Instructor: David J. Isern



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PHASES

01_Tracking Motion
02_Spatial Assemblies
03_Events + Situation


WORK SUBMISSION P1 Work Submission P2 Work Submission P3 Work Submission

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STUDIO METTINGS Phase 2.1
Phase 3.1

STUDENTS
Shelton Bowers
John Darnell
Hector Guerra
Ethan Morrison
Nesbit Adam
Oscar Olvera
Rosalie Perez
Spencer Reddick
Trevor Roberts
Steven Roop
Savannah Salazar






    


\\ Meetings, Clean Up, Work Submission Fri. Dec. 4

Everyone needs to meet with me sometime on Fri. Dec. 4 from 10:00am to 4:00pm or on Mon. Dec. 7 from 10:am to 3:00pm. We will discuss your projects and your studio journey. Please come up to the 10th floor office and ask to meet with me. We will meet for 10 to 15 minutes individual in studio. Please know that this is important and all of you must attend. If you have any concerns please let me know.

Studio Clean up Due by Dec. 9 by Noon All materials must be out of the studio by Dec. 9. Anything left inside studio, with the exception of final boards, will be disposed. If there is any materials left in studio, the whole studio will be deducted 5 points, from their Phase 3 participation grade, for every day after Dec. 9 that the materials remain in studio.

Submission of work Due. 10 by Noon All work that is listed under the P3 Work Submission is due Dec. 10 by Noon. If the work is not fully submitted by Dec. 10, there will be 5 points off taken from the participation of Phase 3 for every day the submission is late, and your final grade will not be posted until all the work has been fully submitted.




\\ Building Explorations Wed, Oct. 28

All of you should be looking at how to articulate and refine your buildings. They are no longer spaces, of activity, statics, or transition. Rather, there are specific spaces with specific purposes. You all have started to do this, HOWEVER, do not loose the geometry and try to incorporate it back if you have lost it. Simplification of geometry is not the answer for a better project. Rather implication will strip away all the work you have done in Phase 1 and Phase 2.

This will be the third iteration of you building. You all should be working again to refine the building in MODEL, PLAN & SECTION, PROGRAMATIC & ORGANIZATION. You also need to look at how the building starts to be articulated by the particularities of the spaces. You need to be very sure of what each space is. Calling a space a LOBBY is not sufficient. What kind of lobby it is: entrance, showroom, droopy area, reception, etc. Also, if you have a lounge, what kind of lounge is it: a sleeping area, or a sitting room, a place where the people can interact with on another or a place that the group of individuals becomes isolated? Be very sure that these questions are answer for Friday. You all must know exactly what happen in each space, and although you cannot control the actions of the people who will be using these space, you can instruct them exactly how to use them by the architecture you produce.

Once again, incorporating ADA restrooms and ramps are crucial for all of you building. There MUST BE AT LEAST ONE ROUTE IN YOU BUILDG THAT IS ADA, no excuses. you can use stars for ease of access for people, but you must also have an ADA ramp. Most of you have address this problem, but now you all need to address it architecturally. Meaning, if you add a ramp, it does not have to simply be a ramp. how can IT be a place of observation or viewing? More importantly, how can you make spaces that are path, be places, or threshold. A roof for a space, can be the surface floor of another. The landing for a ramp can be the place for people to seat and converse. Think of those problems and solve them architecturally.

Most importantly for all of you, and I am repeating this again, DO NOT loose the geometry. Geometry is important and it can not only happen in the overall plan, but it can also happen in the elevations, the roof, the fenestration and glazing, the pattern in the floors, the furniture inside the building, the toilets, showers, sinks, locker rooms, cabinets, etc.

Like you all have been working for the pass two classes, you all need to work on the plane and elevation, articulate this, and add more detail to them. Although they do not need to be fully post produced, add pooch on the cut surfaces to make the drawings easier to understand. In elevation, add a ground line as well as entourage to scale to make sure they start to show the volumes of the spaces.

Therefore the deliverables for Friday are (same as for Monday and Wednesday with more detail and more clear definition and articulation of space, surfaces, and amenities)

Plan + Section of you buildings with program notation, and articulation of ramps, stairs, fixtures (showers, faucets, toilets, sinks, benches, tables, benches, etc.) @ 1/8"=1'-0"
Programatic Organization this needs to be a simple program block drawing, like the one bellow that indicates the Rhythm and system use to organize the building and regularize its geometry.. Add a single think 1pt line that indicates the movement, Marche, from the outside of the building to the inside, around all the spaces and where the Marche culminates. @1/16"=1'-0"
Have all elevations of the building. This can be simple elevations with minimal post production, but i want to see how you are articulating these surfaces. Any type of solid+void or figure+ground, open+close, etc. @1/16"=1'-0"
Physical model should include the very specific part of the building. If surfaces are opaque, translucent, transparent, or no material; close, enclose, open. All of these should be very specific showed in the model. these models should start to be well articulated. Also, make sure that you are modeling them to scale as spaces and surfaces. @ 1/8"=1'-0"

Have everything printed and on the walls by Wednesday, Oct. 30 @ 8:30am.

Also, I have added a signup sheet on the wiki for you all to sign up for me to give you your grades for phase two. i will meet with each of you for 15 minutes, either tomorrow of Friday, to talk about you phase two and how you must proceed for Phase 3. Log in and sign up for Phase 3.1.



\\ Building Explorations + Precedent Analysis + Site Conditions - Field Analytics Cont. Wed, Oct. 16

We had a good discussion today in class of the precedent study and what you all need to do for them. You all have very specific ideas you need diagram, and you all know what those are; you all simply need to diagram them, and diagram them well. They need to be finished diagrams, with excellent post productions. We wont touch these drawings again till the finals, but we will always look at the analysis you all have done and apply it to your buildings. Also, I am really excited to see all those sites and the STORIES that you have created for them. It exciting to be able to do this. You don't get much of a chance to actually create a site, perhaps this is the only studio that will allow you to do this. HOWEVER, you all need more information on them. Only a couple of them were at a good level of detail, notations, development, understanding, and graphical communications. You all need to make sure that you all look at these site, as real sites, and every conditions you have must be covered. The list bellow is what everyone should have no questions or excuses. This list, however, is not all what you need to have; you can add more information that pertains to you project, pump jack, and ideas for the site. GET EXCITED for site design, it fund and you literally have no contains other than you have to do it and tell a story. For the building exploration, like i mentioned in class, is not about Pretty, its about having the drawings with enough info and graphics that you cover the your project clearly, but you spend more time on the design and solving the problems that in the actual drawing post productions. You need to have the work printed every day, no matter what stage it is, You MUST have it printed on the walls. This is the only way we can move forward. For those students who have started with the left foot this Phase 3, please catch up. You do not want to fall behind already, you want to be on top of things, get your work printed so i can give you feedback. You do not want to repeat the errors of Phase 2 and fall behind that it starts to hurt your project and studio. If you are lacking any info, catchup for Friday, you all need this, all of you need to be in the same page and stage as we mover forward.

01// Building Exploration

It is time to make the spaces buildings, and all of you have to make sure you have your explorations of your spaces for Friday, Again, not pretty, but printed. These are the stages you must take and the deliverables you need to have for Friday's studio:

