20051205
FINAL REVIEW
Monday 12/05 at 12 noon, HHS 5th fl hall, 512 / 513 + 517
JURY
Gisela Baurmann
Lawrence Blough
Sawad Brooks
Karl Chu
Evan Douglis
Yael Erel
Jeffrey Hogrefe
Kaja Kuhl
Cathy Jones
Dan Silver
Ben Tranel
.: Jonas 1:06 PM
20051201
today's session starts early at 12 noon. Attend the DeLanda lecture at 6pm
.: Jonas 8:36 AM
20051121
Field Trip Today
Darwin Exhibition at the Museum of Natural History
.: Jonas 10:28 AM
20051117
REVIEW
Thursday 11/17 at 12pm noon
Pin up and present:
- Name
- Script
- 'Dislocate Sm' Models (bass wood series)
- 'Dislocate Sm' Sections (Spatial series, Poupee occupation)
- 'Dislocate Sm' Sections (Generative tectonic series)
- 'Dislocate Lg' Models (Prototype 1+2, chipboard (foam))
- Photo sequences
- Movement notation (circulation diagram)
- Axon (spatial continuum, spatial sequence)
Also bring your Volume of Jointed Tales as reference.
Sparring Mates present in this order:
Jerome
Andres
Kate
Isobel
Paul
Amelia
Alicia
Young
Lauren
Courtney
James
.: Jonas 12:19 AM
20051114
WEEK TWELVE
If the spatial sequence inevitably implies the movement of an observer, then such movement can be objectively mapped and formalized - sequentially. Movement notation: an extension from the drawn convention of choreography, it attempts to eliminate the preconceived meanings given to particular actions in order to concentrate on their spatial effects: the movement of bodies in space (dancers, footballers, acrobats) (Tschumi)
Draw (1)
Draw a movement notation on the basis of your photo sequence. Start with a 36" vellum overlay inscribing your left and right hands as they occur in each frame. Draw simple outlines capturing the general expanse and orientation; do not attempt to represent the hand. Develop a language of notation and be consistent with it throughout all frames. If you exaggerate a dimension or feature in order to register difference, do so consistently. Accurately follow each hand through the sequence, connect with straight lines. Consider inscribing additional elements (body parts, joinery parts) Consider line weight and -type to establish hierarchies.
The notation can be read outside of its original context of the hands performance; an abstract organization emerges. Mark and connect specific points within the organization: trigger points, turning points, high points, nodal-, attractor-, control points, and levers. Identify moments of qualitative change put into words their properties and behaviors, articulate their spatial effects. Generate list of operative terms, so that you can describe the observed with great and greater specificity. Identify similar and identical moments within the organization. In a second drawing these moments meet, overlaps occur, the notation moves. Your movement notation will inform a circulation system within the tectonic assembly.
Build
Inside-Out: Fine-tune your tectonic syntax by building one more iteration in your 'Dislocate Sm' sequence (basswood)
Outside-In: The second prototype of 'Dislocate Lg' incorporates the tectonic syntax. It also articulates the spatial continuum and spatial sequence of The House: small space, large space, revisited space
Draw (2)
An axonometric drawing focuses on circulation and passage sequences of The House. Lightly draw 'Dislocate Lg' as a 30/60 axon. Then inscribe spatial continuum and spatial sequence.
Read
Bernard Tschumi : Sequences
.: Jonas 9:16 AM
20051107
WEEK ELEVEN
The library is unlimited and cyclical. If an eternal traveler were to cross it in any direction, after centuries he would see that the same volumes were repeated in the same disorder (since thus repeated, would be an order: the Order). My solitude is gladdened by this elegant hope. (Borges)
Dislocate Lg
Following the choreographed steps of your presentation (photo sequence), disassemble your Volume of Jointed Tales in an expanded field of play. The volume is doubled (e.g. h=18, b= 9, w= 9). The Solid state is aerated. A first prototype transposes the expanded solid joinery into a planar assembly. Use double ply chipboard. A second prototype incorporates the tectonic syntax developed for 'Dislocate Sm'. Use chipboard and foam.
