Arch 102.09

First year design studio at Pratt Critic: Coersmeier

20050421

FINAL REVIEW

Tuesday 4/26 at 2pm, HHS 5th flr. hall, 512 & 516

JURY

Galia Solomonoff
Dean Di Simone
Sawad Brooks
Carlyle Fraser

REQUIREMENTS

Final models in Basswood:
- Site Model 1/8" = 1'-0"
- Building Model 1/4" = 1'-0"

Drawings:
- Site Plan and Sections 1/8" = 1'-0"
- Building Plans and Sections 1/4" = 1'-0"
- Wall sections 1/2" = 1'-0"

Sketchbook 8 1/2 x 11

.: Jonas 9:11 PM

20050412

.: Jonas 8:00 AM

20050411

WEEK TWELVE

Monday 2pm: Shared pin-up on fourth floor HHS, groups of four to present (2 + 2 (sparring mates))

pin-up small selection project one and two + :

- next generation site model 1/8 (envelope: 18x18x6)
- site plan and sections 1/8
- spatial investigations 1/4
- map/pictogram program
- matrix of words
- pictogram + sketch models on circulation, enclosure and light
- volumetric study

.: Jonas 12:40 PM

20050405

Mac accessory / Creature

.: Jonas 7:59 PM

20050402

Isler Studio / Creatures

WEEK ELEVEN

Building Continuous Variation (3)

Lecture: Form- and Surface-active Structure Systems

Site model: Rework your landscape. In a next generation the existing matrix reveals first signs of programmatic arrival / is augmented by the event structure / becomes event scape.

Reading: 'Body Matters' complete text

.: Jonas 2:45 PM

20050328

WEEK TEN

Drawing Continuous Variation (2)

In class discussion: Site-Structure relation and Programmatic Arrival. In class reading: 'Body Matters' (excerpt).

Generative drawing one: Based on the training routine you put together, identify body positions for individual exercises. Performing specific activities, how does the body experience space? Is your routine designed to build endurance, strength or speed; how does that affect the experience? Map the procedural character of the routine as well as the individual moments of perception.

Privileged Wordset: Develop a matrix of terms that relates the Exercise (noun) of your routine and its Activity (verb) to a Spatial quality (adj.) Example:

warm-up / to crouch / compressed
warm-up / to stretch / expansive
warm-up / to jump rope / continuous

sparring / to jab / measured
sparring / to swerve / dented
sparring / to duck / depressed

Generative drawing two: Based on the site model you built, Identify three spatial moments in your site that show potential for body space relation of respective exercises (above). This drawing is derived from your landscape. In 1/4" = 1'-0" plan and section (pencil) draw explicit and implicit spaces and overlay them with possible optimized/exaggerated version for routine parts.

Greg Lynn : Body Matters

.: Jonas 9:08 PM

.: Jonas 11:10 AM

20050324

.: Jonas 3:30 PM

20050315

WEEK NINE

YESTERDAY

Congratulations !

TOMORROW

Draw dozen sparring mates in reworked section 1/8" = 1'-0". Scale exercise as discussed yesterday.

THURSDAY

Special guests Eduardo Marques and artist Garrett Ricciardi will join us and conduct the main part of thursday's session. Eduardo Marques will discuss with you issues of body and space, program and inhabitation. Garrett Ricciardi will refer to the origin of the studio - boxing - and discuss a video piece by Paul Pfeiffer.

ARCHIVE

Work snapshots are updated. Document your work. You will soon be asked to submit quality pics of models and drawings, project 1 and 2.

SPARRING MATES

Below you find the pairings for the third project. Respect-, test-, enhance each other's project. You will share desk crits and you will be asked to present each other's work.

