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College of Architecture
Texas Tech University
Mail Stop 42091
Lubbock, Texas 79409
Phone 806-742-3136
Email: architecture@ttu.edu

Instructor: Terah Maher

Architecture Design Studio II

[B O D Y + S P A C E]


Wiki Help

Project Statement
Augmented Bodies
Rebecca Horn
Lucy and Bart
Laban Movement Analysis
Laban Notation
Elemental Trace Forms
Tony Orrico
Heather Hanson
Etienne-Jules Marey
Motion Analysis: Crystallographies Diagramming:
Diagrams of Interiority

01_Body, Memory and Architecture
Kent Bloomer & Charles Moore
02_Diagram: An Original Scene of Writing
Peter Eisenman

Project Statement
Modulor Man
Milwaukee Art Museum
I'Institute du Monde Arab
Chuck Hoberman
Sarah Bonnemaison
The Third and the Seventh
Arthur Ganson
Theo Jansen
Rhythm Visualization:
Rainer Wehinger
Mark Applebaum
Sylvano Bussoti
Oscar Fischinger
Optical Sound
Norman McLaren
Reiser + Umemoto

01_Poetics of Space:Shells
Gaston Bachelard
02_Geometry of Design
Kimberly Elam
David Wade
04_Atlas of Novel Tectonics
Reiser + Umemoto

Project Statement
Peter Zumthor
Tadao Ando
Steven Holl Architects
Louis Kahn
Eero Saarinen
Luis Barragan
Alvaro Siza
Carlo Scarpa
Site Conditions:
Lubbock Storm Water Plan

01_White Light Black Shadow
Louis Kahn
02_Outside Lies Magic
John Stilgoe
03_Experiencing Architecture: Daylighting
SE Rasmussen
04_Sunlighting as Formgiver
William Lam
05_In Praise of Shadows
Junichiro Tanizaki
Peter Zumthor

Courtney Bishop
Ryan Bradley
Francisco Cantu
Mason Charanza
Kelechi Chigbu
Kyle Crosby
Cassady Fredricksen
Chas Gold
Jose Gonzalez
Taylor Grandorf
Victoria Lewelling
Daisy Limon
Hugo Rodriguez


Dropbox Phase 03

Please upload by Tuesday Dec 8, Midnight

Precedent Study


Light Diagrams

Phase02Inspiration and Documentation Photos.jpgs
Photos of 3 Light Diagram Models.jpgs


SitePlan with project drawn.pdf

Formal Investigations

DiagrammaticLayer.pdf AND .ai
Photos of additional study models not evidenced in 36x36.jpgs

Section Exploration

Scans of TracePaperSiteSections(2).jpgs
Site Perspectives Studies(3).jpgs
Final Perspectives (interior and site exterior) (3).jpgs

Final Documents

SitePlan.pdf AND .ai
Sections.pdf AND .ai
ADA bathroom. pdf AND .ai
Axon Diagrams.pdf AND .ai
Final Model Photos.jpgs
BigIdea.doc or .pdf


Monday 11.30.15

9-11:30am / 1-3pm

Deliverables for Final Review

Due Mon 11.23.15

Notes: please label ALL drawings with DRAWINGTITLE_Yourname_2501_Fall 2015_Maher

Also, please find on dropbox the required pin-up organization for final review.

Research Summary
1. (Due 11.19.15) Precedent Study Condensed (use template on dropbox)

2. Group ADA research dropboxed to Terah

3. Site plan + research reduced 18" tall x12". Using the site plan on dropbox, digitally draw in your project at scale. Choose two site photos that best demonstrate your site area and size them at 6x4. (Use template on dropbox.)

Physical Model
4. Final Model. 1/4" scale. The model should split in two halves, through the gathering space. (can split in more, if beneficial.) Must be set in a sloped ground, minimum thickness 1". Do not make the ground area surrounding the model too small, give your structure some room...the more the better. The building structure must be glued into the ground. You may use the laser cutter for your ground.

Technical Drawings
5. Plan @1/4" scale. Drawing size 24-36"wide x 12"x18'tall

6. Long Section @1/4" scale. Drawing size 24-36"wide x 12" tall. Please fill in the ground with a solid fill that bleeds to the edges of the paper. Use a 50-70% grey poche for the section cut (no black) as walls must be articulated to show structure: wall/roof/foundations.

7. (2) Short Sections @1/4" scale. Drawing size 18" wide x 12" tall. Please fill in the ground with a solid fill that bleeds to the edges of the paper. Use a 50-70% grey poche for the section cut (no black) as walls must be articulated to show structure: wall/roof/foundations.

8. (1) ADA Bathroom Plan + Interior Elevation @1/2" scale. Must be dimensioned and diagrammatically show clear space and turning radius. Must include toilets, sinks, fixtures, grab bars and drains.

9. (2) section perspectives (interiors) taken from final physical model, black and white, printed 8"x8". Photograph on edge both halves of your final model. Digitally emphasize the section cut and ground with contrasting thick line. Black out the background.

10. (1) section perspective (interior) taken from rhino model, printed 8"x8". Reveal a section cut that the physical model does not. (Probably a long section.) Digitally emphasize the section cut and ground with contrasting thick line. Black out the background.

11. (1) exterior perspective showing the site, 8"x8". Using either photos of your final model, or screen shots of your rhino model, photoshop your building into a site photograph. Must show or photoshop in water situation.

12. Please use the Rhino Model to create a set of diagrams, each contained in an 7"x7" area, on a 36" wide x 7" tall strip. From left to right:

Axonometric Rendered
Axonometric X-rayed with Main Sunlighting Strategy Diagram
Axonmetric X-rayed with Water Consequences Strategy
Axonometric X-rayed with Services vs. Served Strategy Diagram
Axonometric x-rayed with ADA wheelchair accessible routes + additional egress Diagram

13. Big Idea (1 short paragraph) printed on 8"x8". (See dropbox for template)


Sections and Modelling

Due Wed 11.18.15

At this point your plans and sections of your project should be in constant progress. There should be a visible improvement and development of the design for each and every studio session, evidenced by the latest printout for each and every studio session.

0. If you are still missing your diagrammatic layer on your formal iteration photos, do it now.

1. Section Study
Complete the section studies assigned in class. Follow the directions on the handout given in class (and available on dropbox.)

1 simplified long-section with brown paper ground and filled in water, minimum 24"x12"
1 simplified cross-section with brown paper ground and filled in water, minimum 12"x12"
(3) quick-and-dirty section perspectives 8.5"x11"
Take photos you already have of model iterations, or take new ones (do not build a new model for this!) that show the edge end of your enclosures. Draft on the printout of the photo in colored pencil (preferably white) the sectional outline of the enclosure (or implied enclosure) of space.

2. Rhino model of your entire building.
Ground plane, ramp, stairs, exterior walls and main interior walls all necessary. Stalls and bathroom fixtures not necessary to model. (You can show those in plan and section only.) This rhino model will be used for several images/drawings you will present at final review. Please print an image of your model on 11x17 tomorrow for class.



