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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: Victoria McReynolds

Architecture Design Studio III


Course Coordination

Course Syllabus

Course Schedule

Course References

Wiki Help

Student Handbook

University Catalog


Course Readings

01_See Seeing

02_Field Shifts

03_Solar Observatory

03_Solar Precedent

03_Site Documentation

03_Site Excursion

03_Solar Program


Allen, Asa
Arzaga, Daniel
Banda, Francisco
Cardoso, Javier
Fathi, Lean
Hardcastle, Faith
Lide, Nicole
Martinez, Leonardo
Nations, Nicole
Ocon, Garrett
Patton, Logan
Perez, Adam
Rodriguez, Tania
Skweres, Drew


Site Drawing Reference

Enric Miralles & Carme Pinos - Olympic Archer Range

Enric Miralles & Benedetta Tagliabue - Torre de Gas NaturalSite Plan

Goya Architects - Kindergarten Guntramsdorf

--Victoria McReynolds 00:32, 28 April 2015 (CDT)

Project Development

Monday (4/20)
1/8" project models
(1) 1/8" project sections: surface, poche, image
(5) instagram postings

Wednesday (4/22)
1/8" project models
(3) 1/8" project sections: surface, poche, image
24"x24" final circulation axonometric

--Victoria McReynolds 07:33, 20 April 2015 (CDT)

Project Model

Work from a mantra of build::test::demonstrate - combine the site strategy organization with the light treatment achieved in your distilled device. Design to reveal the complexity of light through out the day rather than a single moment at a single day of the year. Reference the day:shadow, night:light diagrams as a guide of the light level relationship between event spaces.

Friday (4/17)
1/8" project models
24"x24" revised circulation axonometric
8.5"x11" light performance images

--Victoria McReynolds 19:40, 15 April 2015 (CDT)

Diagram Clarity

Utilize the clarity gained in today's studio diagram exercise to complete your final site strategy model and revise site strategy sections. Site strategy sections are to have ten layers: three sections with program boundaries, three site as mass, regulation, circulation, horizontal datums with annotated description, and light angles.

Create an axonometric drawing of the site that resolves vertical circulation of the project with the constraints of accessible access for stairs and ramps. Background site boundaries are to be grey scale line work with circulation defined in a single accent color. Utilize multiplicity and opacity changes to convey depth across the drawing.

Wednesday (4/15)
1/8" final site strategy models
1/16" site strategy sections
24"x24" circulation axonometric

--Victoria McReynolds 19:21, 13 April 2015 (CDT)

Site Strategies

Complete the full investigation of all three site strategies that develops your position on site (land), circulation, and program (light). All physical models are to work with the existing site model and build to the necessary boundary. Each strategy section is to include multiple layers: diagram, three strategy sections, regulating conditions, site as mass, circulation path, program boundaries, existing conditions, horizontal datums, light angles. Provide various line weights and line types to reinforce hierarchy of that condition.

Studio will meet Friday (4/10) at 10:00am.

Friday (4/10)
(3) 1/8" site strategy models: program, position, orientation
(3) 1/16" corresponding site section drawings: regulations, constraints, program

--Victoria McReynolds 22:10, 8 April 2015 (CDT)

Pre-mid project

We will meet Tuesday, 4/7, at 7:00pm in studio for a brief meeting to coordinate mid-project work layout and location.

--Victoria McReynolds 14:12, 4 April 2015 (CDT)

Site Strategies

Develop three site strategies that situate the solar observatory (telescope and supporting program) within the existing site forces of circulation, light, and land. Use the guiding direction of your project title to explore three interventions. Each site strategy intervention is to look at a different circulation pattern and subsequently program location. Begin by visualizing the combined existing and observatory constraints through regulating lines in section. Work between section, plan, and model to propose a new intervention that extends from the concluding forces.