Heidi Jandris, Andrew Bloomfield
John Seward, Brendan Wilkins
Ryan Southworth, Daniel Hetteix
Jason Schick, Maya Semple
Gretchen Cobb, John Bezemes
Tim Choi, Jessica Moberg

NYtimes today : A School of Hard Knocks

.: Jonas 5:11 PM

20050312

.: Jonas 6:01 PM

20050310

Biology has traditionally started at the top, viewing a living organism as a complex biochemical machine, and worked analytically downwards from there -through organs, tissues, cells, organelles, membranes, and finally molecules- in its pursuit of the mechanisms of life. Artificial Life starts at the bottom, viewing an organism as a large population of simple machines, and works upwards synthetically from there, constructing large aggregates of simple, rule-governed objects which interact with one another nonlinearly in the support of life-like, global dynamics. (Christopher G. Langton)

.: Jonas 8:40 PM

.: Jonas 8:39 PM

20050308

REVIEW PROJECT TWO

Monday 3/14 at 2pm, HHS 2nd floor hall

REQUIREMENTS

2 horizontal sections (plans), scale 1:1 of model scale
2 (min) longitudinal and latitudinal sections, scale 1:1 of model scale
1 final site model in basswood
(syllabus)

JURY

Lyn Rice, Lyn Rice Architects
Erich Schoenenberger, su11
Eric Goldemberg, Asymptote
Jason Anderson, SHoP
Eduardo Marques, Acconci Studio
Ed Gavagan, Fountainhead Construction
Alex Gryger, Teaching Assistant

.: Jonas 2:28 PM

20050306

WEEK EIGHT

Constructing the Site

Heino Engel : Vector-active Structure Systems

.: Jonas 11:26 AM

20050228

WEEK SEVEN

Building Continuous Variation (2)

In a next generation the creatures' spatial qualities are exaggerated. Build enough of one cast to test how they cluster (not just interface) how the field grows.

Be specific about the properties you created by manipulating the material. Cutting in one direction allows a maneuver in the other etc. When cuts are not needed at a certain point, leave them out next time, or explore the spatial potential of those extra cuts. When material is unfolded and becomes flat your manipulations show, revealing a material logic. Later you might discover that the sheet and the creature both are beautiful, as flat and sculpted pieces respectively.

Draw the creature as well as its prepared material, showing how one emerges from the other.

Continuous variation allows for real difference in your landscape. Variation and topological integrity characterize the growth. All creatures are topologically identical - source material made up of same n manipulations/cuts - and all vary in size and proportion. In principle it is one creature changing over time. In the course of the change a landscape is formed.

Generate a series of drawings (pencil on vellum) that both capture and inform the time-based change.

LFM principles define the corridor of such variation as well as the local edge conditions; external parameters guide within that corridor. First external parameter: Span l within given envelope. The surface thickens to a critical point of structural height. Continuous variation within the creatures' growth builds the landscape.

Jake Paterson : Thickened Surface

.: Jonas 8:32 PM

20050225

Stephen Barr : What is Topology?
Dogs and Plants : Haufen

.: Jonas 11:48 AM

20050222

WEEK SIX

What is New

The properties commonly ascribed to any object are, in last analysis, names for its behavior. (Herrick)

TODAY

- Print out and read What is New

- Type the comments you have received during the review (W.3)

- Name the three creatures, name their behaviors, describe their activities. Be specific about their properties. What are their spatial qualities. What do they have in common (species). How does one differ from the other. (W.4)

TOMORROW

In a simple Species Drawing (D.47 pencil on vellum, hardline) capturing the creatures' properties (not formal details), show variation and sameness among the three, as well as their relation and possible connection. Think of it as an Illustration of W.4

(Three forms of Lythrum salicaria. The dotted lines with the arrows show the directions in which pollen must be carried to each stigma to ensure full fertility.)

THURSDAY

Present W.4 and D.47 .

Workshop: In a second generation the creatures are built from pliable material. Starting with one offspring, a raw material is chosen (paper/paperboard/foam) that is manipulated (scored, perforated, steamed, soaked) to allow for the behaviors defined in W.4/D.47. Once prepared the working material is bent, stretched, pushed and achieves the spatial effects of W.4/D.47. It is duplicated several times, put into an array and tested for edge conditions and adaptability. The creature then is fine tuned to serve as a spatial module of the battleground.