Friday 11.13.15
Excellent Mid-Review today. Please process your review and write me an email stating what you took from the review and what you need to work on next. You will receive an email response with individual direction.



Due Friday 11.13.15
In preparation for mid-review:

0. Be ready to present the main-ideas of your project with efficiency and swiftness, using reference to your models and photos to demonstrate what you are talking about.

1. Building Plan and Sections
1 Plan and 2 sections minimum (cross and long) printed at 1/4"scale. Have the drawings organized neatly on the page in logical orientation. Include scale. Include ground line and scale figures in all sections.

2. Formal Iteration Series
Add a diagrammatic layer to your photographic series by drawing on top of your photos. Demonstrate the conclusions and decisions you've drawn from the photographic series through point/line/plane diagrams. Print the drawing layer on transparency and pin on top of the photographic print out.

3. Site Diagram
Locate and draw your project on the site diagram to aid your presentation. Pin to your wall.


Formal Refinement cont.

Due Wednesday 11.11.15

0. Complete the Mid-Project Assessment handed out in class. Pin to your wall.

1. Building Plan and Sections
Continue with drawing development.

2. Formal Iteration Series
Photographs should be taken and printed by Wednesday.


Formal Refinement

Due Monday 11.09.15

1. Building Plan and Sections
For Monday, please rework your plan and complete at minimum (2) sections of the building, one cross and one long section. Incorporate the changes we discussed during desk crits. In particular, refine your circulation and deeply consider the experience of the procession through the structure. Rework any awkwardness noted. Also, for some of you (whose plans lack organization) take a step backwards to draw an underlying organizational system (grid, spine, proportional spaces) to help you locate building boundaries and sizes of spaces. Include ground line and scale figure in all sections. Print at 1/4"scale.

2. Formal Iteration Series
Choose an enclosure element of your project to investigate through photographic iteration. Build a series of (6) models that test the dimension, shape, and performance of the enclosure. Photograph each model inside with a moving light over (6) frames. Present (36) 6"x6" photographs in columns and rows.


Draw: Building

Due Friday 11.06.15

1. Building Plan
After today's ADA workshop, redesign your restrooms to fix ADA accessiblity problems. Also remember the rule: In super functional spaces, like bathrooms, default to orthogonal walls and right angles. Deviations from the rule should be used specifically, with great intent. If you have an irregular form, consider carving a regular shape within the interior enclosure of the irregular form (instead of defaulting to an offset line operation to get the thicknesses of the wall) and use the resultant thickened walls as poche spaces that can be used for plumbing, maintenance access, storage, etc. Remember Zumthor: The inside does not have to match the outside.

Also, draw doors and doorswings correctly, after asking yourself: Is that door actually necessary, or can I use a series of privacy walls?

Draw your entire building including gathering space, transition spaces, service spaces (toilets sinks showers), and ramp/stair access. Draw in Autocad. All materials must now be demonstrated has having a thickness, so every plane gets a outline. Fill section cuts with white or light grey, NOT BLACK. Demonstrate a burgeoning understanding of the building's materals and structural tectonics though demonstration of varying wall thicknesses - What walls are thin, what walls are thick? Print at 1/2"scale, include a scale on the page.

2. Building Section
Begin a section of your building to show ground plane, ramp access, and enclosure heights. Include a scale figure. Print at 1/2" scale.


Design: Ramp

Due Wednesday 11.04.15

1. Site Plan
Complete missing information.

2. Service Spaces: ADA Compliant, 1/2" scale
Send files to Terah and pin up in studio.

3. Model Iteration with Ramp
For Wednesday please do another 1/4" scale iteration model. This model should grapple with lifting the building/parts of the building off the ground a minimum of 36". You may have stairs, but you will also need a ramp concept.
Quick and clear ramp rules pdf Ramps
As the maximum rise of any single ramp length (of slope greater than 1:20) is 30", by requiring you to rise a minimum of 36", you are forced to grapple with a segmented or jointed ramp. Your maximum slope allowed is 1':12', so for every rise of 1', you have 12' of ramp. Therefore, to rise 36", you have a minimum of 36' of ramp. But this of course is a max/min. You could have a very gentle slope, with a very long ramp system. You've got the space. Rethink the "ramp." Design the experience!
For Wednesday's model, you may remain diagrammatic with your upper building parts but please be very precise with the ramp/stairs/groundplane. Please also show the model connected to and rising from an actual ground plane.

4. Update Plan Diagram: Service vs. Service Spaces
Update your service/served spaces plan diagram (drawn at 1/4" scale) to include your latest building boundary with 1. double line outlines for building walls showing openings for main thresholds and dotted lines for any overhangs 2. locations of bathrooms and showers (go ahead and put your drawings from today right into the diagram) 3. locations of ramps/stairs. Label with scale and north arrow. (final orientation of the building may change of course, but give it an initial thought right now.)

5. Ramp Sections
Draw a series of simple sections (at 1/4"scale) of your ramp segments that demonstrate an understanding of your rise and run. Do show the ramps' relationship to the building envelope (put a building on it), but graphically the building can remain diagrammatic. Label with dimensions and scale.



Due Monday 11.02.15

1. Site Plan
Nice work out in the field on Friday, measuring the site. Compile all the information in a group site plan and print for Monday. Print at 1/32" scale on 48"x36" paper. Team leaders are responsible for drawing their team's efforts in the group Autocad file, after the group completes any necessary math. Slope teams should co-ordinate to discuss who will draw the additional contour lines that connect their measurements.
To refresh on responsibilities:
Initial transfer/layout from city PDF to autocad: Taylor
Laser Team: Victoria
String Team: Cassady
Team Tree: Mason
Team Infrastructure: Kyle
1st draft Illustrator post-pro and printing: Daisy

2. Service Spaces: ADA Compliant, 1/2" scale
From your current concept model you should have some idea of the configuration and outline of your service spaces. Design these services spaces containing the toilets/sinks and showers. Everyone must have a least two separate bathrooms, either male/female or multiple individual unisex ADA pods. Everyone needs sinks that at least, accompany the toilets. (There can be additional water sources that perform like sinks.) Design your restroom facilities in concert with the big idea of your project and specifically the "nature" of your gathering space and the services that will benefit it. Don't default to a single design of a unisex bathroom and multiply it just because it is the least amount of work needed; it should depend on the "nature" of your facilities.

Also, design the details of your "shower." The quanity/quality/use/performance/temporality of the shower is also depended on your overall concept, however, all "shower" facilities must be accessible by wheelchair and contain a seat and reachable controls by a seated person.

Minimum 1 plan and 1 section. Print at 1/2" scale on paper necessary.

3. Readings
Excerpt from In Praise of Shadows, Jun'ichiro Tanizaki.
Atmospheres: Architectural Environments, Surrounding Objects, by Peter Zumthor.
Be prepared for class discussion.


Project Research

Due Friday 10.30.15

1. Big Idea Iteration
After the discussion in class on Wednesday, please iterate your concept model once again, to clarify and strenghten your big idea, and address developing issues of service versus served spaces. 1/4" scale.