From the general syllabus on Project 3
.: Jonas 12:21 PM
20051031
WEEK TEN
A 'phantom', in the sense that neurologists use, is a persistent image or memory of part of the body, usually a limb, for months or years after its loss. (Sacks)
Write
On Thursday (11/3) Jeffrey Hogrefe will join us for one hour. Be prepared to discuss your story during that hour. Fine-tune your script and bring 3 copies to class on Thursday. Follow this format: Print on one Page (8 1/2 x 11 portrait) the 300 words of your story, in the top center (in caps) the title of your story (which is likely to match the name of your house) and at the bottom right the course name and your name; all b/w Arial 12pt.
Pack
In one main section, pack 'Dislocate Sm' with your Bellmer traces. The Poupees generate a Closest Packing structure that reveals a first potential for occupation. Qualify the space, what is its relation to the body, what is its main orientation, what kind activities does it allow for, how many Poupees can be activated. Draw several iterations of the same section as the pack migrates.
Bellmer's Poupees carry the memory of former affiliations (with the body proper) in a way similar to phantom limbs, keeping the image of the body as a whole intact. Use the dislocated limb and their extension in memory to identify possible programs within you assembly.
.: Jonas 11:45 AM
20051030
Here are some links to the work of Czech surrealist animator Jan Svankmajer. The first contains excerpts from "Alice", the second contains bits from "Dimensions of Dialogue" - one of my favorites. Enjoy!
http://www.awn.com/heaven_and_hell/svank/svank2.htm
http://www.awn.com/heaven_and_hell/svank/svank7.htm
.: Kate 10:12 AM
20051028
WEEK NINE (2)
Sometimes the house grows and spreads so that, in order to live in it, greater elasticity of daydreaming, a daydream that is less clearly outlined, are needed. "My house," writes Georges Spyridaki, "is diaphanous, but it is not of glass. It is more the nature of vapor. Its walls contract and expand as I desire. At times, I draw them close about me like protective armor .. But at others, I let the walls of my house blossom out in their own space, which is infinitely extensible. Spyridaki's house breathes. First it is a coat of armor, then it extends ad infinitum, which amounts to saying that we live in it in alternate security and adventure. It is both cell and world. Here geometry is transcended." (Bachelard)
Name
Name your house ( .. House) or (House of .. ) The name is short and inspired by your memory research. Examples: "Dream House", "Phantom House", "House of Fugue". (2-4 words, Arial 16)
Write
Your Tale has evolved. Choose a), b) or c) for your improved script. (300 words, Arial 12)
a) The story takes place in the House.
b) It is a House for the characters of your story
c) The House appears in the story
Collect
Collect Hans Bellmer sculptures. (Images/google : hans bellmer poupee) Include all body parts in your collection of images. Size to human scale 1/2" = 1'-0" and print b/w. Carefully trace as outline drawing, pencil on vellum using curve templates. Mount series of images and traces as 36" strip.
Read
Oliver Sacks : Phantoms
Dislocate Sm
From your choreographic photo study select one act of dislocation. Identify and document the two joinery pieces involved. Xerox, then draw sections of the two pieces in their joined and open state. Inscribe lamination and introduce a boundary box. The boundary box for the open state is twice the size of that for the closed state. Overlay the sections with a drawn speculation on how two pieces dislocate according to their innate tectonic structure. How do the pieces themselves aerate, how are they dispersed ? Consider the laminar structure of pieces. Consider self similarity; the joint reveals its character on a smaller scale.
Build the dislocation in bass wood at your highest level of craft.
[In Week Eleven your Volume of Jointed Tales will disassemble in an expanded field of play. The Solid state is aerated, the volume is doubled. "Dislocate Sm" is a testing ground for the larger operation]
[[Hans Bellmer is best known for the life-sized female dolls that he produced in the mid-1930s and which he obsessively photographed over the next decade. His first doll, begun in 1933, was the image of an adolescent girl, made of papier-maché and plaster molded over an armature of wood and metal. The entire body could be assembled and reassembled like a machine. .. The dolls are represented in a constant state of mutation, multiplication, and recombination, often appearing contorted or bound, and occasionally lacking body parts or sprouting extra sets of limbs. icp ]]
.: Jonas 1:00 PM
20051024
I have been reading a small volume about the 12th century mystic sufi poet Rumi and his friendship with Shams of Tabriz. This passage is a quote from Shams and somehow seems relevant:
The writing comes in three scripts.
One that he and only he can read.
One that he and others can read.
And one that neither he nor anyone else
can read. I am that third script.