Wednesday (4/8)
(3) 1/8" site strategy models: program, position, orientation
(3) 1/16" corresponding site section drawings: regulations, constraints, program

--Victoria McReynolds 14:10, 4 April 2015 (CDT)

Diagrams, Model, Documentation

Friday (4/3)
(1) Distillation Model
(1) Distillation Light Motion, 4"x36"
(1) Precedent Diagram Sections + Plan: Circulation, Space, Light
(1) Distillation Diagram Sections + Plan: Circulation, Space, Light
(1) Site Diagram Sections + Plan: Circulation, Space, Light

--Victoria McReynolds 00:47, 2 April 2015 (CDT)

Distillation Model

Recall the primary aperture to receive the sun light sets the stage for the performance of that light across the device. Pay particular attention to these apertures and thresholds, then treat the container to enhance the reception of light. Consider materiality and joints as you develop the complexity of your distilled device.

Monday (3/30)
(1) Distillation Models
(4) Distillation Diagram: regulation, apertures, volume, boundary, on clear film, 11"x17"
(1) Title

--Victoria McReynolds 20:40, 28 March 2015 (CDT)


Refine the distillation diagrams per the studio discussion Wednesday. For the 3-D model, distill your original device taking direction from your Regulation and Aperture Diagrams and from the original performative device intention (i.e. characteristic diagram and device title). Demonstrate light performance through redirection, extraction, and capturing from an external light source(s) rather than internal light. Strive for articulated connections, joints, and material variations. Three key conditions apply: orientation, light movement, and diagrams.

Friday (3/27)
(4) Distillation Diagram: regulation, apertures, volume, boundary, on trace, 11"x17"
(3) Distillation Models

--Victoria McReynolds 12:35, 26 March 2015 (CDT)

Return to Light

Refine the lux spectrums to include a consistent value system, font follows image, measurement detail, and image formatting to emphasize the device over the context.

Email the single page reading notes on Atlas of Novel Tectonics.

Upload your final work of the studio site documentation to the provided wiki page, Site Documentation

Device Distillation Diagrams (2-D): Provide four separate 11"x17" diagrams that isolate the volume, boundary, regulation, and aperture conditions of the selected device section. Construct these diagrams using clean cut trace, graphite, and controlled lines. Work in analog with the assistance of a straight edge, compass, and template as necessary. Isolate diagramed conditions and relationships so as to visualize patterns of organization, orientation, density, and variation. Diagram Volume is to focus on closed territories your device encompasses, apply line type variations as it relates to explicit and implied edge conditions. Diagram Boundaries is to focus on the material opacity and transparency, apply line weights and types depending upon boundary condition. Diagram Regulations is to reveal organization of material and space across the entire device. Identify center axis, control points, alignments, extensions and extrapolations, rotations, and larger geometries with various line types. Diagram Apertures is to reveal the relationship of two space conditions bracketing a threshold zone. Provide a width and thickness to the threshold while outlining the boundary edge of each conjoining space. Refer to your dark device axonometric to recall relationships of volume and regulation. Diagram of boundary and aperture is to remain true to the cut section, while the diagram of volume and regulation may be inclusive of information beyond the cut plane.

Wednesday (3/25)
(1) Volume Device Distillation Diagram, 11"x17"
(1) Boundary Device Distillation Diagram, 11"x17"
(1) Regulations Device Distillation Diagram, 11"x17"
(1) Apertures Device Distillation Diagram, 11"x17"

--Victoria McReynolds 17:13, 23 March 2015 (CDT)

Phase 03 - Site Documentation

This week is all about site sourcing and documentation according to four groups: Mapping, Climate, Drawing, and Model. The key to working in groups is contributing your strengths and maintain communication.

Mapping > Allen, Banda, Lide, Perez

light (natural / electric), weathering (erosion, evaporation, accumulation, etc.), circulation (vehicle, people, animals, wind, etc.), edges (buildings, poles, lines, railroad, etc.), infrastructure (water drainage, power, sewer, etc.)