2. ADA reserach
In groups assigned, prepare 2 11"x17" documents that summarize all the pertinent ADA guidelines for your subject. Utilize these resourses among others:
2010 ADA Standards
Texas Accessiblity Standards

3. Site Survey Research
Tomorrow in class we will measure our site. Be prepared by doing basic prep work - bringing city plan documents on dropbox into illustrator and printing out a plan of the site, researching diy solutions to site survey, and bringing necessary tools and outerwear to class tomorrow. In particular, you are challenged to figure out a way to measure the overall slope of the site.


Light Device Volumes Iteration

Due Wednesday 10.28.15

1. Readings
S.E. Rasmussen, Experiencing Architecture, Chapter 8: Daylight in Architecture
William Lam, Sunlighting as Formgiver for Architecture, Chapters 6-8 on Sidelighting, Toplighting, and Toplit Shared Central Spaces
Be prepared for a quiz/discussion of the readings.

2. Sunpath research
Do basic research on Sunpath diagrams. Find Lubbock's latitude and longitude, and understand the Sun's azimuth and altitude for a typical winter and summer day. Print out a sunpath diagram for class tomorrow, 8x11.5.

3. Section Diagrams revised
Revise your section diagrams as discussed in class. Include the ground as a tone, and material thicknesses in section cut - this includes the floor plate. Include the sun in two normative positions plus direct and bouncing sun rays demonstrated via multiple vector lines. Gradient tones in space and on surfaces are encouraged but not required. Include a silhouette scale figure plus scale bar and labels. Print 8x11.5.

4. Light Device Iteration
After our class discussion, iterate your light device. (If more initial models are required as stated by professor, make those first.) This time, use the best ideas from your first models and develop a model that at 1/4" scale, encloses roughly 1000sqft of space. Explore ideas of materiality through demonstrative use of modelling materials.

5. Plan Diagram: Service vs. Service Spaces
At 1/4" scale, draw a plan diagram that describes your initial ideas of plan organization. In particular, show a strategy for the location of service areas (bathrooms, sinks, showers, dressing spaces) vs. served spaces (gathering, meeting, sitting). Print 8x11.5.

6. Site Survey Research
Tomorrow in class we will measure our site. Be prepared by doing basic prep work - bringing city plan documents on dropbox into illustrator and printing out a plan of the site, researching diy solutions to site survey, and bringing necessary tools and outerwear to class tomorrow. In particular, you are challenged to figure out a way to measure the overall slope of the site.


File:Corbusier_Light_diagram.jpg Le Corbusier light diagram

Light Device Volumes

Due Monday 10.26.15

1. Readings S.E. Rasmussen, Experiencing Architecture, Chapter 8: Daylight in Architecture
William Lam, Sunlighting as Formgiver for Architecture, Chapters 6-8 on Sidelighting, Toplighting, and Toplit Shared Central Spaces

2. Light Device Models
Look closely at the photos you took of your Phase 02 Habitat model. Take additional photos if your current photos are unsatisfactory. Inspired by material, tectonic. and formal conditions already present in your habitats, make (3) different models that demonstrate solid and void (enclosure and opening) configurations designed to control the flow of light. These are not abstract white models like the precedent study - these models should incorporate nascent ideas of materiality and tectonic connection through the use of a variety of modelling materials such as the ones already present in your Habitats. Do not automatically default these models into fully enclosed volumes; only include necessary spatial boundaries that sucessfully demonstrate the idea. Take formal inspiration from your habitat models; revert to a rectangular form only by deliberate design and not by default. Build the models at 1/2" = 1' scale (which would mean a human figure inside would be about 3 inches tall.) The models should concisely demonstrate only one idea each. Make the models as large as necessary but not too large; they should be able to fit in the palms of your cupped hands. Be able to describe the idea of each model using the technical language presented to you in the readings. Avoid thinking of these models as "rooms." They are light devices (a system of enclosure and opening) with an implied spatial boundary.

3. Section Diagrams
For each device model, digitally draw a section diagram that demonstrates light passage. See the Sunlighting reading for a myriad of simple light diagrams. Draw at 1/2"=1' scale. You must show relative material thicknesses (poche) and how elements come together tectonically (i.e. simple joints, or what butts up against what). You must have a silhouette scale figure. Demonstrate TWO different sun positions with a sun icon and multiple rays projecting/bouncing light. Label with summary title, scale, and your name. You can print on 8.5"x11", or larger if necessary.

4. Is your dropboxing done?


File:Mt_st_michel_600.jpg Mont Saint-Michel, France

In the Event of Rain: Site Visit

Wednesday 10.21.15

Reading: John Stilgoe, Outside Lies Magic, Chapter 1: Beginnings

1. Site Looking
After the downpour Wednesday night, return to the site on Thursday to observe the retention of water in the Technical Terrace Park Drainage Basin. Take many photos, both far shots and details, and record at least 1 page of exploratory observations. Print out 20 photos of the site (format of your choosing, but make it attractive and legible) and type up the 1 page of observations to hand in.

2. Inspiration Photos
Photo study of Phase 02 Final Habitat model. Take many photos of your model, with a variety of lighting conditions and orientations. (inside, outside, upsidedown!) Print at least 10 photos, both overall and closeups of the interior on a contact sheet. Print the 3 most evocative interior shots, individually on 8.5"x11", color.

3. Complete Dropbox upload.


Sun Slice House, model, Steven Holl Architects

PHASE 03_Precedent Study: Water & Light

Friday 10.16.15

Due Wednesday 10.21.15

Reading: Louis Kahn, Conversations with Students: White Light Black Shadow

Precedent Study

1. Spatial Sequence & Diagrams
Due Monday: 12 sequenced images of precedent study, printed in strips 6" tall + plan locator map of images, 11"x17". 2 diagrams, horizontal and vertical, describing organizing concepts of precedent,each 11"x17".

2. Light Diagram Model
Due Wednesday: Light Diagram Model, white, roughly 8" cube. 3 photos demonstrating different light conditions within cube, printed in 8" strip.

Kolumba Museum, Cologne, interior. Peter Zumthor, 2012

Phase 02 Documentation

Submit all documents to the dropbox folder shared by just Professor Maher and yourself. All documents should be in .jpg or .pdf format. Then, upload the documents with a (*) next to them to your personal Wiki page.

Name_Proportional Overlays.jpg (all individual layers)
Name_Proportional Overlays.pdf (compiled) (*)
Name_Frames.jpgs (all 17 individually please)
Name_Transition Frames.jpg (4)(*)
Name_Transition FramesWithTraceOverlay.jpg (4)
Name_Slice Frames.jpg (photos on black, 1 for each study model)(*)
Name_ShellModelPhoto.jpg (overall image, take on black)(*)
Name_Spatial Diagram.jpg/.pdf
Name_Composite Axonometric.pdf(*)
Name_Project Statement.pdf
Name_Final Habitat exterior photo.jpg(*)



To complete for final review:

0. Animated diagrams.movs to Dropbox

1. Project statement

2. Revised RhythmLine Diagram + Transparency Overlay 24"-26" long
Please label as RhythmLIne + Spatial Diagram (top or side view) in addition to Yourname_2501_Maher

3. Composite Axonometric, 36"wide x min48"tall
Expected components:

Composite with Structural Trace/Skin/Body
Structural Trace
Skin Concept
RhythmLine + Spatial Diagram superimposed
Animation Slices, either A. (5) State Frames or B. (4) Transition Frames
Construction Lines
Labels on everything, including states
Yourname_2501_Maher_Composite Axonometric

4. Habitat model 24"long x 12"x12" (roughly)

Inside and Outside

Due Friday 10.09.15

Here are the things that you should currently have in process.