.: Kate 10:37 PM
WEEK NINE
Expose
Generate three series of photographs capturing the disassembly of your Volume of Jointed Tales:
The first series consists of still frames showing all main steps of the disassembly - objects only. Remove pieces one at a time (number of frames = number of joinery pieces). Each frame shows joinery and displaced piece.
The second series consists of still frames showing all main steps of your body and hands activity It is a choreographic notation. (# frames = # pieces) Consider the clothes you are wearing.
For the third series define a number of steps; each includes at least a couple of moves. Each step will be recorded in a long exposure photograph capturing several moves of your hands. It is a choreographic notation in photography.
Assemble each series in Photoshop as a continuous strip. Print and mount all three on white background as horizontal strips of 36".
Marey
.: Jonas 4:34 PM
MIDTERM REVIEW
HHS 4th floor hall, 2-7 pm
Jury:
Gisela Baurmann
Catherine Jones
Jeffrey Hogrefe (parttime)
Erich Schoenenberger (parttime)
Benedict Tranel
Eduardo Marques
Alex Gryger (TA)
.: Jonas 1:16 PM
20051022
Hans Bellmer: Mains Articulees (Composition) 1950
.: Jonas 11:53 AM
20051019
photographies sans titres de Hans Bellmer, 1934
.: Jonas 7:29 PM
20051018
Here are the three Tales Jeffrey gave us on sunday. They are written by UN Studio in the context of three of their projects.
.: Jonas 11:42 AM
The book I mentioned on Thursday is called "Introducing... Mind and Brain" by Angus Gellatly, Oscar Zarate, Richard Appignanesi (Editor). It is in the Pratt library. Here is the page that refers to our old buddy Jorge Luis Borge.
.: Kate 3:04 AM
20051017
WEEK EIGHT
Build Prep
Cut three sections through your latest prototype of the Volume of Jointed Tales. Carefully choose cutting planes to reveal crucial information. Very lightly draw the customized grid. Inscribe lamination from standard profiles (1/4", 1/2") Use different line type and weight to distinguish components outline, lamination, hidden component. Draw separate elements with a gap. (Pencil on vellum, 36" x 17" horizontally) This drawing will guide you during construction. Take it to the wood shop.
Build
Build the Volume of Jointed Tales. Use Basswood and white glue only. Build precisely. Carefully finish each piece at the band sander. It is a pleasure and takes attention to handle each piece. Assembling the pieces is an event.
Draw
Construct an assembly diagram based on the axonometric (30/60) 'explosion' of your current Volume of Jointed Tales. (Pencil on vellum, w=36", h=open)
Rehearse
Tell your tale while assembling the wood joinery. Rehearse your performance.
.: Jonas 7:29 AM
Hans Bellmer
.: Jonas 7:28 AM
20051014
"We don't spend long each night in the boudoir of dreams, only about two hours during REM (rapid eye movement) sleep. But over a lifetime, that adds up to about six years. Why do the eyes move? The brain's inner electric continues to thrum while we sleep, but most sensory information and movements are blocked. Dreams contain so much commotion that the sleeper's body must be temporarily paralyzed or she would jump up and run around in a hallucinogenic delirium. But there's no danger if the eyes stir like moth wings.
... Following through the caverns of the mind, dreams rarely reach consciousness, but sometimes do, especially if one wakes during or just after REM sleep. Then one can tap into a dream, but only using vanishingly brief short-term memory, which is why little of a dreamworld can be recalled" (Ackerman, 97/98, Remember I Dream) An Alchemy of Mind
-This book is now available at the library I returned it today so it should be available soon. It is located in the "New Book" section of the Pratt Library. I also purchased my own copy if you are interested.