Climate > Arzaga, Fathi, Nations, Rodriguez

sun (path diagram, shadow results), wind (velocity and trajectory), temperature range (max, min, avg., ground, body, room), rainfall (humidity, inches)

Drawings > Hardcastle, Skweres

cross section series, site plan

Physical Model > Cardoso, Martinez, Ocon, Patton

site base, buildings, bridge, rail lines, infrastructure

Wednesday (3/11) - progress content
Friday (3/13) - site documentation due

--Victoria McReynolds 00:04, 10 March 2015 (CDT)

Site Select Plans

Site Select Plan is about drawing with images and lines. Work from actual site images (i.e. google aerial and ground source) to create a edited assembly of boundaries and territories that describe your site. Work from site lines that define the proposed conditions on site, include device and site features. Images are to enforce features of the site that are relevant in shaping your situation, while lines further communicate the actualities of the project directly. Draw both site and device elements. Use standard line weights to convey hidden conditions, such as interior space of the device, or culverts within the site. All site aerial imagery is black and white, ground source images are color. Consider boundary of the crop image and opacity when call attention to specific elements on site. Include both project lines and regulating lines on the site plan.

Provide two project narratives, one for night, one for day. Define your position of the site, the project strategy for intervention, and the implementation (how does the object become field).

Friday (3/6)
(1) 1/16" Site Plan Night, 36"x18"
(1) 1/16" Site Plan Day, 36"x18"
(2) Project Narrative, 8.5"x11"

--Victoria McReynolds 16:40, 4 March 2015 (CST)

Site Situation Night _ Day

Refine situated sections for both night and day based upon the discussion in studio today. Reiterate the 1/16" model to reflect the development identified in section. All content is to deal with actual conditions on site, either existing or proposed.

Wednesday (3/4)
(1) 1/16" Situated Device by Night Model
(1) 1/16" Situated Night Section: longitudinal and cross section, clear film, trace, and butcher paper

(1) 1/16" Situated Device by Day Model
(1) 1/16" Situated Day Section: longitudinal and cross section, clear film, trace, and butcher paper

--Victoria McReynolds 21:14, 2 March 2015 (CST)

Site Situation Night _ Day

Continue to reinforce relationships between the device and site in order to shift from object to field organizations. Visualize pattern opportunities through shared regulating lines between device and site. Situation by Day model is to be the same position, orientation, and rotation as the selected Situation by Night model, only the site context changes in which the device is to integrate.

Create a combine longitudinal and cross section digital drawing for each situated device. Align the ground plane to be consistent across the section and provide an elevation marker at the seam between the longitudinal cut and cross-section cut. Include various line types and weights to convey depth in each section. Include regulating lines to differentiate organizing patterns to material edges. Refer to the below section drawing examples by Chris Pope, and Will Pellacani for execution strategies.

Friday (2/27)
(1) 1/16" Situated Device by Night Model
(1) 1/16" Situated Night Section: longitudinal and cross section, clear film

(1) 1/16" Situated Device by Day Model
(1) 1/16" Situated Day Section: longitudinal and cross section, clear film

--Victoria McReynolds 19:30, 25 February 2015 (CST)

Situating Site by Night

Provide three device site models that establish a dialogue between device and site utilizing siting factors of position, orientation, and rotation. Most models discussed today achieved that level of clarity. Identify one device siting strategy to move forward in development for Wednesday. The intention of this new model is to choreograph the intersections between device and site by extending the internal logic of the device into the context and internalize in the device the site conditions present. Retain the same position, orientation, and rotation of the device created in the first model exercise. Instead, modification is to occur in regards to the width, length, termination, opening, repetition, extension of the device elements or site assembly. Establish a language of patterns and edges that engage both device and site.

Complete yellow territory Site by Night and Site by Day models.

Provide full upload of phase 01 work to the wiki page. Five participation points are deducted everyday for incomplete wiki page content.

Wednesday (2/25)
(3) Device by Night Model, 1/16"
(1) Selected Device by Night Model, 1/16"

Site by Night Model - assemblage yellow territory
Site by Day Model - assemblage yellow territory

--Victoria McReynolds 18:23, 23 February 2015 (CST)

Derivations of a Day

Set aside Saturday, 11 April 2015 for a full day excursion to Muleshoe National Wildlife Refuge with graduate students of architecture, honors college students, Kurt Caswell, Chris Taylor, and Barry Lopez. This day will be about testing, seeing, and translating site relationships. Further information regarding preparation, logistics, and tools will follow.