.: Jonas 1:01 PM

.: Jonas 12:00 AM

20050218

What to pin up on Monday

Drawing Continuous Variation

One best of D.1-5 'Million Dollar' Sketches (1)
One best of D.6-8 'Million Dollar' Drawings (1)
Two best of D.9-16 Scores on X (2)

Building Continuous Variation

Two best of D.17-29 Notations on X (2)
One best of M.1-3 Sketch Models (1)

Building a Lean Fighting Machine

Two best of D.30-37 LFM Drawings (2)
One best of M.4-5 LFM Sketch Models (1)

Tuning the Machine

Word Set W.2 (1)
One best of D.38-40 Notations (+integrated Photos) (1)
One best of D.38-40 LFM Drawings (1)
One best of M.6-8 LFM Models (1)

Running the Machine

All D.41-46 (6)
All M.9-14 (6)

.: Jonas 1:08 PM

20050215

WEEK FIVE

Running the Machine (1)

In a first generation three creatures are produced. Each creature comes in two states of aggregation: a solid state and a vector-active state. (M.9-14)
Each of the six formations is recorded in one drawing: One horizontal section (or top view) and one elevation, pencil on mylar (8 1/2 x 11) = six drawings (D.41-46)

REVIEW PROJECT ONE

Monday 2/21 at 2pm, HHN 302

Sparring Mates for the Review (presenting in pairs):

SHADDOW BOXING vs. BOBBING WEAVING
(Heidi Jandris and Andrew Bloomfield)
FALLING vs. V-UP
(Daniel Hetteix and John Seward)
WRAP TRADITIONAL vs. WRAP RIBBON
(Jessica Moberg and John Bezemes)
FIGHT IN ZAIRE vs. KNOCK-OUT
(Maya Semple and Brendan Wilkins)
BAG ROUTINES vs. FIGHT BY JAB
(Ryan Southworth and Jason Schick )
FOOTWORK vs. TORSION/OPENINGS
(Tim Choi and Gretchen Cobb)

Pin up in this order. Practise your presentation (5 minutes max.)

JURY

Gisela Baurmann
Dragana Zoric
Jason Anderson
Jason Lee
Edward Gavagan
Alex Gryger, Teaching Assistant

.: Jonas 6:54 PM

20050214

Individual sessions will start at 12pm today, monday.
At 1pm there will be a general pin up (all D., all M. and W.) possibly w/ guest.

.: Jonas 12:00 AM

20050212

.: Jonas 6:18 PM

20050211

From now (post media pin-up) until next Thursday you will focus exclusively on your first studio review. Produce Lots ! Keep in mind deliverables. Your LFM will spit out 3++ creatures (Basswood , envelope 3x3x6)

I just received this. We'll be able to attend at least part of the Machine Symposium.

UNIVERSAL MACHINES:

PLACE
Higgins Hall South, Room 115.

TIME
February 17, 12:30 noon to 7:00 PM (lecture by Wolfram, 6:00 PM)
(Note: The time on the poster is not correct. The above times are correct.)

[..]

For postings of some of the papers to be presented, see The Journal of Architecture and Computation at: comparch.org

.: Jonas 12:55 PM

20050210

we'll start with individual sessions at 1pm today

.: Jonas 10:16 AM

20050207

WEEK FOUR

Tuning the Machine

TODAY

Pin up all your work, watch Koyaanisqatsi, then meet in studio. Together with your Sparring Mate select one D. to be scanned and uploaded.

TONIGHT

Fine tune your notations, put them in presentable form. Integrate your source material (photos, screenshots capturing X). Scores and Notations are fixed for the moment. You are now compressing the given information and turn your full attention to LFM. It does not resemble X notations but describes relationships within possible organizations such as X. The machine could cast the organization X among others. Focus on the others.