.: Lauren 7:50 PM
20051011
Next sessions:
Thursday 10/13, 2-6pm, pin-up Research, review Prototype
Sunday 10/16, 4pm, with Jeffrey Hogrefe, pin-up best of proj.1+2, review Tales
Thursday 10/20, 10-2pm, review Volume of Jointed Tales
Sunday 10/23, possible add'l session tbd, Prep Midterm Review
Monday 10/24 MIDTERM REVIEW
.: Jonas 10:29 AM
20051010
WEEK SEVEN
He believed in an infinite series of times, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces all possibilities of time. We do not exist in the majority of these times; in some you exist, and not I; in others I, and not you; in others, both of us. In the present one, which a favorable fate has granted me, you have arrived at my house; in another one, while crossing the garden, you found me dead; in still another, I utter the same words, but I am a mistake, a ghost. (Borges)
Cut
Cut three sections through your first prototype of the Volume of Jointed Tales. Choose those cutting planes (xy, xz, yz) that reveal the most information about your assembly. Draw sections at full scale. Use different line type and weight to establish hierarchies. Draw separate elements with a 1 mm gap. Arrange three sections according to the ‘rewrite’ layout. Indicate cutting planes in small 3x3 picto (axon) at bottom left of plan. (Pencil on vellum, 36" x 17" horizontally)
Build
Build a second prototype (foam or wood) of the Volume of Jointed Tales. The assembly that tells the jointed tales has evolved. Consider your sections (above) as generative drawings. Add layers of improved information to the drawings, and then build from the better sections.
Carefully read the volumetric parameters and tectonic rules from the general syllabus
Read
Jorge Luis Borges : The Garden of Forking Paths
Research
Prepare three pages (11x17 Portrait) documenting your research on material memory. Page One is text based (Arial 12 pt) and consists of a title for the area of research, a concise description of your focus area, and a summary of the research so far. Page Two is image based (color or b/w) and holds a small collection of visuals you have collected. Page Three consists of drawings and diagrams (b/w) you have prepared to analyze and present discoveries of potential tectonic value.
Write
Your Tale has evolved. Rework your text on the basis of Jeffrey Hogrefe's feedback.
THURSDAY
Present Sections
Present Second Prototype
Present Research
.: Jonas 12:58 PM
20051006
Hi all,
I came across this article about a Swedish company called Opticom while doing memory research. Evidently, for the cost of a few cents, a they can "produce a memory module with a capacity of up to 170,000 gigabytes, which could fit on a bank card." It is not my area of study, so I offer it here to those of you who are studying material memory. Here is an excerpt:
"The principle of organic memory is as simple as it is brilliant. A polymer film which is contacted by a passive matrix, emits light onto the memory medium - a protein film. The light causes the proteins to switch between two stable states. The states can be distinguished above all by those colors which they absorb and those which they let pass. Once they have been changed, the states remain stable even without light. The data is then read with less intense light, that doesn't change the memory content. In one state the proteins absorb more light, in the other less. Another polymer layer, also matrix-regulated, acts as a photo-detector and measures the light which has been diffracted by the proteins."
It's a long article. Here is the link.
http://www.cwu.edu/~borisk/312/018.html
kate
.: Kate 12:17 AM
20051003
WEEK SIX
There is substantial evidence that organisms are not limited for their evolution to genes that belong to the gene pool of their species. Rather it seems more plausible that in the time-scale of evolution the whole of the gene pool of the biosphere is available to all organisms and that the more dramatic steps and apparent discontinuities in evolution are in fact attributable to very rare events involving the adoption of part or all of a foreign genome. (Jeon and Danielli in Dawkins: The Extended Phenotype)
Build (1)
Build one of the six tectonic moments you drew in an axonometric array. The moment emerged from an interaction between at least two (original) joints - build those too, as neighbors. Build 3+ study models in foam, as a sequence mounted on white background.
Draw
Generate two axonometric drawings describing the Volume of Jointed Tales. Develop a procedure that leads from the generative drawings to an axonometric 'explosion' drawing; it includes rules for the extrusion of components. Apply the procedure twice, based on two different reference drawings. The emerging drawings are speculative in nature - not representational. Focus on the behaviors and effects of the characters. Lightly draw a 9x9 volume and ordering system as orientation. (Pencil on vellum, 36" x 27" horizontally)
Build (2)
Build a first prototype (paper, foam) of the Volume of Jointed Tales. On the basis of your 9x9 generative drawings and following the logic you have established in your axonometric drawings, build the assembly that tells the jointed tales.
Let the prototypes be informed by your research. Certain tectonic qualities you discovered in your material memory research might work well with your construct. Allow for adoptions and dramatic steps as described in the quote above.
Carefully read the issues and requirements from the general syllabus (excerpt handed out in class)
Research
Continue your research on Material Memory. Narrow the field of investigation and formulate a clear description of your focus area. Write and fine-tune one paragraph as an outline.