0. Project statement draft

1. Revised RhythmLine Diagram + Transparency Overlay 24"-26" long

Proportions, Frame Numbers, Frame States, and Name_RhythmLIne_2501_Maher should by now all appear on the paper. The diagrammatic reading of the RhythmLine should reflect the dimensional and spatial characteristics of your habitat model (in process). The SPATIAL DIAGRAM you drew inside your axonometric frame (in Rhino) should be exported and printed on transpareny, at a low opacity (think ghostly) and pinned over the paper RhythmLine.

2. Composite Axonometric

FOR FRIDAY, complete a layer in your digital axonometric of the SKIN inside your FRAME. For Friday, you should have all rhino drawing complete, so you can export all the layers into Illustrator to compile the composite axonometric over the weekend.

3. Habitat model 24"long x 12"x12" (roughly)

WELL UNDERWAY!!! If you are changing a tectonic component of one of your slice models, remember you must do a quick and small iteration of your idea before launching into the final model. That being said, the time for experimentation is over. START YOUR FINAL MODEL. Evidence of the final model construction should be visible in class on Friday.


Spatial Skin

Due Wednesday 10.07.15

0. Read & Write
If you have not yet completed Draft 1 of the Project Statement, do this now.

1. Orientation Photo Sequence, 6"x36"
Take a photo series of your Shell model. Set the model up on a black background, and the camera up on a tripod. Use a single light with a swivel arm to move the light in an arc from right to left across the model, or to simulate the sun moving from East to West. The camera should be positioned to look inside the model: you are capturing the effect of moving light on the INTERIOR surfaces of the model. Your light should be a single direct source that produces strongly defined shadows. Take the photos to Photoshop, make greyscale, and 6"x6" each. Vertically tile the photos in a single document 6"wide and 36" tall. Print on coated bond for the best blacks.

2. Spatial Diagram
Add a spatial diagram layer to your axonmetric model. The diagram shows the actual occupiable space within the model, and closely correlates to interior skin. The diagram should be modeled as a singular continuous surface, rougly tubular (although articulated specifically to your model). The diagram should also show any major breaks or holes in the "skin." In the final presentation of the composite axonometric drawing, the shell structure should be ghosted (read: lines only), while the spatial diagram is given a mask tone. Utilize opacities to benefit legibility.

3. Begin Final Habitat Model, roughly 12"x12"x24"long
Start planning and gathering materials for your final model. Your final model will the next version of your Slice Models, constructed following the diagrammatic identity of your Shell model and RhythmLine. In your slice models, you develped a tectonic system of structure, skin, and body, and a method of depicting sectional changes from state to state. IF YOU ARE planning to change your tectonic system, YOU MUST first complete a new Slice Model iteration that we can discuss, before launching into the final large model.


File:BigSfarmCocoon.jpg Cocoon, found on mybigsfarm.wordpress.com


Due Monday 10.05.15

1. Read & Write
Read Reiser + Umemoto's Atlas of Novel Tectonics, Introduction. Write a draft of an essay explaining your project. Follow the handout given in class and available on dropbox. Please note that while this essay addresses what form your project has already taken, it is also a space to predict where the project is going, to write into existence the future formal goals of your project. Use your reasoning & imagination. Print on 8.5"x11" to hand into class on Monday

2. Model: Shell/Cocoon/Nest/Hive
Materialize your axonometric base layer. Scale: 1/2"=1". Using only chipboard and white glue, please turn your axonometric into a model. The model will be roughly 12" long. There should be 17 rings evident, at the correct widths as you've determined by your RhythmLine. In addition, if there is a general gesture or identity to the overall form that you see emerging in your RhythmLine, Axonometric Drawing, or Essay, this is the time to incorporate it into the model. What specific spatial qualities are distinct to your project over others? Exaggerate them.


File:Applebaum-Accompaniment-music_600.jpg Mark Applebaum, composer. Visual Score segment

Axonometric - Rhythm/Duration Register - Slice Models

Monday 09.28.15 - Fri 10.02.15

0. Moving Diagrams cont.
At the end of the workshop, you should have produced:
(4) images of Transition States (printed on 8.5"x11", landscape format), labeled with the two Original States evident in the image
(1) chronodrawing (all 17 layers simultaneously with darkened blend, printed at 11"x17")

1. Rhythm/Duration Register - The RHYTHMLINE - 8"x26"
As per discussion in class, complete a proportional timeline that demonstrates the timeduration/depths you've designed for your Transition States model. Total rhythmline should be 24" long, but the individual lengths of the slices are to reflect a proportional system you've devised either directly from the animation's timeline, or from the proportional system from your Overlays. There should be an overall organizational strategy to the the lenghts of the slices utilizing repetition/acceleration/and/or/deceleration of the individual modules. Draw the final RhythmLine digitially. Label slices 1-17, AND the proportional letter of the module. Print out at 8"tall, 26" wide.

2. Axonometric, base layer complete
Finish your axonmetric drawing, positioning the 17 slices like a handsliced loaf of bread. Each slice should have the depth assigned to it as designated on your RhythmLine. Print out on 11"x17", X-ray lines, in an orientation that allows you to view into the interior of the slices.

3. Mini Slice Models (4) @ 3"tall x 6"wide x ?"deep
For each of (4) Transition States images (the 8.5"x11"s) produced from the chronoanimation, layer a piece of trash paper (cut to 8.5"x11") and sketch to start extracting Levels of Enclosure information from the drawing. Within the layered drawing, look for areas of 1. Density 2. Permeabilty 3. Openness. Note the bodies in the images, and both how they are intersecting the containers edges, and how the forces of gravity are at work. Translate these observations into models (3"x6" with depth determined by your RhythmLine) that show 3 distinct yet interacting elements: 1. Structure, 2. Skin, 3. Body Trajectories. Use different materials to designate each element, for example Chipboard and/or Basswood for structure, Cardstock/White Museum Board for Skin, and Wire or taut String for Body Trajectories. Each of the three elements, while clearly distinct, should show clear evidence of an interaction with the other two elements. Skin and Structure should interact to create (3) levels of enclosure (impermeable, permeable, totally passable). Body Trajectories should show imprint on the Skin and the Body's dimensional needs should be reflected in the design of the Structure. IMPORTANT: the model should still somehow reflect the transition from one state to another, i.e. the section condition through the model SHOULD NOT be constant. (You should be able to cut at least two sections of the model and they will be slightly different.) If you are able to maintain an actual kinetic element in the model, go for it. The model should be self-supporting in its correct orientation, on a flat surface.