TOMORROW

Fine tune your privileged word set (W.2); it is part of the machine. Two sets of five or eight very specific terms make the machine run. Starting today establish a set of rules, to be revisited. Always run the whole machine process then evaluate and improve. Think of X and Others in terms of Ptype. Think of LFM in terms of Gtype. Produce three drawings and three models.

THURSDAY

Present W.2, D.38-40 and M.6-8

MEDIA

D: Pencil, Red colored Pencil and Ink + Xeroxed Photographs/Printed Screenshots mounted on 33 x 11 Vellum/Mylar. M: Paper (sketch), Basswood; Envelope 3 x 3 x 6

Text:

Christopher G. Langton : Genotypes and Phenotypes
Classification of Models

Film:

Koyaanisqatsi

.: Jonas 11:34 AM

20050204

.: Jonas 1:39 PM

.: Jonas 1:38 PM

20050201

LFM

In order to develop your LFM you will notate the chosen procedures as performance models, representing agents, forces, trajectories, pressures, intensities, interactions, and so on. For this work, probing is the right kind of engagement: testing possibilities for combinations with a half conscious mind. Through the probing of multiple possible combinations you will come across the five or six that become productive as a machine; generating rules for your performance system. You’ll observe resistances, accumulations, alignements, repetitions, perforations, compressions, porosities, infiltrations and qualitative shifts that bring your system from one state of equilibrium into another. Process your list of operative terms, so that you can describe the observed with great and greater specificity. Define nodal or attractor points and lever or control points that you can identify as the moments when qualitative change occurs. Identify and name them. They identify your system.

.: Jonas 10:20 PM

ADMIN

Monday 2/7: Koyaanisqatsi screening in HHS 115, 2pm (all 102 sections)

Thursday 2/17 : Project #1 Review in HHN 302, 2-6 pm (102.09)

Mark Taylor on Screening

.: Jonas 11:18 AM

20050131

WEEK THREE

Building a Lean Fighting Machine

TODAY

Pin-Up next to your Sparring Mate (all D. all M.). Present as in a dance, in a good fight. Consider the presentation as part of your project.

TONIGHT

Focus on words tonight. Write down the feedback you have received earlier, then work on your privileged set of words. Read boxing lingo on the web, in magazines, books and boxing lexica (see word below). One part of your word list focuses on technique, another on the corresponding effects. You are the expert now on the organization of X. Mark and put into words the Properties and Behaviours of specific points within the organization (trigger points, turning points, high points). Work in operative terms. Develop your own logic on how to compress data contained in X notations into one dense performance model - first into one of words (W.1, 12 point helvetica on white paper (8 1/2 x 11 panorama).

TOMORROW

Starting tomorrow build your Lean Fighting Machine (LFM). Produce 3+ drawings (D.35-37 (8 1/2 x 11 or 8 1/2 x 33 panorama)) and 1+ sketch Model (M.5).

THURSDAY

Pin-Up with your Sparring Mate (D.9-37, M.1-5, W.1), present together.

George Foreman wants be a lean fighting machine
Raging Bull is playing at the Ziegfeld this week

.: Jonas 10:58 AM

20050128

Sparring Mates:

SHADDOW BOXING vs. TRAINING ROUTINE
(Heidi Jandris and Ryan Southworth)

WRAP TRADITIONAL vs. WRAP RIBBON
(Jessica Moberg and John Bezemes)

BOBBING WEAVING vs. V-UP
(Andrew Bloomfield and John Seward)

FIGHT BY JAB vs. FIGHT IN ZAIRE
(Jason Schick and Maya Semple)

FALLING vs. FOOTWORK
(Daniel Hetteix and Tim Choi)

KNOCK-OUT vs. TORSION/OPENINGS
(Brendan Wilkins and Gretchen Cobb)

With your sparring partner - this weekend - discuss feedback you have received yesterday; evaluate progress you have made since; share data on event/routine; discuss/exchange notation method; meet to watch fight (optional). Respect-, test-, enhance eachother's project. Establish and share privileged word set (one part technique, one part effects). Produce individually and a lot. 5+ drawings (D.30-34 (Possible new format : 8 1/2 x 33 panorama)), 1+ sketch Model (M.4). On monday present in pairs.