--Victoria McReynolds 17:56, 23 February 2015 (CST)

Site Iteration

Through this iteration consider how diagrams, photos, and models work constructively to define a position of site by night and site by day. Revise diagrams to better demonstrate the changing content between night (carving out) and day (building up). Revise site models to further demonstrate the dual nature of site by night and site by day. Leverage the method of accumulation to emphasize nuance of the site with attention to the unit selection and gathering strategy. Connections between units are an opportunity to consider the joint as yet another detail element of the site. Work from actual site conditions and forces. Identify site features not as a figure but as elements responsible for shaping the site.

Use WeTransfer to send me a copy of your Phase 01 audio recording. Use the studio standard of file naming convention to appropriately identify your file.

Friday (2/20)
Revised Site by Night Set
Revised Site by Day Set

--Victoria McReynolds 21:54, 18 February 2015 (CST)

Site by Night _ Day review

Complete two sets, Site by Night and Site by Day, for phase 02 review this Wednesday. Models, diagrams, and documentation should clearly demonstrate how the perception of site differs between each condition. Consider the phase diagram of carving out vs. building up. This is about noticing site nuance in patters, circulation, and edges between each condition and emphasizing those differences as features in defining the site.

Wednesday (2/18)
Site by Night
(1) 1/16" site, yellow territory model, 130'x500'
(1) 4"x17" program: ground source site documentation
(1) 4"x17" weather: ground source site documentation
(1) 4"x17" shadows: ground source site documentation
(1) 8"x8" edges regional site diagram @ 1"=100'-0"
(1) 8"x8" circulation regional site diagram @ 1"=100'-0"
(1) 8"x8" patterns regional site diagram @ 1"=100'-0"

Site by Day
(1) 1/16" site, yellow territory model, 130'x500'
(1) 4"x17" program: ground source site documentation
(1) 4"x17" weather: ground source site documentation
(1) 4"x17" shadows: ground source site documentation
(1) 8"x8" edges regional site diagram @ 1"=100'-0"
(1) 8"x8" circulation regional site diagram @ 1"=100'-0"
(1) 8"x8" patterns regional site diagram @ 1"=100'-0"

--Victoria McReynolds 15:46, 17 February 2015 (CST)

All Studio Phase 01 Presentations

Monday all studio presentations will be divided into three rotations. Ambassadors are to remain in studio while the rest of the class relocate to the appropriate space, either clockwise or counterclockwise. Use the time in other studio spaces to review student work and engage in critical discussion. Listed below is the order presentations are to occur within each session. Be sure to make an audio recording of your presentation in a digital format to be submitted on Wednesday (2/18).

Rotation 1

Ambassadors: Perez / Hardcastle / Allen / Lide / Martinez

Rotation 2

Ambassadors: Skweres / Fathi / Patton / Banda / Rodriguez

Rotation 3

Ambassadors: Arzaga / Ocon / Cardoso / Nations

--Victoria McReynolds 15:45, 12 February 2015 (CST)

Studio Sessions

Provide a minimum of four instagram posts #2502lightlab that demonstrate project progress for each Friday (2/13), Sunday (2/15), and Monday (2/16) sessions.

Phase 02 - Site by Night, Site by Day

This next phase marks a shift in focus from the internal logic of your device to the exterior conditions of site. We will understand the site of Avenue A + 50th according to night and day variation, each driving a set of conditions from which to situating your device.

Materialize the spatial and characteristic qualities of the site. Maintain spatial proportional consistency. Construct a 1/16" site model of the yellow territory, roughly 130'x500', either as a faceted plane or an accumulated mass, which demonstrates the existing spatial features. Accumulation, projection, and orientation are paramount to creating a model that realizes the characteristic of the site. Reference the exhibition work of Maya Lin's Landscapes and Graem Whyte's modified ping pong landscape.

Ground sourcing enters the observer into the site directly through gravity. Document the ground of your site by photographing conditions of use (program), weather (accumulation + evaporation), and shadows (seeing above below). Your camera is to be parallel to gravity and positioned no higher than your shoulders and no lower than your waist.