Read
Manuel De Landa : Species and Ecosystems
Write
Jeffrey Hogrefe, English Professor at Pratt, offered to review your tales. By Thursday prepare two pages: Three original tales on one; rewritten one tale on the other. Print, staple and include your name, course name.
.: Jonas 1:16 PM
20050930
Hello everyone, This is a drawing by Robert Smithson called A Heap of Language that I saw at the Whitney. I think it's relevant to the kind of word research and writing we've been working on in our joint projects. I just thought you all would like to look at it. I apologize for the size of the image. You can get a better look on this website: http://www.ubu.com/concept/smithson_heap.html -Isobel
.: Isobel 8:00 PM
6 axon layout
.: Jonas 12:23 AM
20050926
WEEK FIVE
The Library is unlimited and cyclical. If an eternal traveler were to cross it in any direction, after centuries he would see that the same volumes were repeated in the same disorder (which, thus repeated, would be an order: the Order). (Borges)
TODAY
Tell the one Tale
Present your Rule Set
Present three Generative Drawings
Redraw
In three next generation drawings Re-enact the one tale. Consider the recombined and scaled joint sections (16+1 per drawing) as cells. Activate a selection of cells (n=max.5) by redrawing the respective joint sections in an open/expanded state. The cells are chosen according to the jointed tales, to tell the one Tale. A ritual of transformation emerges affecting the entire cell cluster. (Pencil on vellum, 36" x 17" horizontally.) Each of the three drawings carries a name (quality/activity) that is a variation of the one name for the tale. (Arial 12 pt.)
TOMORROW
Rewrite
Fine tune your tale as it is informed by the drawings. Type 250 words Arial 10 pt on 8 1/2" x 11"
Research
Material Memory: Research material memory in the context of 1) Anthropology: In different societies and cultures, matter is modified to mark events over time, to remember. 2) Material science: 'Smart' materials (foam, alloys, fabrics) remember shape and events. Materials store data. 3) Neurology/Psychology: Different models attempt to explain chemical and material processes of memory. Develop an area of interest to be further investigated.
WEDNESDAY
Research
Species diagrams: Analyse a selection of species diagrams (plants, animals) with respect to their mode of reperesentation. How is a creature presented in its species context.
Relate
Draw a simple species diagram relating your jointed tales to the Joint Gene Pool.
Species:
1) Taxonomic group whose members can interbreed
2) A single, distinct class of living creature with features that distinguish it from others.
THURSDAY
Present Jointed Tale Drawings (second drawing set of Project Two)
Present Species diagram (Jointed Tales in studio context)
Present Research on Material Memory (ongoing research)
.: Jonas 12:47 PM
20050919
WEEK FOUR
Someone proposed a regressive method: To locate book A, consult first a book B which indicates A's position; to locate book B, consult first a book C, and so on to infinity .. (Borges)
Rewrite the Tale
Select three Wood Word Joints from the studio's Joint Gene Pool. At least one Joint emerges from your own Project One. Make an informed decision by thoroughly studying all word and wood components of the Pool and by probing compatibilities. Compatibility here does not refer to the immediate putting together of the joints, but rather to the potential symbiosis of their tectonic identities. Rewrite the three tales into one.
Rewrite the Joint
Design a Rule Set as combinatory logic for the selected joints. Start with a simple (ABC) axiom. Let it run for 9 generations. (See example provided in class)
Read
String Rewriting Systems
Genotypes and Phenotypes
Labyrinths
Redraw
Draft three generative drawing of the combined Wood Word Joints. Follow these steps:
- Draw one main section of each joint in two different scales: 1/2 full scale (3"x3") and 1 1/2 full (9"x9")
- Xerox several copies of the three small drawings (3"x3" sections) on transparent paper
- Layout three large drawings (9"x9") horizontally, (an ordering system lightly inscribed)
- Crop a 4 letter string over 4 generations from your Rewriting System. Assign joints to letters.
- Map small drawings (3"x3") according to Rule Set. Superimpose on large sections.