.: Jonas 11:33 AM

20050127

As of now I am planning to come in for TA sessions on Sunday night at 8:00 PM and and on Wednesday night at 8:00 PM.

Alex

.: Alex Gryger 1:57 PM

Here is a list of Expertise with Titles that I have received so far.

Andrew Bloomfield
expertise: Bobbing and Weaving
Title: Bobbing and Weaving

Brendan Wilkins
expertise: The moment of Knock Out
Title: Knock out

John Seward
expertise: the V-up
Title: Defensive Maneuvers

John Bezemes
expertise: Ribbon method
title: Hand Wrapping

.: Alex Gryger 1:44 PM

20050126

Boxing : words and rules

Tomorrow's individual sessions will start an hour early, 1 pm

.: Jonas 4:33 PM

20050125

Oscar Nominations : The seven nods for "Million Dollar Baby" included one for Hilary Swank. Go to Article

Training at Gleason's

WEEK TWO updated below

.: Jonas 1:17 PM

20050124

trainer.gif

.: Jonas 11:22 PM

Here are a few more of the expertise I've gotten since the last posting:

Jessica Moberg
Traditional Hand Wrapping

Maya Semple
Muhammad Ali and George Foreman Fight in Zaire

John Seward
Defensive manuevers and their strategy of use

John Bezemes
Hand wrapping, the "ribbon method"

.: Alex Gryger 10:54 AM

WEEK TWO

Building Continuous Variation

TODAY

Name X, give it a title, use three words at the most. Number your drawings (D.) on the back of the page, consecutively as they were produced. D.1-5 'Million Dollar' Sketches, D.6-8 'Million Dollar' Drawings, D.9-13 Pencil 'on X', D.14-16 Ink 'on X'. Pin-up and present your drawings and research material. Ask questions on X.

TONIGHT

On the basis of D.9-16, incorporating today's feedback and possible new info on X, draw five more maps and notations (pencil on vellum 8 1/2 x 11). Be very literal in your temporal and spatial recording, be specific, leave out no detail of X's Continuous Variation. Consider these five drawings (D.17-21) as scientific assessments of the ritual/event.

TOMORROW

Gather data on X, do research and continue your variations of the 'scientific method'. Sketch a lot (n=open, soft pencil on white paper). Produce many drawings (pencil on vellum) redraw successful ones (n=5+, D.22-26).

WEDNESDAY

Ink a preliminary selection of three (D.27-29). All 8 1/2 x 11. Build three simple paper models, 'sketch models' (M.1-3) that correspond to maps/notations D.27-29.

THURSDAY

In Class: pin up all D. for individual desk talk. Starting thursday: Notation to Diagram: Continue your research on X with a focus on how X is commonly documented. Are there any modes of representation specific to X. Read Texts on Diagrams (below). Starting tomorrow use D.9-29 as 'raw material', data for the development of your diagram. Start by sketching and drawing then build sketch models.