Analyze the site as an accumulation of forces and networks. Diagram three conditions of edges, circulation, and patterns, working from the strategies of Stan Allen's Field Conditions. Identify edges as limits defining beginning and endings. Document circulation as pathways that occur over time. Include observations on frequency, density, and orientation. Investigate patterns that exist on the site, identify the unit and document the repetition on site. Diagram both the physical and extended state of each condition.

Sunday (2/15)
Site by Night
(1) 1/16" site, yellow territory model, 130'x500'
(1) 4"x17" program: ground source site documentation
(1) 4"x17" weather: ground source site documentation
(1) 4"x17" shadows: ground source site documentation
(1) 8"x8" edges regional site diagram @ 1"=100'-0"
(1) 8"x8" circulation regional site diagram @ 1"=100'-0"
(1) 8"x8" patterns regional site diagram @ 1"=100'-0"

--Victoria McReynolds 23:54, 11 February 2015 (CST)

Phase 01 Documentation

Upload all device work from your phase 01 exercise to your individual wiki page, reference the requirement list below for minimum requirements. Scan water color atmosphere work with digital drawings, upload device technical drawings with and without water color to your wiki page. Provide six separate images documenting your final device in exterior and interior lighting condition, including at least one over all image and three detail images. At minimum 12 separate images are to be uploaded to your wiki page. Include text from project description. Provide pdf media link to you single page of reading outline notes from Stan Allen's From Object to Field essay.

For Friday (2/13)
Phase 01 work uploaded to wiki

Include photo documentation of final device model
Project Narrative, 8.5"x11"

Single page reading outline, Stan Allen 'From Object to Field'

--Victoria McReynolds 23:47, 11 February 2015 (CST)

Project Details

Utilize these last two days as refinement and development of detail for your Device. Additionally craft a project narrative that summaries your device, intentions, and implementation. Keep it short and to the point as this is intended to assist in the presentation of your phase 01 work. Follow the framework of the following points when structuring your written response:

introduce device - title and purpose, recall c.j. lim essay on the role of the device
describe characteristic diagram - what is the goal of the device
which significant features of the optical instrument are relevant - which did you respond to
defines the light performing conditions
describes how the device demonstrates light capture, redirection, and extraction - vessel, path, shadow

For Wednesday (2/11)
(1) Project Narrative
(1) Device

--Victoria McReynolds 17:18, 9 February 2015 (CST)

Phase 01 - Minimum Requirements

All drawings are to be printed and pinned up at the start of class Monday (2/9),
phase 01 due Wednesday (2/11).

Device Assembly

(1) 11"x8.5" Characteristic Diagram
(1) 11”x4” Device Title

(1) 11"x17" Shadow Section Drawing
(4) 11"x17" Light Drawing Sets: section and wash

(1) 36"x36" Dark Device Axonometric
(1) 4"x36" Photostrip: light performance, photo lab
(1) 4"x36" Photostrip: shadow performance, outside
(1) Device with light

(x) Process models

Instrument Analysis

(6) 11"x8.5" Elevation documentation, annotated and dimensioned, of your optical instrument

(x) 4"x36" Evidence film stills with 4" high images, quantity dependent on evidence amount

(1) 11"x17" Unfolded collage

(1) 11"x17" Components photo

(3) 8.5"x11" Diagrams: controls (spatial & material), internal function, external performance

(2) 11"x17" Drawings Technical: plan and section

(x) 11"x17" Drawings: optical path, on clear film, quantity dependent on instrument complexity

(x) Instrument Components and Parts

--Victoria McReynolds 16:35, 6 February 2015 (CST)


Utilize the drawing as a means to visualize the next refinements for your device. Draw, wash, and study closely the detail relationship between material, light, and shadow defined in the section sets. Through the drawing consider how material joins, connects, and aligns, how light dissipates the further it travels from the source, study the shadow that concludes three dimensions into two. Drawings allow you to study, define, and demonstrate isolated relationships.