1- 10 photographs of you model in plan and elevation
Explore the kinetics of your object and see what is the BEST position of your object. How you determine the "best" potion? well look at the spaces and ask yourself why ta positions creates a better understanding, flow, intricacy, occupancy, distribution, articulation, motion, definition, of the spaces you are creating with the genetic model. The best space is not what you want, is not what you like, its the best position for your kinetic model to have the best space that is understandable and works. This is part of your decision making. You are telling me why the 10 potions you choose are the best. There can be more than 10 positions for you kinetic model, but the 10 you choose, is your choice of the best 10. YOU ARE MAKING THIS DECISION.
2- Choose 4 of the kinetic model position explorations.
Again you are making this decisions, you are telling me why the for you have choses are the best of all. Again the best four should be the most clear in all, should show the spaces' inticracy and the surfaces' clarity. Your choices here are going to be impactful because you are narrowing you options to your best position of all.
NOTE: DO NOT DO STEP ONE AND TWO IN 10 MINUTES, THIS SHOULD TAKE SOME TIME AND EFFORT. These two stages are setting up your project to become a building, you do not want to skimp on these two stages. You MUST bet thoughtful, explorative, analytical, and most important you must use your knowledge you have learned in studio and in all your other classes to make the best informed and educated desicion you make.
3- Place all 4 of the Kinetic model position on the site.
Now that you have chosen four positions, place them on the site. This is an exploratory discussion between the site and the kinetic model. you can place each model in a different site if that is required for the model and/or site. OR, you can have one single site and place all four models. there and see how the kinetic model stars to be a building. IMPORTANT: the placement of the building has to engage the pump jacks. It must actually have some pump jacks in its immediate context. That is, does the building is adjacent to, or does it cantilevers, or does it go bellow, or surrounds the pump jack. Explore the possibilities, with accordance to your site and kinetic model. Do not change the sale, there is a REAL scale to this model, USE IT. However, placing on the site might require you, on each exploration, to change some parts of the kinetic model or the site. if this is the case you can do this. However, do not change the model or the site drastically that you loose what you have. Again its a discussion you are choosing to have and coming out with a solution. Print this with some context of the site in plan and elevation around it, to see its immediate context.
4- Make it one story, but you can have level changes. Explore all five with five iteration each of the changes of spaces.
All of you need to explore how you change move around this building. How do you get from one are to the next, in particular for those of you that have multiple levels. You can this of this, this way: "you CANNOT have multiple stores, or floors in your building, but you can have level changes" What does this mean? that you might need to change parts of your building. you can probably allow some parts to become flat or elongate; as well as you start to find new connections and circulations in you buildings. Important in here is to LOOK AT YOUR PRECEDENTS. See how they address other buildings. Also take a look at the Yokohama International Passenger Ferry Terminal in Tokyo, Japan by Foreign Office Architects (FOA) here ArchDaily and here and from Antonino Sagio, who was just here last week to speak to the CoA. Look for images in Google, or books in the library. But make sure you see how the building allows for changes in levels with only having one continuous floor surface. Also explore the possibility of the ground itself changing in your site, or the position of the object engages different levels of the site itself.


02// Precedent Study

1- Part Drawings on 8x8 (the simplest form of your building that represent its uniqueness)

2- Plan and Sections on 11x 17 portrait (make sure that you have a scale, written and graphical, on them and the scale must be a true scale) Include ANNOTATIONS, ANNOTATIONS of Primary/Secondary/Tertiary spaces. Also, Path/Place/Threshold/Service and Active/Static/Transitional. Include with lines of circulation in the spaces, how does the person move both in plan and elevations. Both on each floors in between floor. This will help you look at you building itself, for all of you. Again, draw on top of the floorpans and sections you found.

3- Conceptual Transitons on 5x17 landscape (no scale needed for these drawings) make sure your initial is a cube and in 5 to six steps you must have a articulates diagram of your building. Each step must have ANNOTATIONS of the actions taking place and also nations with arrows that indicates the actions taken clap. [ex. is there a pulling action, or a lifting actions. is there compression, or rations; maybe some of you the the actions is slicing, or deicing] These words are extremely important and they show how the building has changed form an initial positions to is final stage.

4- FOUR (4) 8x8 Diagrams of the precedent that examines the specific instances I mentioned to each of you in class. These diagrams, must look at the precedent with an ideas of influencers for your projects. The Analysis that you are doing is not simply a translations of the building. You must find intricate moments that allows for interpretation to happen when this investigations is translated into your project. Most importantly each of you will have unique diagrams that pertain to your projects (this is a requirement, the diagrams have to be focus and very specific to each of you projects), and we all know each of you have very different projects. Be analytical, and see how you can benefit from this process.


03// Site Design

Finalize all the site analytics for your site by Friday and have NOTATIONS. These are important. Also add the background image to the revelation of the site. but be careful have the image scaled correctly to the size of the site itself. No Texas site clouds, or mountains the size of the Himalayas, unless you are in Nepal, which no of you are. see example bellow. EVERYONE will be done with the site by Friday. Make sure all of you have the notations bellow for all your pump jacks or zones or in general for you drawings.

Brooklyn Bridge Park, NY - D.J. Isern - 2011


- Size of Pump Jack (numbers and words)
- Height of Pump jack at its extended position (only on elevation, numbers)
- Direction (in plan you show it with an arrow, the arrow head is the from of the pump jack)
- Range of Oil expected to be extracted on each Pump Jack, production rate (numerical next to each pump jack, they can differ for each pump jack)
- Diameter of Safety area (both shown by an actual circle and a numerical figures - radius or diameter) (these safety areas can vary)
- Major Electrical Grid or Generators (power generators) that provide electricity to the whole site (only on plan)
- Distance lines from the pump jacks zones or grids to the major power generators (only on plan)
- Height of major electrical grid of generators post (only in elevation)
- Individual poles (showed by a dot) indicated individual electrical poles on each pump jack
- Height of individual electrical poles for pump jacks (only in elevation)
- Distance to Electrical Grid or Generators and individual poles shown by distance lines and numbers.
- Sun Path in the summer and the winter.
- Latitude and Longitud (again, although theoretical still chose one that relates to your project, and once again somewhere in this Earth)
- Wind Speeds Tags
- Wind directions
- Annual Temperatures.
- Topo lines
- Maximum of major 5 changes, but you can have more than 5 topo lines
- Land is changing by 1'-0" each line
- The range of the change in topography can be from 10-15ft.
- Type fo Terrain (does it stay the same or it changes in the surface or in the subsoil, note it)
- Grassland, bedrock, dirt field, ice cap, ect. (include texture in scale with the drawing, on elevation drawing)
- North Arrow (only on plan)
- Scale (written and graphical)
- Name of Pump Jack Field (descriptive but creative)
- Type of Field (Testing, experimental, private, public, etc.)
- One Access Road (I know i said not to include this in class, but include it now with the notion that it can/might/will change)
- Yard, or storage yard (grave yard) to stores parts, this can be one for the whole site or multiple, Play with the geometry.
- Off Areas, or ares that cannot be access or are restricted by other means that the owner (you) and that drilling or place a pump jack can happen.

Have all of this with you. This is supper important, and you all must have them to be able com tell the story you want to tell. Also, these site drawings should have good graphics, by now. Make sure you are looking at:

-Line weights
-NOTATIONS
-Plan and sections need to match (you are not cutting through the middle of the plan)
-Use Feet and Inches for the dimensions
-DETAILS
-In plan, all the layers noted above
-In Elevations/Section, all layers noted above,
-Enlarged Site + Pump Jack Section, Al layers noted above and details of the pump jack itself. Its inner workings.
-Arrows that indicate movement
-Dash lines (all these should have different types of dash lines that are easily distinguishable)
-Object Motion
-Object hidden Lines
-Ground hidden Lines
-Safety area circumferences
-Center lines
-Wind pattern (may include some arrow heads)
-Sun Path
-Gave yard outline
-Text
-Hierarchy
-Type (font, size, color)

Have everything printed and on the walls by Wednesday, Oct. 23 @ 8:30am.


\\ Precedent Analysis &Site Conditions - Field Analytics Cont. Wed, Oct. 16

On Monday you attended the library session where you should have gotten useful information about your buildings. This is important because this will give you a good base information about what you all need to look at when looking for information and analyzing the precedent with respect to your buildings.

Make sure you find good vector drawings of the building, or gave rally high quality scans of images of the buildings plan, section, elevations, axonometric. I do not want you to draw the buildings, rather use the images you find. Make sure, however, that the images are not pixelated, skewed, distorted, or any other type of manipulations that caters the image and the spaces inside of it. When you have these drawings you must start to analyze them with relationship to your building. This is, make sure that you know where activity happens, and what the active is. Also, find the connective spaces (paths), and those spaces that become transitions from one space to the next (thresholds). Also look at the auxiliary spaces that are they to give support to the building (service). ANNOTATE ANNOTATE, ANNOTATE. And ANNOTATE. This is important you musth have annotations like we been having for all the deliverable since the beginning of the project. ANNOTATE! the following are the deliverables for Wednesday for the precedent study:

(You can print these one 8.5x11 or 11x17 boards, and trim to size)


1- Part Drawings on 8x8 (the simplest form of your building that represent its uniqueness)

2- Plan and Sections on 11x 17 portrait (make sure that you have a scale, written and graphical, on them and the scale must be a true scale) Include ANNOTATIONS, ANNOTATIONS of Primary/Secondary/Tertiary spaces. Also, Path/Place/Threshold/Service and Active/Static/Transitional. Include with a line the circulation of the spaces, how does the person move both in plan in elevations. Again, draw on top of the floorpans and sections you found.

3- Conceptual Transitons on 5x17 landscape (no scale needed for these drawings) make sure your initial is a cube and in 5 to six steps you must have a articulates diagram of your building. Each step must have ANNOTATIONS of the actions taking place and also nations with arrows that indicates the actions taken clap. [ex. is there a pulling action, or a lifting actions. is there compression, or rations; maybe some of you the the actions is slicing, or deicing] These words are extremely important and they show how the building has changed form an initial positions to is final stage.