Only 2 of the 4 are expected for Wednesday. The other two will be due Friday.


File:F13_angel_buck_1011_image1_600.jpg Flores Angel, 1st year graduate student work at Yale University, 2013

Axonometric - Duration Register

Due Monday 09.28.15

0. Moving Diagrams cont.
We were too rushed in class to get through all I wanted to with the animated diagrams. We will continue the workshop on Monday. Please be ready with your flashdrive and scans.

1. Axonmetric - Duration Register

a. Rhythm Consider your animated diagram created in class on Friday, and the timing adjustments you made. Begin a sketch on large paper (I originally said you could do this in your sketchbooks, but on larger paper will be easier to visualize/change/and discuss.) Draw a timeline at least 24" long. Expanding on your Durational desires begun in the animation, fit your 17 sections (in order, from beginning to end) within the timeline, determining a depth(akin to timing) for each section. This is not an exact copy of the animated lengths, rather this is an opportunity to design. Consider the rhythm of the sections. Use the proportional system derived from your Golden Rectangle Overlays. You may at this point (if you haven't already) SIMPLIFY the proportional system. (You may take components that are very similar lengths and use the average, and if you find you have a small component that fits into a larger component ALMOST an even amount of times ((or a 1.5, etc), you may adjust the the numbers so that the math IS even.) Label the five main states on the diagram, and label the length of each section with the proportional letter.

b. Axonometric, base layer Draw your sections in Autocad. Use a combination of tracing the .jpg and precise drafting. Bring the sections into Rhino, and give each section the designated depth. NOTE: you do not have to draw every frame as it is in real life, i.e. pin joint with individual members that rest upon one another. As long as you have an highly articulated, double sided 0 shape (or C shape, if it's in a state of escape), you can do ONE extrusion to the entire shape. This should speed the process up. You must complete at least 8 of the 17 sections by Monday. Position them in Rhino so that all the "donuts" are connected.

Print out what you have so far, in an axonometric view, on 11x17 minimum.



Transition Frames

Due Friday 09.25.15

1. Transition Frames - 17 @ 12"x18"

1. Order your 5 Frame States, beginning to end. Overlay your trace sheets to view them simultaneously and best discern the most logicial and/or fortuitous sequencing. Be sure that a couple of components are labeled on each Frame State (either with their component letter or with some kind of visual marker, like a color) so that you can track where those particular components translate from frame to frame. Adjust (redraw) your 5 original Frame States to fit inside a 12"x18" area.
2. Draw Transition Frames. Method: Overlay (2) Frame States, with a blank sheet of trace on top. Using a combination of the mid-point drawing technique described in class and actual manipulation of your PinFrame model, determine a transition position between Frame State 1 and Frame State 2. Then overlay blank trace + Frame State 1 + 1st level Transition Position, and repeat the process, determining a 2nd level Transition Position. Then overlay blank trace + first level Transition Position + Frame State 2 and determine another 2nd level Transition Position. Be sure to label the drawings with a number, to keep track of the order. Work your way through all the Frame State "inbetweens." See above diagram for labeling.
3. Finish your drawings to these specifications: Draw each component including the pin joints in Micron Pen. You may leave any pencil marks resulting from the thinking/sketching/solving process on the page - do not erase. College the body into the drawings (1,5,9,13,17 at a minimum, also included in 3,7,11,15, even better!) Label the main Frame States as before.
4. Scan each of the 17 drawings. Take the scans into photoshop to do any necessary clean up (cropping/level changes.)
5. Be ready with 17 jpg scans + flash drive for Aftereffects Workshop #3, Friday during class.


File:Charlotte-perriand_600.jpg Charlotte Perriand, Mannequin Ergonometric Studies for chairs, including Chaise Longue, 1928

Frame States

Due Wednesday 09.23.15

0. Proportions Overlays Revision 8.5"x11"
As per class discussion, revise your Proportions study to include missing layers.
Salient points:

-at a minimum! layers needed: 1.circle/square, 2.golden rectangle, 3.golden rectangle expanded to dynamic diagonals
-measurements taken, CONSTRUCTION lines present to reinforce the lines/intersections at which the measurements are taken
-measurements equated to a proportional system, notated with letters a-z (this could be shown in a table format)
-proportional system graphically demonstrated with either a proportional square staircase, or a series of nested squares (or triangle and circles if you're feeling adventurous). This can be a side bar added to your analysis, if you feel there is not enough room to layer it on top of the 8.5"x11" stack. Label the squares with the proportional letter.

1. Revise Expandable Pin Frame
Frame must have the ability to expand from roughly area 6"x6" to area 12"x12". Creative expanding solutions are encouraged. Frame component lengths are taken from your body-derived proportional system, so please label each component with corresponding proportional letter.

2. Frame State + Body Collage
On 14"x17" WHITE trace paper, create (5) separate drawings. Each drawing has a trace of the pin frame (trace with careful precision, and show all the joints, in pencil or pen, neatly and legibly) and an impression of the body (collaged from cut-outs taken from photocopies of your 10 chronophoto segments, the body reconfigured to whatever position you need, i.e. lying flat (sideways), lying flat (head on view), sitting, crouching, climbing, reaching, etc., carefully pasted into the frame to demonstrate the following states:
1. Escape 1
2. Escape 2
3. Unconscious Repose (i.e sleeping, resting)
4. Conscious Repose (i.e. thinking, looking INWARDS)
5. Active Repose (i.e. watching, looking OUTSIDE)
Label each frame with the state name and yours, NEATLY

And then be ready to draw like the wind between Wednesday and Friday. Clear your schedules. You will have a lengthly assignment that will need to be finished FOR CLASS as we will base another Aftereffects workshop Friday in-class on it.


File:06_Le_modulor_composite_01_600.jpg Le Corbusier, Le Modulor composite 1948

Golden Geometries + Frame

Due Monday 09.21.15

1. Proportions Overlays 8.5"x11" (Please note, what follows is the minimum analysis required. You are encouraged to try additional Golden shapes such as the Triangle and Oval, etc.)

Reread Elam's Geometry of Design throughly.
Begin with a base layer - choose 1 image from your 10 motion segments (the inverted 10 taken from the chronophoto from which you did your motion analysis). Choose the most evocative, the most unhuman, the most impressionistic. Place it in illustrator, size it to your height. Use the scale 1"=1'. (So if you are 5' tall, the image is 5" tall). Now, for a playful moment, give your "beast" a fitting scientic name. Label your drawing.
Begin your proportional analysis. On separate layers, construct and best-fit the following proportional systems:
1. Vitruvian/Da Vinci/Durer Inscribing Square & Circle (p 16)
2. Golden Rectangle with subdivisions (p 24) (don't just slap this on - build the golden rectangle first, then search for the best-fit - it may not be the whole body, but a body part (from which it then grows forth), and there may be several smaller golden rectangle spirals evident)
3. Golden Section Dynamic Rectangles (p 32) This is an elaboration of your first Golden Rectangle, so the previous layer and this layer should align. Mirror/multiply/draw diagonals. You may also draw horizontals at the new intersections (see p 42)
4. Measurements. Measure the actual distances of the lines between intersections on the Dynamic Rectangles layers and place measurements on a layer. Be precise. You may want to export the drawing into autocad for easier measuring.
5. Proportion bar. Create a vertical porportion bar out of your measurements. Locate it next to the figure and label the segments with both a Letter (A-G etc.) and the actual measurements.
6. Print on 8'5"x11". Base Layer is paper, top layers are clear film. Minimum (2) layers of clear film.

