions such as: “Square Bisected by Curve”, “Penultimate Curving Pavilion”
Anish Kapoor: pick from his “mirror” pieces such as: “Turning the World Inside Out”, “Non-Object (Spire)”
Sol Lewitt: "Incomplete Open Cubes"

Category 3 (time/performance/social experience)
Tony Orrico: choose a large-scale drawing
Steve Reich: “Pendulum Music”
Michael Gordon: “Timber”

Exercise 01 due Monday October 21:
•  Select 3 artworks for this project.  Choose one from each category above.  Research your selected artworks and artists, and prepare a presentation which introduces your selections and explains your view of the pieces to the rest of the class.  Include your own sketches and diagrams in the presentation (scan them).  Along with basic information including date, medium, location and dimensions, consider the following questions:
 - How does the piece fit within the artist’s greater body of work?
 - What ideas is the work trying to convey? What are the intentions of the artist?
 - What is the scale of the work and how do you imagine someone interacting with it?
 - How is the piece installed? Does the artist prefer certain methods of viewing?

Post the above to the blog by Monday, and bring a paper-format version to class on Monday. Formatting for the paper version is shown on the blog.

•  Draft a plan and elevation/section of each art piece (3 plans, 3 sections total) at 1/4”=1’-0”

Bring these drawings to class on Monday.

Over the weekend, we will be sending out midterm progress grades.  On Monday you will have time to speak with us regarding the grades and any other concerns you may have about the class since we are at the midpoint in the semester.

Project II - Exercise 13 due Monday October 21:
•  Photograph Project II models (including study models) and scan all drawings (including process sketches/drawings).

•  Produce a series of 8.5x11 page layouts (landscape orientation) which compile your documentation and which describe your process over the course of Project II.  Remember to think of these as being viewed within the context of a "book" or "portfolio" rather than as individual sheets pinned to a wall.  Be selective about which images and captions tell the story of the project development.  Bring the pages to class on Monday.