4- FOUR (4) 8x8 Diagrams of the precedent that examines the specific instances I mentioned to each of you in class. These diagrams, must look at the precedent with an ideas of influencers for your projects. The Analysis that you are doing is not simply a translations of the building. You must find intricate moments that allows for interpretation to happen when this investigations is translated into your project. Most importantly each of you will have unique diagrams that pertain to your projects (this is a requirement, the diagrams have to be focus and very specific to each of you projects), and we all know each of you have very different projects. Be analytical, and see how you can benefit from this process.


02// Site Design

I hope your drawings are doing along for your site design. This is the only Bintan e her you will get the chance to design your site and your building GET EXCITED for this. This is so nice that you can do this. Your drawings are lacking tons of informations, most importantly NOTATIONS NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, NOTATIONS, and NOTATIONS. I don't know how much to emphasize NOTATIONS. This is important because through this is what you are telling me about your site and the decisions you have make. Populate the drawings with tons of notations like:

- Size of Pump Jack (numbers and words)
- Height of Pump jack at its extended position (only on elevation, numbers)
- Direction (in plan you show it with an arrow, the arrow head is the from of the pump jack)
- Range of Oil expected to be extracted on each Pump Jack, production rate (numerical next to each pump jack, they can differ for each pump jack)
- Diameter of Safety area (both shown by an actual circle and a numerical figures - radius or diameter) (these safety areas can vary)
- Major Electrical Grid or Generators (power generators) that provide electricity to the whole site (only on plan)
- Distance lines from the pump jacks zones or grids to the major power generators (only on plan)
- Height of major electrical grid of generators post (only in elevation)
- Individual poles (showed by a dot) indicated individual electrical poles on each pump jack
- Height of individual electrical poles for pump jacks (only in elevation)
- Distance to Electrical Grid or Generators and individual poles shown by distance lines and numbers.
- Sun Path in the summer and the winter.
- Latitude and Longitud (again, although theoretical still chose one that relates to your project, and once again somewhere in this Earth)
- Wind Speeds Tags
- Wind directions
- Annual Temperatures.
- Topo lines
- Maximum of major 5 changes, but you can have more than 5 topo lines
- Land is changing by 1'-0" each line
- The range of the change in topography can be from 10-15ft.
- Type fo Terrain (does it stay the same or it changes in the surface or in the subsoil, note it)
- Grassland, bedrock, dirt field, ice cap, ect. (include texture in scale with the drawing, on elevation drawing)
- North Arrow (only on plan)
- Scale (written and graphical)
- Name of Pump Jack Field (descriptive but creative)
- Type of Field (Testing, experimental, private, public, etc.)
- One Access Road (I know i said not to include this in class, but include it now with the notion that it can/might/will change)
- Yard, or storage yard (grave yard) to stores parts, this can be one for the whole site or multiple, Play with the geometry.
- Off Areas, or ares that cannot be access or are restricted by other means that the owner (you) and that drilling or place a pump jack can happen.

All of you must have all these numbers, words, arrows, lines, graphics that shows this information, Do this it is important. We will also talk about graphics for these plans and how you can improve them for Friday. Friday will be the last time we work with these drawings and you all need to make sure they are finished, both graphically, with NOTATIONS, line weight, graphical articulations, etc.

You al must have reprinted and improved upon printed the fowling deliverables:


1- Site Plan at 1/32"=1" on a 36"x10" landscape orientation board. This means that your site will be 1,152ft. x 320ft. You have plenty of room to work with. and therefore take advantage of it. DESIGN the site. (Refer to the list above for the layers of information you MUST have).

2- Site Elevation/Section at 1/32"=1" on a 36"x 6" landscape orientation board. This section needs to correlates tight the plan, you are not cutting the site in half you are drawing the elevations, but poche the ground. No less than 1/2 inch from the bottom of the page to lower elevation of the ground line on the drawings. (Refer to the list above for the layers of information you MUST have).

3- Enlarged Site + Pump Jack Section at 1/2"=1' on the size of paper as needed for the type of pump jack you are using. make sure that you have thid drawings as detailed as possible. Induce the machines and mechanics of the pump jack in section (you might need to do some more research if you do not have this information, but include the belts, gears, batteries, bolts, etc. on the detailed sections cut drawings) Also include ground texture at a proper scale, and one or two scale figures.


Wednesday, Oct. 21 Pinned Up @ 8:30am.



\\ Site Conditions & Field Analytics Wed, Oct. 16


01// Precedent Study Now that you have done some research on oil fields and pump jacks, it time to design you own field of Pump Jacks, and explore the different ideas of how you can create a site that is unique to you, the multimillionaire owner who is capitalizing the pump jack industry.

I will list the exact steps you need to take in order to grow through this process of designing the Fields.

00// Type of Oil Pump Jack

Decide what type of pump jacks your are going to use. Are they Small (10-15ft.), Medium (15-20ft), or Large (20-30ft) or even X-large (over 35ft). Choosing one specific type of pump jack will help you on designing the site. You should no combine different types as each type requires specific placement, arrangement, and most importantly how much oil they produce. This is important to note when you choose the type of Oil Field you are creating. You must have the following deliverables for this section (They are the ones that you did for friday, if you are changing the types of Pump Jacks, them you will need to change the drawings you had Friday).

1- Diagramatical Elevation at 1/8"=1' on an 8x8 board or larger. This drawing should show the kinetics of the of the pump jack, how it operates, the movement (in hidden lines). You must add labels of primary/ secondary/ tertiary/ elements of the pump jack, and static/transitional/active elements. The drawing should also the foundation needed of the pump jack and how the polish rod and the flow line connect to the ground.Also, include a scale figure next to the pump jack. This drawing should have a scale (written and graphical), a title of the type of pump jack it is, and notations like arrows or hidden lines as needed. Make sure you keep the graphic style you are using in this drawings
2- Site Plan Diagram at roughly 3/64"=1' on a 8x16 board or larger. This drawing should show the arrangement of the pump jacks as they relate to one another. Remember this is a scale diagram. Meaning, there is no need to include detail, but do explore location, distance between each pump and other services like start of the crude oil, electrical, roads, etc. What is the arrangement of the pumps? are they on a grid, or cluster in section in the land, or scatter in different forms. Look at this on a diagrammatical method, and see how the type of pump jack you have chosen are placed on the land. This drawing should have a scale (written and graphical), a title of the type of pump jack it is, and notations like arrows or hidden lines as needed. Make sure you keep the graphic style you are using in this drawings.
3- Axon at roughly 1/8"=1' on an 8x8 board or larger. this drawings should show you how the pump jack takes space in the land, include all the notations from the elevation, including scale figure, but add arrows/graphics that show the approach a person would take to the pump, and how this pump relates to the one next to it, wether it is 30 feet away of 200 feet away, indicate with an arrow how the axon drawing of the pump relates to the pumps. Also include a safety zone that the the type of pump you have needs. [Adam had a rough indication of this on his drawing, it needs improvement but was the online who did it for Friday, use this a rough reference and improve upon it for your won drawings, including Adam] This drawing should have a scale (written and graphical), a title of the type of pump jack it is, and notations like arrows or hidden lines as needed. Make sure you keep the graphic style you are using in this drawings.
Research on 8.5x11. you all must keep you research and any further research you have done on the walls. Use binding clips if you need to clip research together.


01// Site Design

it is time for each of you to take what you have learned from the research you have done, and the materials you have gather; as well as from the chosen pump jack type, and you must start to design you site. You must take the information you have and apply it to a theoretical site, that has a true north and has real conditions: sun path, wind, temperature, altitude, geographical conditions, terrain typology, and location in this earth (NO you cannot design a Oil Pump Jack Field for Mars, this is NOT an options, you site happens in this earth, particularly somewhen in this region of the world and country, unless otherwise discusses and agreed with me). Remember you have the ability to design the Oil Filed as you desire, with realistic ideas, but this is not an actual Oil Pump Jack Field. Look at |Site, Mapping, & Indexing Pinterest Board to give you some ideas of what your Site plans should look like and how they should be graphically depicted by Monday. Site design has so much information on it, PUT EVERYTHING on the board. Notate every detail of it and every part of it must be related to the specific design choses you are making. Here is the list of layers and notations you MUST have (all of you):