Texts:

Stan Allen : Diagrams Matter
Sanford Kwinter : The Genealogy of Models // xerox
Joyce Carol Oates, On Boxing // xerox
Paul Griffiths, Modern Music // in class

.: Jonas 9:35 AM

20050123

When a boxer is "knocked out" it doesn't mean, as it's commonly thought, that he has been knocked unconscious, or even incapacitated; it means rather more poetically that he has been knocked out of Time. (The referee's dramatic count of ten constitutes a methaphysical parenthesis of a kind through which the fallen boxer must penetrate if he hopes to continue in Time) There are in a sense two dimensions of Time abruptly operant: while the standing boxer is in time the fallen boxer is out of time. (Oates)

.: Jonas 8:28 AM

20050122

To administer a blow with sharp and telling effect, it is absolutely necessary that you should be precise and clean in your delivery (Price)

.: Jonas 4:59 PM

Here is a list of expterise chosen by students so far:

Daniel Hetteix
"falling"

Andrew Bloomfield
"Bobbing and weaving"

Maya Semple
One specific fight in history (particular fight not chosen though, as of friday night)

Heidi Jandris
"Punches used in boxing"

Gretchen Cobb
"The mindset that drives a boxer to success"

Jason Schick
"the jab"

.: Alex Gryger 2:21 PM

20050121

Her method of pressing forward is not the passive but the active way; it is always by dancing through a problem first, and thinking through it afterward (Isaacs)

Arch 102 syllabus

.: Jonas 1:51 PM

20050120

WEEK ONE

Drawing Continuous Variation

TODAY

Watch 'Million Dollar Baby'. Showtimes at The Angelika 5:45 PM 7:45 PM 8:45 PM 10:30 PM. Bring white paper (10+ pages, 8 1/2 x 11) and a thin black marker. Follow the character of Maggie (Hilary Swank) through her ongoing cycles of passion (Sadness-Joy) power, control, and will for survival. Record circular processes on different scales including micro cycles (speed bag) and meta cycles (family history). Within your sketches register turning points, highpoints, low points, trigger points and the respective cinematic effects. Mark moments of shock, pleasure, disgust, upset and content. Bonus track: Consider periodic systems of all three main characters. Produce lots.

TONIGHT

From your 10+ sketches select three. Convert each of the three into a simple hard line drawing, pencil and ink on mylar/vellum (3 drawings, 8 1/2 x 11) . Keep all sketches.

TOMORROW

Browse through boxing material (books on studio reserve) - watch movies. Then pick one specific aspect of boxing. This will be your area of expertise for the next week. Be specific about your object of investigation. It may be on the scale of wrapping hands, footwork or on that of a fight, a specific one or a training routine. The event or ritual is time based and based on continuous variation, it is taken from the world of boxing. Send an email to Alex Gryger with your chosen area of expertise X. Starting tomorrow do the following in parallel. 1) Research X : collect texts and visual material in libraries, bookstores, gymn, web. 2) Draw a series of scores and maps (temporal and spatial) on X. Start by sketching and drafting pencil on paper/vellum (8 1/2 x 11). Produce many drawings, redraw successful ones. Ink a preliminary selection of three.

MONDAY

Pin-up and present 16 pages, 8 1/2 x 11:

5 'Million Dollar' Sketches, marker on paper (selection of original recordings)
3 'Million Dollar' Drawings, pencil and ink on mylar/vellum
5 Scores/Maps on X, pencil on paper/vellum
3 Scores/Maps on X, ink on mylar/vellum

On Monday we will be joined by Trainer Edward Gavagan.

Scores:

Texts:

Up at Bennington on the open floor of the Armory - with the bondage of stage space removed - Arch Lauterer this summer followed the lines of some of Martha Graham's best known dances and of the newest dance, "Immediate Tragedy". The sketches were made in half darkness and while Mr.Lauterer was watching the dance, without the opportunity to check his lines against the dancer's movement. (Edith J.R. Isaacs)

Edith J.R. Isaacs : About Martha Graham
Rudolf von Laban, Choreutik // studio reserve
Danna Scott, Boxing (Penguin, 2000) // studio reserve
Mark Hatmaker, Boxing mastery (Tracks, 2004) // studio reserve

Films:

Million Dollar Baby, 2004
Rocky 1976 // studio reserve
When We Were Kings, 1996

Additional Films:

Fight Club, 1999
Raging Bull, 1980
Champion, 1949
Body and Soul 1947