2. Expandable Pin Frame
You will now construct a model out of basswood sticks and pin-joints. Laying flat on the 8.5"x11", wrap your beast in an articulated pin-joint frame. (The frame is also only 2-dimensional, although it has the depth of the basswood sticks). The lengths of the segments should be determined by your proportion bar. The number of segments is determined by you, somewhere around 11-20. The frame should be expandable. Position A should roughly enclose an area of 6"x6", and the expanded frame should roughly enclose an area 12"x12." You will have to invent a way that for the frame to expand.

3. Material needed for monday: Minimum 25 sheets of 14"x17" trace paper, preferrably in a pad.

4. Reminder: Reading: Poetics of Space, Chapter: Shells, by Gaston Bachelard
Read and digest this chapter for Monday, Sept 21. Writing Assignment: Make note of 5 passages or quotes within the chapter that resonate with you, and explain why.


File:Proportional_systems_600.jpg Kimberly Elam, Geometry of Design, 2001

Golden Geometries

Due Friday 09.18.15

Please read the following (found on class dropbox):

1. Geometry of Design, Kimberly Elam

2. Symmetry, David Wade

Read and Digest, be prepared for exercises on Friday with a COMPASS.


File:Golden_ratio_calipers_600.jpg Golden Ratio Calipers / Fibonacci Gauge

Phase 01 Documentation

Submit all documents to the dropbox folder shared by just Professor Maher and yourself. All documents should be in .jpg or .pdf format.

Then, upload the documents with a (*) next to them to your personal Wiki page. You will find a link to a new page in the right hand column of this wiki page. I created this wiki page for you, and it searches directly from your name. Start your wiki page that you will use for the rest of your time here. Follow a format like Sergio Elizondo's.

Name_ChronophotowithAugmentation.pdf (*)
Name_BodyMeasure.pdf (*)
Name_MotionSegments.jpg (there are 10 of these)
Name_MotionAnalysis.pdf (*)
Name_CollaspedDiagram1.pdf or .jpg (*)
Name_CollaspedDiagram2.pdf (*)
Name_CollaspedDiagram3.pdf (*)
Name_CollaspedDiagram4.pdf (*)
Name_AssembledDiagram1.pdf or .jpg (*)
Name_AssembledDiagram2.pdf (*)
Name_AssembledDiagram3.pdf (*)
Name_AssembledDiagram4.pdf (*)
Name_AssembledDiagram5.pdf (*)
Name_AssembledDiagram6.pdf (*)
Name_VentilatedFronts.jpg (*)
Name_VentilatedTops.jpg (*)
Name_VentilatedSides.jpg (*)
Name_CompositeDrawing.pdf (*)

END OF PHASE 01: MONDAY 09.14.15

1. Revision of Composite Drawing
The discussion on Monday touched upon the legibility of the graphic systems utilized by your drawings. Please revise your final drawing to reflect this discussion.
Some important tips:

1. Clean up each ventilated photograph BEFORE compiling into a single blended stack. Use levels in Photoshop to correct the amount of white/black/midtone in each photo. If the photo does not show the ventilation as a composition of grey lines/planes on a mostly white background, MAKE IT SO. If your photograph is unfixable, TAKE ANOTHER.
2. When stacking the photos of each set in photoshop, be sure to align them. Fronts should be aligned by their center point, and tops/sides should be aligned by the edge of the paper.
3. Edit down the stacks to maximum of 6 ventilations each. Use varying opacities to bring some planes forward and suppress others. BE INCREDIBLY DELIBERATE with the final reading of the stack. You are in control here - this is not a "take what you get" situation.
4. When compositing the front/side/top stacks of the ventilated models into one drawing, the three elements must be in relationship to one another. They are not directly on top of one another, and they should match in size as they do in reality. Use construction lines to demonstrate these relationships directly and convincingly.
5. Make the lineweight of the illustrator diagrams LEGIBLE. This meaning either, changing the line color to white, or black, so that it reads on top of the blended photo, OR printing this layer on acetate. Make sure the correct size in relation to the underlay is maintained.
6. Add construction lines and text notation (at a bare minimum, a TITLE) to enhance the understanding of the drawing. Imagine you have never seen this drawing before. Would you have any idea what it is about?

2. Reading: Poetics of Space, Chapter: Shells, by Gaston Bachelard
Read and digest this chapter for Monday, Sept 21. Writing Assignment: Make note of 5 passages or quotes within the chapter that resonate with you, and explain why. Due Monday at 8:30.

3. Please keep Phase 01 up on the wall till further notice.


File:Dame_barbara_hepworth_drawing_for_sculpture_600.jpg Barbara Hepworth, Drawing for Sculpture, 1940

Composite Drawing

PHASE 01 REVIEW: Monday, 09.14.15, 8:30am

0. Revise/Finish Ventilated Diagrams
Consider concepts and craft issues discussed in class. Type a single sentence description of each ventilation to be added below the model.

1. Revise Position Essay
Your position statement should now contain (2) paragraphs: 1. The initial paragraph describing the effect your augmentation had upon your body sensing systems and 2. A second paragraph that summaries the diagrammatic positions you extracted from your assembled diagrams and ventilated diagrams. It is a description of your compositions of abstract points, lines, and planes as a demonstration of MATTER IN FLUX, or FORCES, DIRECTIONS, DENSITIES, TENDENCIES, and APPARENT GEOMETRIC HIERARCHIES. Print and pin to wall.

2. Collasped Ventilated Fronts, Tops, Sides, 3 images @ 8"x8"
Pinned carefully onto black background with deliberate lighting, photograph each Ventilated Model from Front, Top, and Side (FrontElevation, TopPlan, SideElevation) Bring each file into photoshop, and crop to a square without reducing the size of the photograph. You will incorporate these photos as layers into a 24"x24" composition, so you do not want to shrink them now, just to blow them up later (and unnecessarily pixelate them.) Also, fix any contrast and color issues at this time. Bring them into Photoshop as layers (remember: File>Scripts>Load Files into Stack) Stack the Fronts, Tops, and Sides each in their own .psd file. Execute blends so that all layers can be read simultaneously. Finess the contrast, layer order, blend mode, and opacity of the layers to produce a legible, meaningful, and demonstrative diagram of lines and planes. Type label each composition Ventilations_Front Elevation, Ventilations_Side Elevation, Ventilations_Top Plan. Print each stack (Front, Top, Side) on 8"x8" and pin to your wall.