- Size of Pump Jack
- Height of Pump jack at its extended position (only on elevation)
- Direction (in plan you show it with an arrow, the arrow head is the from of the pump jack)
- Minimum of 30 pump jacks no necessary a maximum limit, but remember the number depends on the type of pump jack you choose and the type of field you are creating.
- Range of Oil expected to be extracted on each Pump Jack, production rate (numerical next to each pump jack)
- Diameter of Safety area (both shown by an actual circle and a numerical figures - radius or diameter) (these safety areas can vary)
- Major Electrical Grid or Generators (power generators) that provide electricity to the whole site (only on plan)
- Distance lines from the pump jacks zones or grids to the major power generators (only on plan)
- Height of major electrical grid of generators post (only in elevation)
- Individual poles (showed by a dot) indicated individual electrical poles on each pump jack
- Height of individual electrical poles for pump jacks (only in elevation)
- Distance to Electrical Grid or Generators and individual poles shown by distance lines and numbers.
- Sun Path in the summer and the winter.
- Latitude and Longitud (again, although theoretical still chose one that relates to your project, and once again somewhere in this Earth)
- Wind Speeds Tags
- Wind directions
- Annual Temperatures.
- Topo lines
- Maximum of major 5 changes, but you can have more than 5 topo lines
- Land is changing by 1'-0" each line
- The range of the change in topography can be from 10-15ft.
- Type fo Terrain (does it stay the same or it changes in the surface or in the subsoil, note it)
- Grassland, bedrock, dirt field, ice cap, ect. (include texture in scale with the drawing, on elevation drawing)
- North Arrow (only on plan)
- Scale (written and graphical)
- Name of Pump Jack Field (descriptive but creative)
- Type of Field (Testing, experimental, private, public, etc.)
- One Access Road (I know i said not to include this in class, but include it now with the notion that it can/might/will change)
- Yard, or storage yard (grave yard) to stores parts, this can be one for the whole site or multiple, Play with the geometry.
- Off Areas, or ares that cannot be access or are restricted by other means that the owner (you) and that drilling or place a pump jack can happen.

These are ALL the parts that will make your drawings in plan, elevation, and section, and all of you will have more particular informant depending of the type of Pump Jack you choose, INCLUDE this informant in the drawings as well. The list above is not optional for you to choose from, you all will have every single one of these points addressed in you drawings, and you all must research the information for it. Some of these will only show in plan, like the north arrow, and not in elevation. Most, however, will be shown in both. These drawings need to HAVE A LOT, IMENSE, INCREDIBLE, EVEN EXAGGERATED AMOUNT OF INFORMATION. Populate the drawings with as much info about your site as possible, but make sure the drawings are easy to look at and are readable. These are all TECHNICAL DRAWINGS OF YOUR SITE, and therefore you should have everything that needs to be noted, noted on the drawings not in your head, put it on the paper.

You all should start to work on Rhino, modeling these site conditions, as this will faciliatethe work you do and how you output drawings for post production. Make sure you are careful and address all the layers noted above and look at:

-Line weights
-NOTATIONS
-Plan and sections need to match (you are not cutting through the middle of the plan)
-Use Feet and Inches for the dimensions
-DETAILS
-In plan, all the layers noted above
-In Elevations/Section, all layers noted above,
-Enlarged Site + Pump Jack Section, Al layers noted above and details of the pump jack itself. Its inner workings.
-Arrows that indicate movement
-Dash lines (all these should have different types of dash lines that are easily distinguishable)
-Object Motion
-Object hidden Lines
-Ground hidden Lines
-Safety area circumferences
-Center lines
-Wind pattern (may include some arrow heads)
-Sun Path
-Gave yard outline
-Text
-Hierarchy
-Type (font, size, color)

NOTE: Keep developing you graphic style and standards, and make sure you all are looking at these drawings as final drawings. Work on having good out put drawings. When we get into working on the REST-room we can be less worry about graphics and we can have ugly drawings, BUT for these drawings have VERRY WELL CRAFTED Drawings.


You must have the following deliverables for this section:

1- Site Plan at 1/32"=1" on a 36"x10" landscape orientation board. This means that your site will be 1,152ft. x 320ft. You have plenty of room to work with. and therefore take advantage of it. DESIGN the site. (Refer to the list above for the layers of information you MUST have).
2- Site Elevation/Section at 1/32"=1" on a 36"x 6" landscape orientation board. This section needs to correlates tight the plan, you are not cutting the site in half you are drawing the elevations, but poche the ground. No less than 1/2 inch from the bottom of the page to lower elevation of the ground line on the drawings. (Refer to the list above for the layers of information you MUST have).
3- Enlarged Site + Pump Jack Section at 1/2"=1' on the size of paper as needed for the type of pump jack you are using. make sure that you have thid drawings as detailed as possible. Induce the machines and mechanics of the pump jack in section (you might need to do some more research if you do not have this information, but include the belts, gears, batteries, bolts, etc. on the detailed sections cut drawings) Also include ground texture at a proper scale, and one or two scale figures.


02// Site Narrative

You all need to start writing about your site. Therefore, in a write up address the question bellow. This is not formal writing, yet, but this is information you all must know the answer to as it relates directly to the design of the site.

1- What type of oil Field is this and why?
2- How many oil pumps do you have and why?
3- What kind of oil pumps do you have? what size? what specs? Maintenance?
4- What kind of land is it built on? is it grassland, farming, agriculture, or is it bed rock, ice caps?
5- How does the land and site conditions affect the Oil field?
6- What Geographical conditions is there?
7- What weather conditions are present in summer and winter/ day and night?
8- Who takes care of the Pump jacks, land, maintenance, repairs, collections, etc?
9- How many workers do you have? women? men?
10- What do the workers do? What is the type of schedule they have?
11- Do the workers have specialties or are they generalist?
12- Can people visit the site? or is it restricted to specific individuals?
13- How long has the site being operating?
14- What changes have occurs in the last 10 years?
15- What is it like to own the site?
16- How is it to work on the site?
17- THIS IS YOUR SITE, SO TELL ME THE STORY OF IT. YOU CREATE IT, YOU MUST KNOW THE ANSWER FOR EVERYTHING ON IT.

You must have the following deliverables for this section:

1page min. of the Site Story, the narrative that tells me everything of the site and the pump jacks


Monday, Oct. 19 Pinned Up @ 8:30am.



\\ Oil Pump Jacks Wed, Oct. 14

Hope everyone enjoyed the field trip today, and that all of you learned more about wind power, win turbines, and the process that takes to get this energy produced. It was also important to learn that, even when you lease expected, design comes into play. Knowing that the idea of a three blade turbine is best aesthetically as well as the most optimal when it comes to cost, weight and efficiency; reinforces the idea of what we all do as architects: WE ALWAYS NEED TO LOOK AT AND APPLY DESIGN to what we do. This trip was also a great learning experience outside the studio. You all need to remember that we all can learn from looking or searching for new ideas or information. Hope everyone that attended enjoyed it.

Now it is time to start to look at our site, site conditions, and the beginnings of Phase 3. Our site is going to be theoretical, meaning that there is not going to of an actual geographical location somewhere in the world. Rather, one that you generate with factual and accurate depiction of sites that you research in depth. Creating this site will be require you to understand more than mourn lines, but reinforce the idea of site conditions, fields of informations, situations, and events. All of which will be crucial for your Phase 3. We are going to working with Oil Pump Jacks fields.

01//Oil Pump Jack Fields Research

You all must research, EXTENSIVELY, and become connoisseur of Oil Fields. it is extremely important for all of you to research everything there is to know about oil, the industry, the different methods of extractions, and the locations. However, you all MUST focus on the Oil Pump Jacks and the files they are located, in particular the West Texas Region. Investigate, research, analyze and explore the multiple sites, mechanics, function; the work that takes to investigate, gather information, construct, generate, and maintain these Oil Pump Jack fields. Also, it is crucial for all of you to learn about how these pump jacks work. Their mechanics! Action - Reactions. There are different types of pump jacks; they range from small scale extracting one or two barrels to Large scale pump jacks that are capable of extracting over 20 barrels of crude a day. Investigate all these types and chose one that you would like to focus on: Small, Medium, or Large. Once you have chosen one kind of pump jack, do in-depth research about this. Learn how this type of pump jack is unique, and how it differs from others. Its strengths and its weakness. The cost, the functions, the maintenance, and the labor that goes into them from gathering date to choose an appropriate location for it to be install to the regular maintenance checks that they must get. Learn eve the life spam of these pump jacks and what determines this. How they sit on the ground, and what ground its the most appropriate for them. Make sure that your research if focus and guided by the question above. You must, have a concrete and narrowed idea of what you are researching, and not a broad reach topic. Most importantly use the same type of questions that where ask today in the field trip to answer some of the questions for your own research. This is crucial for all of you to do and have.

The minimum deliverables for Friday are:

- minimum of 12 sources of information about oil, pump jack, and the fields printed on 8.5x 11. you must highlight and anotate about the information you are reading. Use (These must include and answer all the points of the paragraph above and go beyond the surface information you can find on wikipedia or the first page of a Google search.)