- Redraw three collages as generative drawing. Pencil on vellum (36" x 17" horizontally)
layout
THURSDAY
- Tell the one Tale
- Present your Rule Set
- Present three Generative Drawings
.: Jonas 1:02 PM
REVIEW ONE
HHS 4th floor hall, Monday 2-6 pm
JURY
Gisela Baurmann, Yael Erel, Erich Schoenenberger
REQUIREMENTS
Drawings are to be pencil on vellum, no color
Final models are to be Basswood, supreme craft
Labels are to be printed (black on white/transparent)
- Student Name
- Project Title (quality/activity)
- Hand Joint sketches
- Wood Joinery Research (minimum of one well crafted model and description of three)
- Word Research
- Word Game
- Tale
- Plans and Sections of three Wood Word Joints (open/closed)
- Assembly diagram of three Wood Word Joints
- Study models (6, two generations)
- Three Final Joint models
.: Jonas 1:01 PM
20050915
Joint Gene Pool
To follow up with the organization of the Joint Gene Pool assignment. I have assigned the following groups, please read below to see which group you are in. In order to standardize documentation methods, each group will perform a certain task for the entire studio (for example the photo group will be responsible for photographing all models). I have also provided instructions below for each group, plus some general instructions. Each group should work together to accomplish these tasks and I would also like to come to the studio at 1:00 PM on Saturday to make sure things are working smoothly. I am also always available via email if you have more questions. I will also post this on the studio website. I will be responsible for the final edit of the layouts and for getting them printed.
General Instructions:
Everyone make sure that your work is available and in studio. Please put your names and joint title on all drawings so they don't get mixed up.
All images should be saved as 300 dpi .tif files. All files should be saved digitally using the following naming method (this is used by the school's archive department):
For Model Photographs:
05FA_JCO_STUDENTLASTNAME_M1.tif
For example if I was saving two different model photos this way it would be like this:
05FA_JCO_GRYGER_M1.tif
05FA_JCO_GRYGER_M2.tif
For Drawings:
05FA_JCO_STUDENTLASTNAME_D1.tif
For example if I was saving two different drawings this way it would be like this:
05FA_JCO_GRYGER_D1.tif
05FA_JCO_GRYGER_D2.tif
For Texts:
05FA_JCO_STUDENTLASTNAME_T1.doc
Important:
I've noticed that most of you have created your word games and stories using a computer. Everyone should save copies of these documents using the above naming system.
Photo Group
Kate Moxham
Andres Correa
Lauren Henfey
I would like you to photo graph each students generation 1 and generation 2 (if available) joint models in an open and closed condition. The photographs should be taken with good lighting on a white background and it is only necessary to take 1 good photograph of each joint in the both the open and closed conditions, so you should only need to take two photographs per joint.
Scanning Group
Isobel Herbold
Courtney Ferguson
Joe Girolamo
Alicia Hopson
Jae Kim Pryor
Young Beom Lee
Please scan the three hand sketches, the three story diagrams, and the plans and sections of the Generation 1 joints and also the Generation 2 joints (if available). Scan and save them as greyscale documents at 300 dpi. There is an 11x17 scanner in the HHN Computer lab and I may be able to let you use my scanner (8.5x11) while I am in the studio on Saturday. I recommend working in shifts on this. While many of the drawing sheets are larger than the scanner, most of the individual drawings will fit even on a smaller scanner and can be scanned as individual files. Would you also please, as you scan, save all files using a folder for each student that contains three subfolders named with that student's joint titles.
Illustrator Group
Jerome Hurd
Paul Hanford
James Han
You will take all the images and lay them out in Illustrator. I will meet with you on Saturday to provide special instruction and I will also have a template file for you by then.
Organizing Group
Amelia Golini, would you please collect all word game and story documents from the students in the studio who have them saved for you using the aforementioned format. Would you also help to make sure that the Illustrator group gets all the files they need from the other groups.
Jonas and I want this to run as smoothly as possible, so please do not hesitate to email me if you have questions.
.: Alex Gryger 3:49 AM
20050912
WEEK THREE
Draw
Draft your Wood Word Joints as open and closed assemblies. Plans and Section of all three joints are arranged on one page (layout). Cutting planes are indicated in plan views. Show given basswood sizes in very thin lines to indicate lamination/build-up of custom sections. Draft precisely using distinguishable line weights and - types. Label in printed type (Arial 12)
Contribute to the Joint Gene Pool
A collection of all joints of the studio will consist of scaled copies of your work: joint name (quality/activity), hand sketch, tale, assembly diagram, plans, sections, axon, photos. Alex Gryger will coordinate the collective effort and assign individual tasks.
