Analyzing & Creating Narratives with Graphic Representations, Study Guides, Projects, Research of Architecture

Download Analyzing & Creating Narratives with Graphic Representations and more Study Guides, Projects, Research Architecture in PDF only on Docsity! COA1012 Fundamentals of Design and the Built Environment II College of Architecture Georgia Institute of Technology COA 1012 Spring 2006 Exercise 4.4: Into the Margins→ During the median review for exercise 4, students expressed that they had hit a dead-end, that they could not pull anymore from the building using the framework suggested within 4.1. This framework→ structures the initial observation of the building, recorded first in field notation or written→ narrative→, and then is translated into the graphic→ language. In this exercise, we will try to revive the project by reversing our typical procedure. (building→ text→ graphic) We will start first by observing not the body of the building but the body of work generated thus far. We will observe first graphically and then move to the written language, and after which time we will move back to the building to verify or test assumptions generated by the work itself. (graphic→ written→ building) There is a time in the design process where the designer must be able to read their own work, take a step back and evaluate the strengths and weaknesses in what they have made. This step back is also a chance for the designer to see something in the drawings that they did not observe while producing the drawing. The drawings at times can ask questions of the building and they can propel a study forward. The job of the designer is to recognize the animated body of work just as they have recognized the animated body of the building. Phase One At the start of class, carefully divide (using a matt knife) two 18”x24” sketch sheets into the 3”x3” sections. Take these sections, along with your 14 drawings to the atrium. Pin all exercise 4 sections (4.1,4.2 etc.) on the wall to form an area, each area should be separated by the a 3” margin. On each 3”x3” section, using exploratory diagrammatic thumbnails, analyze the work of one of your peers. Keep an eye on your watch. Spend no more than 5 minutes per thumbnail. It is important to completely surround each section of drawings with thumbnails. At the end of a 15 minute period, your instructor will ask you to move to another set of drawings. Analyze the work of this peer, as you did to the one prior. This will continue for a three hour period, giving you the opportunity to critique 12 of your peers. The small size of the thumbnail sketch will force you to reduce the amount of visual information (of your peer) to its essentials. Make sure you pin each of the thumbnails adjacent to the corresponding drawing. At the end of class, the wall should be, “littered” with thumbnails. During the final hour, you will stand before your own work. Look carefully at the thumbnails that sit next to your work. Develop specifications for a new series of diagrams that will help you carry out and communicate your explorations from the exercise. The specifications should identify the type/genre of diagrams you will make, the medium/media you will use, and the compositional strategies you will employ. Next, look at how the thumbnails within each margin begin to relate one section of drawings to the next. Summarize these relationships within your notebook. Think about how this single thread moves through all of your drawings. Record how this could evolve into a single drawing…..and also a single verbal presentation. Propose two distinct themes, and ways of carrying out this theme through a single drawing and also a verbal presentation; for each idea select a different set of media, genres (drawing types), and compositional strategies. The composite drawing will act as a road map for your presentation…so while you develop and refine your composite drawing you will be developing and refining your retrospective glance (stepping outside of the project) back through exercise 4 which will become your presentational strategy. This will force you to break from the conventional strategy, which tends to provide a very factual index of drawings….ignoring the subject that underlies this index of items on the surface of the page. Figure: composite by Bernard Tshumi from Manhattan Transcripts Main Entry: 1mar·gin Pronunciation: 'mär-j&n Function: noun Etymology: Middle English, from Latin margin-, margo border -- more at MARK 1 : the part of a page or sheet outside the main body of printed or written matter 2 : the outside limit and adjoining surface of something : EDGE <at the margin of the woods> <continental margin> 3 a : a spare amount or measure or degree allowed or given for contingencies or special situations <left no margin for error> b (1) : a bare minimum below which or an extreme limit beyond which something becomes impossible or is no longer desirable <on the margin of good taste> (2) : the limit below which economic activity cannot be continued under normal conditions 4 a : the difference which exists between net sales and the cost of merchandise sold and from which expenses are usually met or profit derived b : the excess market value of collateral over the face of a loan c (1) : cash or collateral that is deposited by a client with a commodity or securities broker to protect the broker from loss on a contract (2) : the client's equity in securities bought with the aid of credit obtained specifically (as from a broker) for that purpose d : a range about a specified figure within which a purchase is to be made 5 : measure or degree of difference <the bill passed by a one- vote margin> - mar·gined /-j&nd/ adjective Main Entry: frame·work Pronunciation: 'frAm-"w&rk Function: noun 1 a : a basic conceptional structure (as of ideas) <the framework of the constitution> b : a skeletal, openwork, or structural frame 2 : FRAME OF REFERENCE 3 : the larger branches of a tree that determine its shape Main Entry: frame of reference 1 : an arbitrary set of axes with reference to which the position or motion of something is described or physical laws are formulated 2 : a set of ideas, conditions, or assumptions that determine how something will be approached, perceived, or understood <a Marxian frame of reference> Main Entry: write Pronunciation: 'rIt Function: verb Inflected Form(s): wrote /'rOt/; writ·ten /'ri-t&n/; also writ /'rit/; or dialect wrote; writ·ing /'rI-ti[ng]/ Etymology: Middle English, from Old English wrItan to scratch, draw, inscribe; akin to Old High German rIzan to tear and perhaps to Greek rhinE file, rasp transitive senses 1 a : to form (as characters or symbols) on a surface with an instrument (as a pen) b : to form (as words) by inscribing the characters or symbols of on a surface c : to spell in writing <words written alike but pronounced differently> d : to cover, fill, or fill in by writing <wrote ten pages> <write a check> 2 : to set down in writing : as a : DRAW UP, DRAFT <write a will> b (1) : to be the author of : COMPOSE <writes poems and