02//Oil Pump Jack + Fields Diagrams

It is also important to show your understanding of the research you have done, the best way to do this is by doing a series of well crafted diagrams that show this information.

The minimum deliverables for Friday are:

- 1 (8x8 inch) Elevation Diagram of the kinetics and mechanics of the pump jack. Diagram it motion, its initial/range/ and terminus positions. Also identify by annotations it primary/secondary/tertiary parts and elements.
- 1 (8x17 inch) Plan Diagram of field analysis of SMALL, MEDIUM, LARGER fields (sites) of these pump jacks and who they are arrange on the field you are looking. (This will be different for some of you as they might change according to the type of pump jacks you choose to look at)
- 1 (8x8 inch) Axonometric Diagram with scale figure of the the pump jack that shows the approach. location of parts, and save area around it. This diagram should also show the how the machine relates to the machines in the filed. Even though you are not showing other matches on this diagram, do indicate how this single machine relates to the field of pump jacks.

Note: These diagram should be well crafted and post produced. But remember, they are DIAGRAM, and not detail drawings. They do not need to have details but should include all the compensates of the pump jack and its kinetics.

You all must include these layers:

- Diagram/Drawings
Pump Jack
Scale Figure
Motion
Motion Arrows
- Annotation
Type of Pump Jack
Active/Static/Transitional
Primary/Secondary/Tertiary
- Scales
Written
Graphic
- Motion arrows
- Axis



\\ Reviews Phase 2 Monday, Oct. 12

Be ready to present by 9:00am. All students must be in studio by 8:30am



\\ Its Time for Graphics and Communication Wed, Oct. 7

I have uploaded a series of Images of most of the drawings you are required to have for your final review for Phase 2. These images are for your information, guidance, and for them to help you create really good and understandable drawings. I believe all you can create better drawings than these. Remember, I am not prescribing that you choose on of these drawings and abide by them, you create your own GRAPHIC STYLE and make all the drawings cohesive for them to inform one another. You have multiple types of drawings so they all, as a unit, explain you project. Nonetheless, it is your responsibility to make sure the drawings convey you project well. I have sets of drawings bellow that will give you some ideas of how you can clean up, improve, articulate your deliverables. However, it is crucial for all of you to work hard on these drawings and to not procrastinate with them. Reviews for Phase 2 will be on Monday, Oct. 12, at 8:30am, and all your work is due, uploaded to DropBox by Sunday, at 5:00pm. NO Excuses, work hard and if you have questions ask. I do not want you to go into the reviews without you knowing what you need to have or how to explain your work. Work in studio, and work efficiently, do not waist time, and work hard. Nobody was in studio tonight; i hope that all of you are working nonetheless, but work in studio. It helps tremendously, in particular at this stages before reviews because you want to always ask others if your drawings and work are legible and if they convey your projects well. Again, WORK IN STUDIO!

Plans

File:Floorplan 1.jpg


Elevations


Conceptual Translations


Axons

File:Transvers Sectiona Cut Axon.jpg File:Transvers & Longitudinal Axon.jpg File:Exploded Axon 1.jpg File:Exploded Axon 2.jpg


Ordering Systems


Remember, your drawings communicate your work; therefore, work hard and create some great and well crafted drawings. For Friday, Oct. 9, have a mockup of your work the more printouts you have the better.



\\ Sectional Assemblies Friday, Sep. 25

00// Catch up

If you need to catch up, and some of you DO, this is the time to do so. You all have been spending too much time thinking about the process rather than doing the process. The iterative process takes the guessing and the worry out of it. Just Do and apply everything you learn prior as you move along. do not, DO NOT, spend too much time thinking about things put them on paper and see what happens. Sometimes the unexpected are the best solutions.


01//Kinetic Explorations (X10)

Choose the best sectional drawing, however, choosing the BEST takes some judgment, here are some points to think about:

1- don't choose by level of difficulty, don't choose the easiest one or the hardest. Choose the one that has the BEST spatial qualities, understanding of surface, spatial interaction; active/static/transitional, path/place/threshold.
2- look at the interaction of spaces, and the ability those spaces provide for further development in you kinetic model. REMEMBER these things are going to MOVE! Think about how they will move.
3- look for further possibilities and developments as a model and by composition, how you can change the things you have to make the BETTER using your judgment.
4- be smart and choose the one that best represents your work, it might not have been the one that took you the longest, or the most detailed; just as well as it might. Choose the BEST one and the one you are most confident about because you can explain it.
5- the bet drawing is that that allows for KINETICS to happen. if one of you drawing does not promote kinetics then that is not an options. Choose that that will help you make you live easier by allowing kinetics (movement) to happen.

Once you have chosen what will be the best drawing to explore kinetics, you must do 10 trashtrace paper exploration of kinetics. On each drawing you must have:

1- Initial - your drawing that you have already developed and chosen from the previous step.
2- Terminus - (although we are using the wrong definitions of terminus) the terminus is where your device will end. Meaning where it will stop and the kinetics of it will stop as well. ITS LIMIT.
3- Range - what happens in between. The actions that take place, and how you model can move from the initial to the terminus.

These three thing need to be in the 10 trash/trace paper diagrams/drawings you are doing. You can do more is you need to. Explore your possibilities. and you just DO. Do multiple aspects of it, explore possibilities that you doing think can happen, be insightful but also out-of-the-box. Look at what you have and use it. Don't try to reinvent the wheel, your work has a plethora of possibilities use them to your advantage.


02//Kinetic Model

This is where the fun starts. Your models now have to move! you can choose two out of the ten drawings you have done, or you can see what the best part of all the ones you have are and us it to make your genetic model. However, if you do the latter, it will be really highly required for you to do a trash/trace paper drawing of it before the model.

Your kinetic model has to go from its initial to its terminus and have a range (that is why you draw them before). However, it does not mean that what you have drawn is prescriptive and you have to follow it closely. doing your genetic model is about exploration, and that is why you are doing two.

You must have two kinetic models, models that move, and how the movement changes the spaces You are now creating a DEVICE for space making. These models must have good craft, and need to explore the multiple possibilities you have encounter in you work. There are two ideas you must think about when doing these models and they are:

1- Internal Kinetics: how the device moves within it parts. Meaning, how its parts are kinetics and the kinetics itself affects other parts.
2- External Kinetics: how the device moves to affect any space outside its own parts.

The difference is that internal kinetics, the action/reaction happens within the model and in external kinetics it happens outside the model.


03//Kinetic Sequence

You all must take images of your device and how it goes through its movements. You will do this for each of the two Kinetic models. Form Initial to terminus, and how it shows its range. These will be six images, 6"x6" on a single black and white strip. (look at the images of your object from Phase 1). Make sure these images show your object and its kinetics. If you need to hold the machine in its place to take the picture, you can use some tape, but discuss it well, or kit stands to hold the part i place of the purpose of the image. But make sure that these images clearly show the kinetics of you model only. Do not loose the orientation that was determined in your initial drawing, nor loose the growling you have created. these two elements must stay.


04//Kinetic Drawings

You all must draw the Initial position of the device, its range and its terminus. You must pay attention to the movement and not omit it in your drawing. Moreover, the drawing should should show how the spaces are changing and are becoming complex through the movement of the device. You must have these layers in your drawing:

1- Initial Device lines. (Lines should be light and solid, hidden lines should be dashed but lightly)
2- Range of device kinetics. (These lines must be prominent and dashed, you must chose lines that indicates the changes of each positions form internal to terminus)
3- Terminus. (These lines hold be larger than this of he initial lines, as well those hidden lines)
4- Movement Arrows: (have diagrammatical arrows that show the movement of the device from initial to terminus)
5- Annotations. (Keep annotations indicating active/static/transitional and path/place/threshold.
6- Fill for 1/2/3 spaces. (keep the fills that indicate primary, secondary, and tertiary space, and alter them with readers to the movement of the device.
7- Ground line. How is the ground line affects, when the device moves. keep the initial ground line we use to ermine the orientation of the device, but add a second ground line that indicates its change due to the movement of the device.


05//Big Idea

Start to write you big idea. I will talk to each of you about this when i meet with you this weekend. But all of you must have some bullet points write about you big idea and how it explain the kinetics of your mode.

There is a lot of work, especially if you have to catch up this weekend. Do not waist time, and be productive. When I meet with you on Sunday, make sure you have 80% of your kinetic models and you have some idea about your 'Big Idea' and be able to explain it. It is important for all you have to have a developed kinetic model as it will only help the conversation and I will be able to give you more feedback on how to move forward.

DUE: Monday Sep. 28, 8:30am.