Build
Build your Wood Word Joints. Follow the Tectonic Rules (see previous assignment / general syllabus). Consider direction of the wood grain and direction of the laminated sections. Use a variety of given Basswood sizes. Sand edges. Be careful, be precise. A beautiful piece will be a pleasure to handle.
.: Jonas 10:01 PM
20050908
WEEK TWO
Chests, especially small caskets, over which we have more complete mastery [*], are objects that may be opened. When a casket is closed, it is returned to the general community of objects; it takes its place in exterior space. But it opens ! (Bachelard)
* or we hold in our grip or we hold in the hand
TODAY
Review Word Joint Drawings (continued)
Review Wood Joint Research (continued)
Review Prototype Wood Word Joint
Open - Close
Generate one time based drawing for each joint, showing its transformational character. How does it mediate opposing positions, how does it open and close? The drawings can be based on orthographic projections (plan, elevation) of the prototype in different states (compressed, expanded), or it can be in the form of an assembly diagram. The drawing tells the tale (pencil on vellum).
Read Gaston Bachelard : Drawers, chests and wardrobes
TOMORROW
Cut
Draw a series of sections of each prototype at 1/2" = 1" scale. Indicate cutting planes in a plan view (here: top elevation) at the same scale. Understand the sectional drawings as generative tools. Overlay sections of the prototype 'as is' with sections 'could be' - asses and speculate at the same time. Consider exaggeration as a speculative device. The joints will develop in the process of drawing, their spatial characteristics will mature, the joinery will be optimized (pencil on vellum).
WEEKEND
Build
Build a second generation of each joint at full scale (foam). Going from sectional drawings to model the prototype develops further. Notice, embrace and articulate changes.
ReOpen - Close
Draw a second generation of assembly diagrams. Re-work your sectional drawings.
MONDAY
Pin-up and present
- Assembly diagrams (second generation)
- Sectional drawings (second generation)
- Prototype, Model (second generation)
.: Jonas 12:36 PM
20050906
WEEK TWO
Elusive in a traditional dimensional definition, the architectural detail can be defined as the union of construction, the result of the logos of techne, with construing, the result of the techne of logos. (Marco Frascari)
TODAY
Review Reading Marco Frascari
logos of techne / techne of logos
construction / construing
tangible / intangible
empirical / theoretical
Review Word Joint Drawings (and tales)
Review Wood Joint Research
Woodshop Orientation
TOMORROW
Build the Joint
Build a prototype (paper, board, foam) for each of your Wood Word Joints. On the basis of your three drawings and following the logic of your diagram, build the three joints that tell the tale.
The three joints are related. Consider them as creatures of the same species. They emerge from the same procedure, yet they have different identities of joinery (first defined in a hand joint).
Develop a procedure that leads from drawing to prototype. Define simple rules (e.g. graphic elements A fold into y-axis, B fold into z-axis etc.) and apply them to all three joints. Consider the lineage from line to plane to volume.
The three joints may be of the three different categories, End-, Angle- and Corner joint. They may consist of up to five assembling pieces (even if originating from a two-hand joint).
Let the prototypes be informed by your wood joint research. Certain tectonic qualities you discovered in the constructional precedent model might work well with your joints.
Tectonic Rules (see general syllabus):
- Each joint mediates an opposing position (open/closed)
- Pronounce the qualities and activities of parts
- Any one joint is limited in size to an implicit boundary of 6" x 6"
- The length of any vector element may not be less than 2"
- All elements will be derived from straight lines and ruled surfaces
- 3 Vectors (x,y,z) are the primary organizational axis along which the tectonic system is deployed
- Each joint is comprised of line, plane and volume
- Within any one joint, one line of force may be at an oblique angle of 5, 45, 30 or 60
- Glue may be used to build up custom sections that remain permanently fixed
- Mechanical fasteners of any kind may not be used
- Any assembled joint must pass a shake test
- Maximize surface contact to secure joint
Buy Basswood
.: Jonas 4:11 PM
20050901
WEEK ONE
Although diagrams can serve an explanatory function, clarifying form, structure or program to the designer and to others, and notations map program in time and space, the primary utility of the diagram is as an abstract means of thinking about organization. (Stan Allen)
TODAY
Intro Diagram
Watch Magnolia prologue, the tale of "Seventeen year old kid Sydney Barringer" (02:44 - 06:00) screenplay in hand. The "NFL diagram" (05:00) supports the narration of the tale. Only a few aspects of the story are covered by this filmic device. In sketch form develop a diagram of the tale that works outside the context of the film and integrates several aspects of the story. (character relation, temporal dimension, plot) Tell the tale in a diagram (Sketch, pencil on paper 8 1/2" x 11")
Read Ben van Berkel : Diagram
Read Wassily Kandinsky, Point and Line to Plane (excerpt)
TOMORROW
Tell the Tale
Tell the story of your three Word Joints, the Word Plays. Describe roles, relationships, behaviours and movement of characters / textual parts. Write a short script for each of you 3 tales. (max. 200 words each, Type: 10 point Arial, all on one page 8 1/2" x 11" )
Draw the Tale
Diagram your three tales in sketch form (as you did for the film) considering spatial relationships, size, movement, directionality and transformation of characters. How do the characters operate? (Sketch, pencil on paper 8 1/2" x 11")
Re-enact the stories according to your diagrams. Paper cut outs on ruled screens (templates provided). Record each assembly in a hard line drawing. Allow overlay of transformational positions. Use different line type and weight to establish hierarchies. Three Drawings (6"x6") pencil on vellum, layout horizontally on one sheet (24" x 11"). Title each drawing below - original word joint (Type: 12 point Arial).