3. Contact Sheet Printed
Follow the backside of the handout from our second Aftereffects Workshop. Open Bridge. Navigate to the folder containing all of your motion capture stills (100-200 of them) and select all. At the top, click OUTPUT to get the Output Module Window. Type in the Output parameters as shown on the handout. Hit Refresh Preview. If satisfied, Save as Pdf. Print Pdf from Illustrator (crop doc size to 36" tall.) Trim remainder of white, and pin to wall.

4. Composite Drawing 24"x24"
Using Illustrator, compile the following layers into a single drawing, final print size 2'x2':
Body Structure
Balance Axes
Extents Nets
Motion Paths
Ventilations_Front Elevations
Ventilations_Side Elevations
Ventilations_Top Elevations

Be careful to maintain the correct scale of all the layers relative to one another. Place the Side and Top Elevations in the periphery of the drawing, correctly positioned in relation to the Front Elevations, and demonstrate the relationships with light dashed construction lines. Adust lineweights and blends and opacities of all the layers to enhance compositional legibility of the layers and finesse the reading of the drawing. Label the drawing with name,studio,etc., and the title:
Augmentation Name_Motion Analysis_Forces, Flows, & Densities.


File:Richardsweeney.jpg Richard Sweeney, The Cooper Temple Clause, 2006


Due Friday, 09.11.15, 8:30am, PINNED UP

1. Revise Position Statements on Collasped and Assembled Diagrams
Each of the Collasped And Assembled Diagrams should have a typed title and accompanying position statement at the bottom of the diagram. The position should be a reading specific to the points and lines of that particular diagram. NO GENERIC STATEMENTS. Read the configuration of points and lines in terms of FORCES, FLOWS, TENDENCIES, DIRECTIONS, and DENSITIES of MATTER.

2. 2.5D Ventilations, 12 @ 8"x8"
Materials/Tools needed:
Vellum paper (heavier the better, aim for 50lb)
sharpened pencil
straight piano wire (aim for .050mm or less)
clear tape/white glue
cutting mat and x-acto
metal ruler
compass or scribe
wire snips
straight pins

Translate your current DIAGRAMS OF ANTERIORITY into DIAGRAMS OF INTERIORITY. For each Assembled Diagram, in direct consideration of your position statement for that diagram, create a ventilated paper model that expresses A MAGNIFICATION, AN ECHO, A POTENTIAL POSITION, or A FUTURE STATE of that diagram.

1. First, create a TRACE. Overlay an 8"x8" square of vellum on one of your six Assembled Diagrams. Transfer important lines from the diagram to the vellum. Trace with hard-edge and pencil, or scratch the lines into the paper with a metal scratching tool. Lines may be 1. transfered exactly from the diagram below 2. created by SCRIBING (offsetting) an exisiting line and/or 3. created by extending segments of lines until they intersect, and using the new vertices as locators for a new line.

2. Using your exacto and metal ruler, FOLD or CUT AND BEND along the lines to create volumetric ventilations in the paper that further demonstrate your diagrammatic desire. You may use an unlimited amount of folds, but keep cuts to a minimum (8).

3. Add 3-Dimensional lines manifested in the form of piano wire. The placement and insertion of the wire should reinforce your diagrammatic position.

You should model with the precision of a SURGEON. CRAFT MATTERS. Every cut, bend, and insertion should be executed with precision, clarity, and cleanliness. When adding the wire, minimize the connections to just a dab of glue, or a sliver of clear tape. Even better, weave the wire into the model to avoid connectors.

4. Type a single sentence position statement for the diagram that will be added to the bottom of the diagram.


6. Photograph each model from the front, side, and top. Mount on BLACK BACKGROUND with DRAMATIC LIGHTING. Consider your mounting; position the pins to enhance the volumetric reading of the model. You will need these photographs for the final assignment.

7. Mount the 12 diagrams on the wall, according to the pinup document in the dropbox. Mount with straightpins. Consider your mounting; position the pins to enhance the volumetric reading of the model.


File:Experimental-parabolic-stair-body-motion-diagrams-1992-malo-1356455282_b.jpg Alvaro Malo, Parabolic Body Motion Diagram, 1992

Gathered and Assembled Diagrams

Due Wednesday, 09.09.15, 8:30am

0. Body Measure & Chronophoto + Augmentation Diagrams
Finish, Revise, Reprint, as necessary

1. Motion Analysis revision
Finish, Revise, Reprint, in response to discussion in class. Add vertex translation tracking lines to minimum (2) important nodes across the entire row for both Body Structure and Extents Net. Reprint on Coated Bond.

2. Reading: Peter Eisenman, An Original Scene of Writing. + Written response.
In this essay Eisenman describes how Delueze's, Somol's, and Derrida's definitions of the DIAGRAM lead to his. Please explain the theory of diagram as defined by each theorist. 2 pages minimum, double spaced, 12 pt. font max. Print to hand into class.

3. Gathered Diagrams, 4 @ 8"x8" (Black ink only)
Gather each row: 1. Body Structure, 2. Balance Axes, 3. Extents Net, 4. Motion Paths into its own single diagram. Assure that you maintain the original registration of the original diagrams when collasping them together. Change the line-weight color to black. Reconsider line weight/opacity/linetype of the linework in a systematic way, to clarify the reading of the diagram. In max 10pt sans-serif font, label each diagram i.e. Body Structure [Frames 000-xxx]. Underneath the title, write a single sentence that summarizes your position on what the diagram reveals.

4. Assembled Diagrams, 6 @ 8"x8" (Black Ink only)
Combine two Gathered Diagrams together. Assure that you maintain the original registration of the original diagrams when collasping them together. Reconsider line weight/opacity/linetype of the linework in a systematic way, to clarify the reading of the diagram. In max 10pt sans-serif font, label each diagram i.e. Body Structure + Balance Axes [Frames 000-xxx]. Underneath the title, write a single sentence that summarizes your position on what the diagram reveals.
Assemble all paired permutations:
Body Structure + Balance Axes
Body Structure + Extents Net
Body Strucutre + Motion Paths
Balance Axes + Extents Net
Balance Axes + Motion Paths
Extents Net + Motion Paths

5. In-class Workshop #3 (The Chronovideo), exported Chronovideo
Bring (2) .movs to class to hand in (or post to dropbox), labeled

6. In-class Workshop #3, printed Contact Sheet - WAIT ON THIS TILL WEDNESDAY

7. Motion Capture Shoot Observation Log Typed up according to template on dropbox.

Everthing should be pinned-up by Wednesday 8:30am. Refer to the wall layout diagram on dropbox for placement of documents on your own wall.


File:Crystalline_Movement_Laban_600.jpg Rudolf Laban, Geometric "Scaffolding"

Motion Extraction>Analysis>Diagram

Monday>Wednesday>Friday 08.31.15 - 09.04.15

Over the course of the week you will complete three documents. Refer to the PDF handed out in class (another copy available on class dropbox) for the list of requirements.