\\ Sectional Assemblies Monday, Sep. 21


There was a lack of work today in studio. I don't think the problem is that you are not doing the work. However, you all are afraid of making mistakes, DON'T. Go through the process, and do the work, just do it. You have multiple changes to makes as we go through each assignment, make those changes progressively and thoughtfully, but do not spend hours in one drawing. Do them quick. this will put us behind a bit, but its OK! we can catch up by the end of the week.

00//Aggregate Models Iterations

RE DO the aggregate models/complete the aggregate models. Make sure that you all are working effectively and efficiently. Use simple terms to describe the work, and like I said in my email over the weekend make them look good. You must complete you models first, and in the process of working through them you must see the transformation that is occurring with the spaces.


01//Choosing an Aggregate Models

02//Aggregate Models Drawings

Once you have chosen the best aggregate model (for instructions of how to choose an aggregate model please see above) you must start to translate this into a drawing.


\\ Sectional Assemblies Friday, Sep. 18

01//Aggregate Models

There is a need for all of you to work efficiently on your models, as it was apparent today with the lack of work development. Know what you are doing and the craft of it. It is important to practice craft, as it is the only method you will get better. All of you should clean up and fix your individual models, complete these individual sectional drawings and start to aggregate them. You must have three aggregate models that explore transformation, not only of the individual models but also of the aggregate. These models are explorations of action, reactions that occurs when you bring these separate models into one. Your Three explorations should look at the spaces, always considering Type A, Type B, and Type C models. Think about this as a unit, and not longer as individual separate models.

DUE: Friday Sep. 21, 8:30am on the wall.

02//Submitting work.

Use the following nomenclature when submitting work to the DropBox. I will be assigning you a list of work you have to submit on Drop box over the weekend.

Contents

CourseNumber_Semester_Prof.LastProf.First_Stu.LastStu.First_ProjectName

2501_Fall2015_DoeJane_DonJohn_VentilatedModel01

Due: Wednesday 23, 2015



\\ Sectional Assemblies Monday, Sep. 16

00// Photographs

It is crucial that you all get on the habit of taking photographs of the work you do, as soon as you do it. One, you always wants to document your process. Process is really important because it answer WHY you do what you do. Two, it is a great record keeping method. There is not systematical way of doing this to just take good quality images that have context and content on them. Ask yourself, WHY IS THIS IMAGE SHOWCASING MY DRAWING. Photographs of your work should show your project and all the great instances of it, not detract from it. Take multiple images, and then choose the best of them all. Also, taking images allows you to manipulate the object and make improvements without the worry that you will loose what you had done. These images are not Instagram photos. They need to be well crafted like anything else you do in studio. Images become important tools for your records and progress in a project.


01//Answers

Read Bernard Tschumi’s “Questions of Space” and answer them with a short explanation. Some questions can be answer with a yes or no. However, it is important WHY as well.


02// Identification

Sit in from of your Ventilated sequence and analyze it. DO NOT, do this from a picture, you have to do it in from of it LIVE. You want to see how the spaces are formed, how they interact the way they do, how spaces are large/medium/small. Also, understand WHY the unexpected happened. It is important to know exactly how your Ventilated drawing works. When you are doing this look at the space, surfaces, lines, drawing, cuts, bends, folds, punctures, etc. and see what parts are ACTIVE – TRANSITIONAL – STATIC.

Active: with relationship with the actions/reaction, the movement it caused and the resultant that made the spaces in your ventilated drawing.
Transitional: Any connective space, surfaces, lines, drawing, cuts, bends, folds, punctures, etc. that connects actions to a reaction or is a transitional instance in your ventilated model. (Hint: piano wire, cuts, lines, etc.)
Static: Any space, surfaces, lines, drawing, cuts, bends, folds, punctures, etc. that did not moved, or its effect was that of no action/reaction in the ventilated drawing.

Mark this on your Ventilated Drawing (you should have photograph your Ventilated Drawing by now). Make sure, however, that these notations go along with your graphic style and color choice. Keep it cohesive and neatly done. For example, if you use post-it notes, do you cut the post-it so they all fit nicely, do you print on them the words active, transitional, static? Do you print and nicely cut a sheet of paper with those notations. Do you use vellum sheets, or clear film or do you write on the surface of the Ventilated Drawing? Do they go horizontally or vertically? Think of this when you do this portion of the assignment. It is important for all of you to know that annotations are just as part of your project as the project itself so be very careful and particular when you do all these things. Sloppy work will be unacceptable.


03// Sectional Drawings

You will have to choose 10 section cuts through your Ventilated Drawing. You need to make sure that you have few mostly Active, mostly Static, and mostly Transitional section cuts. Hence, you are doing this after you have analyzed your Ventilated drawing and labeled the active, static and transitional spaces. The section cuts drawings are only of the section cut line and they do not need to show what is behind. Further, the section cut drawings do not have to be spaced out at regular intervals, but they have to go through the whole Ventilated Drawing – from edge to edge. (Note: you can go both vertically and horizontally, but know why you made the change)

You will need 20 tracing-paper sheet NICELY cut. The sheets can range from 6”x12” to 10”x12,” this depends of how high your ventilated drawing is and how the section cut drawing will need to fit on the page. Remember you will be scaling down your image by ½ scale or a 1/3 scale, keep it proportioal. These are FINAL drawings, and they need to be carefully crafted.

Type A: this section cut drawing is only of the physical, Bona Fide surfaces of your Ventilated Drawing. These are sectional cut drawings, and you are cutting through a surface, and cutting through a surface means you use two lines. You can poche, however, you do not need to do this as you can use hierarchy of lines to show Bona Fide cut lines.
Type B: this section cut drawing is a continuous section cut line through Bona Fide Surfaces and Fiat boundaries. Therefore the line will be continuous and you draw the implied surfaces you find on your Ventilated Sequence. Use two lines, for Bona Fide surfaces and a thick single line for Fiat boundaries.

You might want to try some drawings out first before you do the final set. Remember they need to be well crafted and indicate exactly what you are cutting through.


04// Isolating Sectional Drawings

Choose three section cuts, one ACTIVE, one TRANSITIONAL, and one STATIC. Each drawing, respectively, needs to be mostly active, transitional, or static, they will have some elements of each other, but they must be singular in what they do.

Type C: Place another tracing paper sheet, of the same size and nicely cut on top of the layered Type A and Type B sectional drawings and find/outline path, threshold, and place on each of the three. We had a very good conversation of what a path, threshold, and place are, how they are singular and multiple, how they act differently from one another, and how they are also the same at time. Be very thoughtful about this, and how you use your judgment to find these spaces. Do five (5) Iterations of these for each of the 3 sectional drawings.


05// Sectional Cut Models

You will be modeling the section-cut drawings. These models will be 12’’ long and they should not be wider than 3”. THEY ARE NOT SIMPLE EXTRUSIONS, they are tectonic and stereotomic at the same time. When modeling these Section Cuts, think of how the spaces you found: Bona Fide surfaces, Fiat boundaries; active, transitional, and static; path, threshold, place defer from each other. These models have to be well crafted and thoughtful. You are using your knowledge and judgment to make decision, but they must be informed decisions and you must know why you are doing what you are doing. When modeling think of the Tshcumi’s questions and how they can help you make informed decision about the spaces you are creating.

When modeling: Thicken the Type A Bond Fide Surfaces Single sheet on the same surface for Type B Single sheet layered on top of surface of Type A or B, for Type C.

I recommend that you all use chipboard or museum board when modeling. Use the Quick Dry glue. You can buy all of this at varsity. I also HIGHLY recommend you get a self-healing cutting mat. They will be you best friends in the years to come when you build models. A self-healing cutting mat allows you to have clean cuts and it saves your blades from going dull fast. DO NOT use the surface of the desk to cut, protect the surface by having another layer of material underneath or a cutting boar. Try not to use hard wood surface to cut as they wont give you nice clean-cut line. These models HAVE TO BE WELL CRAFTED, final model quality.

DUE: Friday Sep. 17, 8:30am on the wall.


06//Submitting work.

Use the following nomenclature when submitting work to the DropBox. I will be assigning you a list of work you have to submit on Drop box over the weekend.