The three Word Joint drawings are the basis of your 3 Wood Word Joints to be developed next week.
WEEKEND
Read Marco Frascari : The Tell the Tale Detail
Continue Research Wood Joinery
TUESDAY (make up for Monday, Labor Day)
Pin-up and present:
- Reworked Research Wood Joint (incl. drawings and model)
- Script, story of 3 Word Joints, Word Plays
- Sketch Diagrams of 3 Word Joints
- Drawing 3 Word Joints
.: Jonas 1:00 PM
20050829
WEEK ONE
The properties commonly ascribed to any object are, in last analysis, names for its behavior. (Herrick)
TODAY
Hand Joint
Teaming up with a class mate (drawer directs model) sketch nine instances of hands joining. Freehand draw continuous lines, pencil on white paper (8½ x 11). Focus on performance, character, behavior, effect. Allow the movement of the hand to register within the drawing. Do not attempt to render a realistic representation. A successful sketch works as a manual, e.g. hand joint can be recreated from it. Select three sketches of distinctly different hand joints.
Word Joint
Name the three hand joints: Select and combine three qualities and three activities from the given word list and assign them to the three sketches. (All words are given in their basic form (infinitive), but can be used as adjective/adverb and present participle/past participle etc.)
Research the definition and etymology of the six selected words. (3 qualities, 3 activities). Create a word play. Play with the words, play with the syllables, play with the etymological roots. Reverse, recombine, contradict. Consider the words in other contexts. (Type: 12 point Arial)
Read Kenneth Frampton's definition of "Tectonic"
TOMORROW
Research
Research Wood Joinery in Japanese and art and crafts tradition. Select and study one joint of each category: End / Edge Joint (Slice, Finger, Spine); Angle / Milter / Lap Joint (Dado, Rabbet, Halved, Cross); Dovetail / Mortise Joint (Open / Blind Mortise, Keyed). Understand the three joints in terms of function, performance, rules, effects, behaviors and character. Become an expert for these three joints.
WEDNESDAY
Wood Joint
Select one of the three joints. Draw the joint in plans and sections at full scale, pencil on vellum (18 x18) Draw the joint in open and in closed state. Carefully choose your sections to best describe the joint. Build the one joint as constructional precedent model: Blue insulation foam (foam cutters are available in room 314). Be precise, finish by gently sanding the pieces.
THURSDAY
Pin-up and present:
- 3 Hand Joints
- 3 Word Joints, Word Plays
- Research of 3 Wood Joints
- Wood Joint Drawings
- Joint Model
.: Jonas 1:59 PM
.: Jonas 1:58 PM
QUALITY
apart
asunder
constant
decussate
dense
elusive
exiguous
explicit
faint
gradual
heavy
ingrain
implicit
intimate
oblique
parallel
partial
peripheral
sublime
straight
ACTIVITY
align
clasp
close
correlate
cross
encase
entangle
hinge
interlock
layer
link
mingle
moor
open
nest
ravel
slide
shear
twist
weave
.: Jonas 1:57 PM
.: Jonas 1:57 PM
.: Jonas 1:57 PM
.: Jonas 1:56 PM
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