1. Body Measure, 16"x16"

2. Chronophoto + Augmentation, 16"x16"

2. Motion Analysis, 40"x20" minimum

For Wednesday: The Body Measure Drawing must be completed, printed, and up your wall by 8:30am. The axonometric drawing of your augmentation device should be complete and printed for review. The 4 layers of diagramming of Motion Analysis should be sketched out in colored pencil/pen on the 10 white chronophoto printouts.

For Friday: Revise/complete documents per class discussion. All three documents printed for 8:30am. Body Measure and Chronophoto should print on coated bond, Motion Analysis can be on Plain Bond.


File:Marey_standing_jump_black_600.jpg Etienne Jules Marey, Stand from Squatting, 1880s.

The Speed of Light:The Chronophoto

Due Monday, 08.31.15, 8:30am

1. Workshop 1: Motion Capture Shoot
After the Body In Motion forum in the gallery, be ready with your white augmentation and black motion-tracking bodysuit. As we spend the rest of the class period shooting our videos, keep an observation minutes log of your classmates movements while wearing their augmentations. Refer to them by their new names.

2. Workshop 2: Chronophotos
Attend the Aftereffects/Photoshop workshop to produce 11 images: 1 chronophoto and 10 motion segments. Print on 8.5"x11" and bring to class Monday morning. Bring a straightedge and colored pencils.

3. Reading: Body, Memory, and Architecture by Kent Bloomer and Charles Moore, Chapters 1-5
After reading, supplement your on-going written statement with the following considerations:
--In what way has my augmentation altered my normal "basic-orienting" postural sense?
--How has my augmentation altered my "internal and external haptic senses"?
--How has my augmentation altered my "body-image" (my sensed three-dimensional boundaries).
--Does my augmentation relocate my "sense of center?" To where?
You may have already commented on these above concepts, however, please rewrite your statement to incorporate (and use correctly) the above body-theory vocabulary. You may mine the text for additional vocabulary as well. Print the statement to hand in on Monday.


File:Rudolf_laban_Sketches_of_the_Scales_600.jpg Rudolf Laban, Sketches of the Scales, 1920s


Due Friday, 08.28.15, 8:30am

1. Refine Augmentation
After testing, rework/rebuild your augmentation device to improve function, stability, dimensions, and form. Carefully consider the aesthetic outline, and reconsider your initial assumptions: "Does this have to be a right angle, or can it be curved?" or "should this be more angular, instead of curved?" etc. Paint it white.

2. Refine Device Document
Update your line drawings to reflect the final design. Recompose the page to show a top, front, and side view. One of these views must show a section cut. Revise line-weights and line-types as discussed in class. Add dimensions. Label the device with an evocative name. Compose and print on 8"x8" paper.

3. Body Measure Diagrams:1_Original and 2_Augmented
Take a photo while wearing your augmentation, in a starting, relaxed position (A). Then take a photo wearing your augmentation in the mid or end position (B) of your action (if your action is circular and ends where it begins, then take a mid position), determined in yesterday's dance class. Now take off the augmentation, and take photos of the same two postions.

Diagram, body original:
In Photoshop, layer 2 photos, position A & position B (both without the device). Use opacity or multiply blends to reveal both positions simultaneously. Desaturate photos with a layer of white, 20-60% opacity. In Illustrator, in a single color of your choice, place nodes on all the major joints of the body (toe, ankle, knee, hip, bellybutton, shoulder, elbow, wrist, fingertip, nose, top of head), and connect with faint dashed lines. Then add an x-axis and a y-axis cross to the drawing, and tickmarks where the body joints intersect the axes. Label each tick mark with the corresponding body part. Keep text size small. NEXT: With a partner, MEASURE your actual body (simulate the positions) and transfer the measurements between the tickmarks along the axes lines. Label the Diagram, Body_Original.

Diagram, body altered:
Repeat above, but with the two photos, position A & position B with device. Re-measure your body distances and transfer the measurement between the tickmarks along the axes lines. Include measurements of the device. Use the same color as before. Label the Diagram, Body_Augmented with nameofdevice.

Both drawings should be printed in color, 8"x8".

4. Prepare Motion Capture suit. All black, covering as much skin as possible. Consider the LABAN ACTION DRIVE you will be performing for the camera, (float/thrust/glide/slash/dab/wring/flick/press) and anticipate at what angle your body should be towards to the camera to best capture the motion. Tape nodes and solid lines on your body so that they will be seen by the camera. (Lines between foot and knee, knee and hip, center line down the body, shoulder to elbow, elbow to arm. Nodes on head, hands, elbow, shoulder, hip, knee, ankle) In addition to your suit, bring your body measure diagrams and your sketchbook to the filming.

--TM 08.27.15

File:Rebecca Horn scratching-both-walls-at-once.jpg Scratching Both Walls at Once, Rebecca Horn, 1975


Due Wednesday, 08.26.15, 8:30am

1. Augmentation Device
Augment, v. : to make larger; enlarge in size, number, strength, or extent; increase.
Augment your body with a device of your own construction. Research the body-extension sculptures of Rebecca Horn for inspiration. Requirements: The "flesh" of the appendage is to be made of stiff cardboard. You may use additional materials (sticks, fabric, straps, etc.) as necessary for structure and support. Any added extension can not surpass 3' in any direction. There is no minimum, but do not be timid with the size and length of your extension, remember you want to alter your movement. The augmentation must connect securely to your body and not fall off when moving. For Friday, your augmentation must be painted white.

2. Document
Draft your augmentation (as an object, removed from the body). Draw all surface details and hidden structure. You may draw axonometrically, in Rhino, or produce a plan and section in Autocad. Use multiple line-weights and line-types to demonstrate a hierachy of information. On 8.5"x11", print two views of your augmentation (plan/section, or 2 3d views). Add light, dotted lines of extension (straight if plan/section, curved if axonometric) to connect shared points on the two views. Black ink only.

3. Reflection
Wear your augmentation for at least an hour. In your sketchbook, write your observations as to how the new appendage alters in any way 1. your physical movements, 2. your physical engagement with objects and surroundings, 3. your internal sensations, 4. the way you sense objects and surroundings. Rewrite your observations in paragraph form to be read in class tomorrow. Give your augmentation a title.

4. Start collecting materials for your motion capture suit. (Black clothing, including socks, thick white/neon/reflective tape) You will need your suit ready for 8:30 Friday Morning.

--TM 08.25.15

Studio Move In

Welcome to 2501 studio. Get settled, bring in your material and tools. (We will do a bit more rearranging on Wednesday.) Regarding materials needed for the semester, you will be using mainly chipboard, white museum board, glues, basswood, and straight piano wire (thin enough to cut with wire cutters, but not so thin that it cannot cantilever without drastic bending). You can find these supplies at Varsity, Holly Hobby, and other craft stores.

In addition, acquire a desk clamp/clip lamp with an incandescent bulb and a minimum arm reach of 28". You will use this lamp not only to focus light on your workspace, but also as a tool to photograph study models.

--TM 08.25.15