CourseNumber_Semester_Prof.LastProf.First_Stu.LastStu.First_ProjectName

2501_Fall2015_DoeJane_DonJohn_VentilatedModel01

Due: Wednesday 23, 2015





\\ Reviews Monday, Sep.14


Have all the work you have don up on the wall, IT MUST INCLUDE:

Object
6"x6" Object image Strip
Technical Unfolded Drawing of Object
Object diagrams (initial with clear film) on 11"x17" or 8.5"x 11"
24 Image body sequence (with diagrams)
Volumetric Sequence
All (4) Composite Diagrams
Ventilated Drawing
Object/Body Narrative
Big Idea

\\ Composite Action-Reaction + Ventilation Drawings Friday, Sep. 4

Putting it all together! As we talked in Studio on Friday, the progress you all will do this long weekend is crucial to you understanding of what we have been doing for the pass two weeks. This weekend you all ARE PUTTING IT ALL TOGETHER. You are going to bring all the elements we have worked on and start to relate them to one another. They all have a relationship that is important you are able to use and talk about. You all have great idea, do not be afraid of them or be safe, explore. There are few portions of what you all need to do for this weekend, but I can assure you once you all do them you all will be satisfied you have accomplish them. I am really excited for Wednesday to see all the work you produce.


00/ Improve and Finish

Most of you have gotten a better idea of how to articulate your diagrams and Volumetric Sequence. Now it is time to FINISH THEM. It is important for all of you to do this first, as you will need the FINISHED products for the next steps and deliverable. We talked about craft, materials, tools that you can use to make these drawings better. Use them all. Do not let craft detract from your hard work.

Some aspects that all of you should look at are: 1) Volumetric Sequence Craft, 2) Volumetric Sequence Understanding, 3) Volumetric Sequence VOLUME (some of your V.S. are too flat and planar) 4) Volumetric Sequence diagraming (add tons of information and how they all relate to one another. Use Thread, piano wire, basswood, paper, etc. to show this.)

5) Diagrams line weights, 6) Diagrams information 7) Diagram clarity, 8) Diagram purpose

9) Labels, 10) Dimensions 11) Text, Max 10pt. 12) LINEWEIGHTS (Most of you have done this well, but there is always room for improvement)


01/ Composite Action Reaction

These drawings will start to look at how you have articulated your body in space through the Volumetric Sequence and how drawings of the Object you chose is affected by it. These drawings will focus on how the Technical drawings react to actions that happen on the Volumetric Sequence. Meaning HOW and WHY the elevations, or plans of your Technical drawings move, rotate, shift, etc. due to the volumetric actions that you have. Before you start to make these moves it is important that you all place your Volumetric Sequence on top of your Technical Drawings and visually analyze what happens. Think of the multiple possibilities of the actions-reactions and WHY they happen. You MUST UNDERSTAND THE REASON OF WHY THINGS HAPPEN. WHY, WHY, WHY?

These drawings do not require you to draw or redraw more of the object, or of your volumetric sequences; use the drawings and diagrams you have worked on already. There might be some times that you must alter line weights, or change the line type, or maybe redraw some lines to help the Composite Actions – Reactions drawings read better. However, I can assure you that you won’t be doing this to often.

You must do this twice, two iterations that each includes one plan and one elevation. In total you will have four 12”x12” Composite Action – Reaction drawings (set A and Set B).

Overhead, Diller + Scofidio; Flesh


Overhead, Diller + Scofidio; Flesh


Layers: 1) Image of Volumetric Sequence placed on top of printout of Technical Drawing 2) Layer 1: Larger Scale Action Reaction of Technical Drawing motion reaction to Volumetric Sequence as a whole. 3) Layer 2: Local Scale Action Reaction of Technical Drawings motion as individual units. 4) Layer 3 to X: you can add more layers to these drawings, but you must have at least the two layers indicated above.

Space Monument, Isern


02/ BIG IDEA

You all have written about your body and how it reacts to your Object. In this write-up you express the action – reactions motions as a descriptive narrative of your body. Now, you will have to remove your body and the Object out of the narrative and compose a write-up that expresses the BIG IDEA of what is happening by the actions and reactions and not your body or the object. This BIG IDEA should be able to apply to what is happening in your Ventilated Drawings as well as what will happen later as you develop your project. Write a 300 words minimum BIG IDEA. You must understand WHY and HOW the write up is able to express the action – reaction found in you Volumetric Sequence, your diagrams, and your ventilated drawings.


03/ Ventilated Drawings Post on Instagram the pictures of your Composite Actions Reaction Drawings. All of you must do this by Monday 7th the latest. We all need to like and comment on these images, and we all need to help eachother choose the best Composite Action – Reaction Diagram.

Once you have selected one of your composite diagrams start to ventilate it. Print a 36”x36” Composite Action-Reaction Drawing with all the layers. Mount this on a surface I suggest chipboard or foam board but you can choose cardboard, museum board, etc. Make sure that the material you choose is rigid and it can hold it shape. Start to ventilate the drawing, by cutting the surfaces and lifting them to create volumes and voids. When doing this, look at your image sequence and identify the trends of spaces that are created by your body. And apply this knowledge to your Ventilated drawing. You can layer these Ventilated drawings.

You all must use: 1) Primary planar elements (printout) 2) Linear elements (piano wire, Basswood) 3) Secondary, tertiary… planar elements (clear film with diagram, velum paper with diagrams, trans paper) 4) Secondary, tertiary…linear elements (thread, wire, etc.)

Make Sure you understand every move you make and WHY you are doing it. It is imperative that you know exactly what happens in every part of you ventilated diagram. Do not compromise your work because of craft even though this ventilated diagram is a fast model.


04/ Reading

Read Le Corbusier “Regulating Lines” from Towards a New Architecture and create 3 diagrams/drawings in your sketchbook with a sentence explanation of what the diagram is doing. This about this, and think about what you are going to diagram/draw. I am leaving it open ended so you all have the ability to choose think about what you will do. I will send the reading via email, be attentive to this email.


I am excited to see all the work you produce, and you all should be proud of the work as well. I know you have been working hard. Keep the work energy up and always work in studio this will help you and will help your work be much stronger and reduce the number of excuses. Take ownership of your space. If you have any questions really on your peers, talk to each other. This is the best way to learn.


DUE: Wednesday, Sep. 9, 2015



\\Volumetric Sequence and Object Diagraming, Monday, Aug. 31

This is a long post, READ AND HEED, it important that you understand what you are doing.

Today we talked extensively of the sequence of images and how your body moving in space. Most importantly, how your body is reacting to the motion of your object. All of you must note; however, that there is a difference between the objects movement and that of your body. The object inherently has some limitations. Some parts rotate, some others bend; some elements are rigid and some other elements are flexible. Your body, just like your object, has some limitations. These limitations differ from your object and are part of your own body. Some of you might be more flexible that others, some might be able to move at a steadier pace whilst some of you might be more mechanical. All this difference is what makes each of your projects differ and be unique.

Moreover, the motions your body creates is a reaction to that of the object, but it becomes an actions all of its own. The reaction of your body’s movement is the spatial changes that happen all around you. The object has an action that creates a reaction, this reaction become an actions and your body responds to it creating a reactions, then this becomes and actions that is manifested in an reactions of the space. (Read that again, or try to say that 10 times!) All has a sequence, yet they are two very different machines, with different limitation and properties.

Therefore, when you are creating the Volumetric Sequence you are doing the later portion of that ostentatious sentence I wrote above. When you are diagraming the object only you are doing the former part of the object. At some point both sections meet and the sequence of actions and reactions happen. Therefore is very important for all of you to pay close attentions to both of these deliverables and not do them as individuals, but rather as one being part of the other and vice versa.

The VOLUMETRIC SEQUENCE should show your body’s movements. Each of the 10 frames you chose, need to have an actions of you body, a time within the sequence, a placement in the X-Y-Z locations, and an analysis of the space it takes. When assembling these Volumetric Sequences make sure that every element has a purpose. Every element should indicate what your body is doing. Keep these elements consistent. If piano wire is your torso, only use piano wire to indicate the changes of your torso in regards to actions of you body, a time within the sequence, a placement in the X-Y-Z locations, and an analysis of the space. Do not try to make a single elements have multiple purposes you will loose the clear understanding of the Volumetric Sequence if you do. Also, look at what your body is doing and how is acting before you start to create this Volumetric Sequence. Do not assume what your body is doing, LOOK AT THE IMAGES SEQUENCE, all 24 of them. Your can use different materials on these Volumetric Sequence. But all elements should have a purpose; if they are there to hold something in place then there is a better way to achieve this.

The 10 images that you use for the Volumetric Sequence should be well diagram. Include axes, motion of body parts, static body parts, change of X-Y-Z, movement, etc. you can use only one color for these diagrammatical lines. Think back to the reading to see what you will diagram. Have the image on the clear film but make its opacity very light, so it does not detract from the diagraming you have done. Make sure you have good craft. These Volumetric Sequence are not final but good craft is always good to practice no matter what stage of the process you are at.