Exercise for Friday is to begin with drawing. Refine the four section sets illustrating the device atmosphere and create a dark device axonometric. Dark device axonometric serves as an analysis diagram demonstrating the ghosted material of the device, the redirected light path, volumetric vessels, and context projection. Use only black, white, and grey scale line tones. Print a test swatch to verify line quality prior to Friday's pin-up.

For Friday (2/6)
(1) Dark Device Axonometric, matte 36"x36"
(2) Refine Device Plans, clear film 11"x17"
(2) Refine Device Light Shadow plans, watercolor paper 11"x17"
(2) Refine Device Sections, clear film 11"x17"
(2) Refine Device Light Shadow sections, watercolor paper 11"x17"

(1) Device refined

--Victoria McReynolds 21:41, 4 February 2015 (CST)

Shadow and Light

Utilize observations on shadow profile and light performance of your device to carry design intentions from the interior to exterior. Collapse the exterior shadow with the interior light by in a wash study on water color paper. The resulting light shadow drawing is intended to take the best of both extremes (sun and basement) so as to reveal relationships not otherwise observable.

Identify the dominant optical axis of your device from which to create four cut planes. Cut two planes in "plan" and two planes in "section", all drawings are to share the same optical axis. Provide clear technical drawings, draw surface lines (not poché) for material, include conditions both forward and behind the cut plane. Apply techniques of line weights as it relates to materiality and proximity to the cut plane. Apply techniques of line types to enforce understandings of visible and hidden conditions additionally relationships of surface change in plane compared to edges of material. Refer to Chris Pope and Christy Purcella device drawings as examples of light wash and annotation. Include standard name, title and graphic scale on all drawings.

For Wednesday (2/4)
(1) Device refined
(2) Device Plans, clear film 11"x17"
(2) Device Light Shadow plans, watercolor paper 11"x17"
(2) Device Sections, clear film 11"x17"
(2) Device Light Shadow sections, watercolor paper 11"x17"

--Victoria McReynolds 21:38, 2 February 2015 (CST)

Device Multiplicity

Consolidate lessons from fist devices with the refined trajectory of your Characteristic Diagram to develop the single Device. Continue to build upon larger themes of illumination quality, multiple vessels, materiality, and orchestrating the context. Provide hands free device performance and identify intended orientation to adjacent planes. Device light demonstration is to be capable of performing in various ambient light, design your device so that the light you are using projects and illuminates as you intend, not as one may interpret. Successful light performance occurs only through multiple iterations of device refinement. Build the complex relationships of material, light, and surroundings through redirection, capture, and extraction. Avoid the pattern and enhance one's craft.

For Wednesday (1/28)
(1) Complex and refined device
(1) Refined characteristic diagram
(1) Submit via email or print single page reading summary

--Victoria McReynolds 19:10, 26 January 2015 (CST)

Constructing Devices

Machines are social before being technical. - Guilles Deleuze, Foucault (Minneapolis, 1988) p.13

Multiplicity, Imagination and Activation are three key properties exhibited by devices. Utilize your characteristic diagram as a departure point for optical path redirection, light capturing, and context engagement. Compliment the modeling with reading of CJ Lim's introduction and conclusion of "Devices: a manual of architectural + spatial machines". Organize a single page of notes outlining key points in the reader.

Device via Redirect / Capture / Extract
With the lens, frames and apertures of your optical path as the backbone, construct three device models which interpret your Characteristic Diagram. Introduce variables which subvert the designed optical path to see seeing through methods of Redirect, Capture, and Extract.

Redirect : Manipulating Constraints

Focusing upon the optical paths, apply spatial modifying techniques such as expand, bisect, stretch, shift in scale, inverting proportions, and reconfiguration of boundaries.

Capture : Constructing Culverts

The intention of capturing light is to materialize light. This is accomplished either by interrupting or redirecting the path of light. Positioning planar or linear elements to intersect with the optical path introduces a surface for reflection. Constructing room to diverge a path of light offers another method of capturing light.

Extract : Activate Context

Externalize illumination beyond the designed boundaries to activate surrounding through light and shadow play. Engage the floor, wall, edge and/or adjacent surface by orchestrating the resultant light effect. Consider distance, angle, reflectivity and light levels between your device and the surrounding context.