Your objects (car parts) are also reacting to the motion of you body. The actions they have, and you had initially diagramed might not change, but there might be some aspects of your object that will change. Placement of the object, the rotation speed, the locations of the object, etc. those things might change as the object reacts to your body movement. It is important therefore to look at even the smallest aspect of what is taking place and diagrams this. Having three sets of 5-6 layers each will start to indicate the actions and reactions of the object with regards to your body. However, make the distinction, diagraming the object initially was to see the motion – action and reactions – of the object at its ideal state. The layers of information you are going to diagram now are the motion – actions and reaction – as the object reacts to your body’s movement.


Deliverable for Wed. Sep. 2

_ Volumetric Sequence with 10 well diagramed images, and vellum/tracing paper to indicate how your body is making space.
_ 3 base Object diagrams (you already have them), with 5 clear film or vellum print outs of the actions of the objects are a reactions to the motion of your body, printed on 8.5” x 11 or 11”x 17
_250-300 word BIG idea of what is happening with the object, your body, and the actions/reactions of both.


Keep working hard, and work in studio. Collaborate with each other and share ideas. Your work will be much better and you all learn so much from each other. Post on Instagram using the hashtag and all of you can contribute to this, ask questions, and make sure you are always working and thinking effectively and efficiently.



\\Trace of Body and Machine, Friday, Aug. 28

      • The wiki did not update on Friday and I am not sure why. However, here is a quick deliverable list for Monday at 8:30AM

_ 24 6"X6" B/W images of your body in motion with the object in your hands. Your body has to recreate the motion of your object. Label these images "A" - "X". Print these on the plotters on 6images per strip.

_Choose 10 images not sequential out of the 24 (do not choose D & E. of M & N) images need to skip at least one frame (or have a extremely good reason why they do not. Diagram your body and the movement it creates. how does your hand move, or your arm, your torso, legs, feet. make sure that these are full of information. Place a single dot to ID the object in your hands. Diagram this movement.Print these on clear film or on Vellum.

_Assemble these on a VOLUMETRIC SEQUENCE. This sequence should arrange the images on relatively to its position of your body. and they should create the sequence of how your body moved. Make sure you take into consideration the frame of the image, the space between images. (e.i. if the images have a grater space between them means that they were taken farther apart that those images place close together. A good example Diller-Scofidio, Slow House



\\Motion Tracing & Corrections, Wednesday, Aug. 26

All of you need to make corrections to your drawings. They were a good start; however, they need lots of work. These drawings are very important and require that all of you put close attention to the object and how you draw them. It is also important to work by using the image, and the object at the same time. The image can be a guide, but measure the object accurately. The final drawings need to be and exact translation of the object into paper.

Maker sure that all your drawings are unfolded drawings of the objects you have. As discussed in class some of you need to arrange the objects elevations to match those of the plan. Further, some of you might be drawings two plans and one elevation, instead of the one plan and two elevations everyone else is doing; if so make sure you rearrange your page to include the extra plan and is correctly place on your printout.

Remember to have all of the necessary layers on your drawings, it might be good for all of you to remove the image behind the drawings and keep the other two images (without drawings) at a 50% opacity. Use LINEWEIGHTS, LINEWEIGHTS, LINEWEIGHTS. Not many of you did this today, and therefore your drawings were weak. Line weights help your drawing read better, and they will paly a important part later on.

Remember, for Friday you all need to have presentation FINAL drawings of your unfolded drawings. This is important to stay on track with the studio schedule.

Dimensions are important, and they need to follows the conventions that were talked about today. Make sure you are measuring all parts, and that they all are accurate. Annotations and notations are required on both the drawings and the images. Take advantage of these to explain your Object and identified nuances you find on the object. Make sure that both the dimensions lines and the notation leaders have LINEWEIGHTS.

Also, READ Peter Eisenman Diagrams reading I sent out to all of you via email on Monday. It is important and will help you understand diagrams, and the process/reason for doing them.

You all need to trace the motion of your hands related to the object. What is static, and what is moving; are you moving your hand only or is it your whole arm. Is there a change of motions, or a change of force? These questions have to be clearly answer on the diagrams with not writing or verbal explanations. You need to have three of these traces for Friday, printed on 11”x17”. Make sure that you are using either the Plan drawings or Elevations drawings. You can use both if you think this will give you a different perspective. These lines can be done using color, but limit yourself to colors that read well on the paper. (ex. CMYK) DO not use yellows or greens that fade to the background.

ADDED. Have some tracing paper on top of the initial motion trace and identify where the majority of the force is coming from by re-tracing the trace of you hands/arms. You are going to be extracting information from the information you trace out of your hand/arms. There is a redundancy to this, but it will bring new aspects of the trace you don’t see at first.

Deliverables for Friday:

- Fix the drawings using the discussions we had today in class. Make sure you pay close attention to detail, line weights, dimensions, annotation, axis, and motion.
- Annotate the images and have them in a sequence that you can read easily
- Read Peter Eisenman reading that was sent via email.
- 3 traces of your hands motion with tracing paper trace on top of each of the 3 drawings.



\\ Phase 1 - Tracing Motion in Space, Monday, Aug. 24

M-ism

Me·chan·ics
məˈkaniks/
noun plural but singular or plural in construction
noun: mechanics; plural noun: mechanics
1. the branch of applied mathematics and physics dealing with motion and forces producing motion, comprised of kinetics, statics, and kinematics. :: 2. the theoretical and practical application of this science to machinery, mechanical appliances, and the functional details and procedures
3. machinery or working parts of something. the way in which something is done or operated; the practicalities or details of something.
4. the practical application of mechanics to the design, construction, operation, and deconstruction of machines or tools.


Ma·chine
məˈSHēn/
noun
noun: machine; plural noun: machines
1. an apparatus using or applying mechanical power and having several parts, each with a definite function and together performing a particular task
2. any device that transmits or modifies a force or directs its application.


Mo·tion
ˈmōSH(ə)n/
noun
noun: motion; plural noun: motions
1. the action or process of moving or being moved.
2. a gesture."she made a motion with her free hand"
3. a piece of moving mechanism.


1 SALVAGE: Each student needs to dig and find through junkyards across town one complex auto part, Object, that functions by the methods of Mechanics, Machine, and Motion. The best Object is that that has a complexity of parts and connections; with the ability to change, move and/or create a force through a system. Be creative in the part you choose, sophisticated, do not buy the first auto part you find. There is not need to spend lots of money, negotiate. Make sure that the Object is clean, and has no leaks of any kind (oil, coolant, fuel, etc.) before you bring it into studio.

2 STUDY: Study the part and understand its Mechanics, how it operates at every level; from the smallest and insignificant parts to the largest gears or joints. Document your Object by photographs, using a proper scene and lighting in order to capture every detail of it. Make sure you take multiple pictures including images in plan, elevations, perspective, and details.

3 MEASURE + DRAW: Each student will be measuring the Object in detail. No parts to be omitted. The more accurate the drawing is, the better the outcome. This is a technical drawing of the Object. It is important to understand every part of your Object, and know how you translate it from Object to drawing. You will be drawing ONE [1] plan and TWO [2] elevations of the Object at a 1:1 scale. These drawings must include construction lines, object lines, dimensions, notations - font 10pt max. All lines should be gray-scale; do not use 100% black. (Use AutoCAD or Rhino to draft the Object, and use Adobe Illustrator for post production)

Layers that need to be included on the drawing:
0. Image: flat image of Object in plan, elevation, elevation, at a 50% opacity max.
1. Construction Lines: construction lines are the guides for your drawings, they must fill the entire page and should b the lightest of all the lines. These lines will help you CONSTRUCT your Object as a drawings.
2. Object Lines: these lines start to draw the Object, use LINE WEIGHTS to show depth, hierarchy, and purpose.
3. Dimensions: show all the dimensions of your object, small and large. (font 10pt. max)
4. Operation: identified the operational parts of your Object. Where does it pivot, slides, turn, extends, folds, etc.
5. Axis: find all axis on the device: linear, radial, etc.

All drawings need to be post-produced and presentation quality, they should include a scale and titles.


Deliverables for Wednesday, Aug. 26, 2015 (Pin-up on the wall at 8:30AM)

One [1] 36” x 36” unfolded print out that includes the one [1] plan with all the layers, two [2] elevations with all layers, and two [2] elevations image only.
Six [6] 6” x 6” black and white image strip of your Object, annotate the image (images must be different than those use for the plan and elevations, they can include details and perspectives)
Reading Peter Eisemen: Diagram, An Original Scene of Writing. (via email). Be ready to discuss this reading in class.



\\ Welcome Monday, Aug. 24

Welcome to ARCH 2501 - Studio 2. This is your daily source for updates, assignments, readings, and links for this intense studio semester. Students should check this page DAILY. Be ready, come prepared, work efficiently, and be energized.

Central California History Museum, Pamphlet ARCHITECTURE 34