For Monday (1/26)
(3) Device Models
(1) Reader Notes, single page outline
Refine Optical Analysis
Refine Characteristic Diagram + Title

--Victoria McReynolds 17:46, 23 January 2015 (CST)

Studio Pin-up Surface

Before start of studio tomorrow reorganize currently pinned up optical analysis work so that all student has adequate surface to display content. (3) projects to be pinned up on South wall, (6) projects pinned up on West wall (no overlap with concrete columns), (5) projects pinned up on East wall.

--Victoria McReynolds 11:56, 22 January 2015 (CST)

Refine, Define, Create

Optical Analysis
Refine the analysis work so that each exercise conveys a different understanding of your instrument, whether this be material conditions as in the technical drawings, performance relationships as in the diagrams, or assembly logic in the unfolded and collage image. Each work should reveal and re-frame new ways of understanding your object and its performance through refined content, selective editing, specificity, and orientation.

Characteristic Diagram
Identify a characteristic quality of your optical instrument unique to its performance of light or staging of space between the observer and object. Allow your understanding gained through analysis determine a driving feature essential to the nature of your instrument. Define a Characteristic Diagram that summarizes the cognitive analysis of your instrument while establishing a trajectory of potential. Consider degrees of extreme possibility when creating the diagram. Exhaust the potential and perpetuate "errors" within the instrument design in order to arrive at a diagram that originated from analysis but moves beyond the given parameters to suggest a compelling atmosphere. What is suspenseful, uncertain, exciting, mysterious, tense, thrilling, tragic about your diagram. Compliment your line work with a title for this Characteristic Diagram.

Light Vessel
Create a vessel that captures the light of a single LED source utilizing basic modeling materials: paper, chip board, museum board, mat board, etc.. The objective is to create a vessel geometry that produces the highest illumination of light, or at minimum is definably visible in the studio space lit by indirect northern light. Provide an optical viewing threshold into the vessel. The direct LED light source shall not be visible. Brightest illumination wins, recall this is a product of vessel geometry, materiality and light diffusion.

For Friday (1/23)
Refine Optical Analysis
8.5"x11" Characteristic Diagram
3"x11" Characteristic Diagram Title
Light Vessel, roughly 6"x6"x6", single LED source, opening for eye

--Victoria McReynolds 18:33, 21 January 2015 (CST)

Problematic Conceptual Spaces

For a creative segue revisit Elliott Earls lecture on failure from his 2014 Artisti-in-Residence Lecture at Cranbrook Academy of Art.

--Victoria McReynolds 12:20, 21 January 2015 (CST)

Evidence + Components


To complete the analysis of your instrument as an object it is necessary to document the optical path of travel through the instrument itself. Demonstrate the instrument's performance by shining light through all paths of seeing. Film every optical path's performance, whether it be the sight path, projection path or recording path. Mount the video camera on a tripod to retain a consistent frame as you expand and contract the distant variables between screen, instrument and light. It is also necessary to demonstrate light shining through the paths of seeing as designed and inverse to the expected use of the instrument. Select multiple stills of the film in order to illustrate consistent performance and anomaly moments. Arrange each "path of seeing" documentation on a separate 4"x60" landscape format page. Provide single title "still" of the optical equation.


Comprehension of assemblies increase when things come apart. Following the dimensional, annotative, and performative analysis of your optical object analyze your instrument according to its components. Watch Todd McLellan's "Things Come Apart" film to consider techniques for work surface layout and component organization as your instrument is taken apart. Separate your instrument into primary components, for example the lens is separate from the cavity is separate from the door. Arrange these components on a clean white horizontal surface according to the internal performative logic of the optical paths of travel. Photograph the arrangement square to the camera with crisp lighting and contrast.

After documenting your arranged components, construct a collage of your instrument unfolded. Start with the main optical cavity and work out towards the perimeter. A shared edge should tie the unfolded surfaces together. Most images may come from your arranged component documentation however it may be necessary to photograph some components specifically for the collage, such as interior elevations of the instruments cavities. Strive to convey the characteristic of your particular optical instrument through the collage.

Technical Drawings - Draw a plan and section of your instrument illustrating material thickness, cavity size, and lens location. Locate the section parallel to the optical path of travel. Poche cut material and include a graphic scale. Include information that exists behind the cut plane. Provide separate optical path section drawings on clear film that isolate the content to the lens and container/or channel the light passes into.

Diagram three conditions of your instrument: internal controls (spatial & material), external constraints from instrument to viewed object, and internal constraints of the optical path. For internal controls, diagram the spatial and material elements of the optical path(s) of travel, such as cavities, lens, frames and channels. Include proportional relationship analysis, such as line of symmetry, point or axis of rotation, angle or reflection. For external and internal performance diagram the light behavior by following geometric optics analysis. Major light lines and points to diagram are: Optical Axis, Focal points, Object distance, and two Collimated light ray. Refer to Astronomical Optics for visual guidelines (also located under course references). In addition to the light path, annotate the necessary distance, and proportional relationship.

All drawings, diagrams and collage are to be completed digitally.

For Wednesday (1/21)
4"x60" Instrument evidence film stills with 4" images

two film strips per optical path light (correct and reverse)

11"x17" Instrument components photo
11"x17" Instrument system collage
11"x17" Technical Drawing: plan, bond

Optical Path plan(s), clear film

11"x17" Technical Drawing: section, bond

Optical Path section(s), clear film

8.5"x11" Diagram: controls (spatial & material)
8.5"x11" Diagram: internal function
8.5"x11" Diagram: external performance

>Revise Optical Instrument elevational documentation as discussed in studio - annotation, descriptive language, graphic scale, format on page.

--Victoria McReynolds 16:49, 16 January 2015 (CST)

See Seeing : Optical Instruments

Acquire an optical instrument from which you will become an expert through analysis, dissection and assemblage. The optical instrument must have a minimum of two lens, container, view port and does not digitally translate the image. The optical instrument must be intelligently assembled and capable of transmitting light through the optical path.

Places to find optical instruments may be thrift stores (such as Goodwill, Disabled American Veterans, Salvation Army), antique stores, Ebay, or Craigslist Lubbock.

For Friday, provide six excellent elevational photographs documenting your optical instrument square to the camera. Photoshop out the background so it is just the instrument on the paper space. Annotate key parts of the instrument utilizing descriptive language associated with the performance of the instrument. Provide dimensioning and a graphic scale from which to understand the size. Each elevation is to be printed on its own 11x8.5 landscape format page.

Be prepared with tools and a desk lamp to begin disassembling your instrument. Some desk lamp examples can be found at Staples, Ikea, McMaster-Carr, Jieldé or Artemide. Additionally locate a 5mm LED constant light source to build into your optical device. Radio Shack carries these items and offers a student discount.

Friday (1/16)
Optical Instrument
(6) 11x8.5 elevation documentation, annotated and dimensioned, of your optical instrument
- only one page is required to have the instrument make, model, and year manufactured

--Victoria McReynolds 17:20, 14 January 2015 (CST)

Course Readers

Listed below are the specific books we will cover in this studio semester. All are required readers except William Morrish Civilizing Terrains. These are to be used as reference through out the semester, particular sections will be issued when appropriate for discussion.

Bernard, Tschumi. Architecture and Disjunction. MIT Press
Lim, C. J. Devices, A Manual of Architectural + Spatial Machines. Amsterdam
Morrish, William Rees. Civilizing Terrains: Mountains, Mounds and Mesas. William Stout
Reiser, Jesse and Nanako Umemoto. Atlas of Novel Tectonics. Princeton Architectural Press
Smout, Mark and Laura Allen. Augmented Landscapes. Princeton Architectural Press

When searching for these books make use of used book carriers such as Powells or Abe, in addition to the familiar Amazon and Barnes & Nobel. Books stores specifically for architecture are also worth looking at, William Stout, Peter Miller, or Hennessey + Ingalls.

--Victoria McReynolds 17:05, 14 January 2015 (CST)