List Of Work
All of your work should be on the wall in this order. Older work on bottom, newer work towards the top.
A: The finished/built box :
A.p.1: Picture: Built box
A.p.2: Picture: Painted box
A.p.3: Picture: Box with sand
B: Ventilated drawings
B.v.1,2,3: 3 separate models
C: Surface modeling attempt 1
C.p.1: Picture: No string
C.p.2: Picture: No string
C.p.3: Picture: With string
D: Surface modeling attempt 2
D.p.1: Picture: No string
D.p.2: Picture: No string
D.p.3: Picture: With string
D.l: Log sheet with detailed description
D.d: Points drawing: 36x36
E: Surface modeling attempt 3 (Inverse)
E.p.1: Picture: No string
E.p.2: Picture: No string
E.p.3: Picture: With string
E.l: Log sheet with detailed description
E.d: Points drawing: 36x36
F: Surface modeling attempt 4 (Pantyhose)
F.p.1: Picture: No string
F.p.2: Picture: No string
F.p.3: Picture: With string
G: Surface modeling attempt 5 (Final pantyhose)
G.p.1: Picture: No string
G.p.2: Picture: No string
G.p.3: Picture: With string
G.l: Log sheet with detailed description
G.d: Points drawing: 36x36
--Samantha Peters 11:30a.m., 18 February 2010
441pt Work File Revised
Somehow the 441 plan oblique file (work) ended up as 20 by 20 rather than 40 by 40.
It has been updated and renamed as: 1412_Sandbox_441ptWork(rev).pdf in the upload.
--Brian Rex 05:03, 02 February 2010
441pt Files Uploaded
I have uploaded the needed files to complete the last assignment.
--Brian Rex 05:03, 02 February 2010
Vanishing Point
http://vimeo.com/8837024
--Brian Rex 05:03, 02 February 2010
For the Start of Class Thursday, Feb 11 2010
NEW ASSIGNMENT:
0) Be sure the current sand surface is well photographed, including a direct overhead plan view.
1) Make a new form in the sand surface that is the opposite (negative or reverse) of the current work.
2) Photograph the new sand surface, including a direct overhead plan view and a few side shots.
3) Make a new 100 point log of the new sand surface.
4) Construct a new sand surface drawing in illustrator just as the last one was done but incorporating the comments made in class about the first drawings.
5) Print the new drawing out and post it above the sandbox.
--Brian Rex 05:03, 02 February 2010
For the Start of Class Tuesday, Feb 09 2010
Construct and print out the 100pt Sandbox Drawing #01. Plot the greyscale drawing as "fit to print" on 36" by 36" paper.
--Brian Rex 05:03, 02 February 2010
For the Start of Class Thursday, Feb 04 2010
Pinned or taped on the wall just above your box mount three 8.5 by 11 greyscale or color printouts of photos you have taken. Have your log sheet of points collected and the selected ventilated drawing mounted there as well.
--Brian Rex 05:03, 02 February 2010
Taking Photos
Something we have not emphasized enough so far is the importance of the photographic record you will develop in this section of ARCH1412. Be sure to take a well lit plan photo of every step along the way in your process. Take photos with strong light and make sure that they are taken from the same reference so they best show development and encourage comparison. Take plenty of good photos looking across the work you make. The plans are most important but a few side views will help illustrate what you have. Take plan and side photos of the box with and without the string grid in place.
Ask Adrianna about issues regarding photographs. She is a very skilled photographer.
--Brian Rex 05:03, 02 February 2010
Exercise Change
We will not do Exercise C at this time. We'll move on to Exercise D. It is due complete at the beginning of your section on Thursday.
--Brian Rex 05:03, 26 January 2010
Ex 1 Changes
I have made some updates to the file for Ex.1, "Building the Box". It is now 5 pages long, has more detailed descriptions, and new figures to follow in your constructions. This version is the relevant document.
--Brian Rex 05:15, 19 January 2010
Notes on Surfaces
What are surfaces?
Form = Mass with surface
Objects have surfaces
Noun 1: the exterior or upper boundary of an object or body 2: a plane or curved two-dimensional locus of points 3: the external or superficial aspect of something
Verb 1: to give a surface to: as a) to plane or make smooth b: to apply the surface layer to 2: to bring to the surface 3: to work on or at the surface 4: to come to the surface
Webster’s Collegiate Dictionary
(below from Avrum Stroll, Surfaces)
Geometry is separate from language. There are systems and part of language set up to mediate between the geometric and the linguistic.
The geometry of ordinary speech: A side of beef is different than a sideline. Both are descriptions of space and objects positioned in space. Brim, Brink, Verge are types of boundaries but are not typically part of geometric descriptions. They are part of the geometry of ordinary speech.
“Surfaces are a particular kind of boundary or limit, that which is farthest from the center.” (Stroll, p.39)
Superfacies (Latin)
Superfacie (Italian)
OberFläche (German) “over-plane”
Surface is an etymological subset of face where the definition of the subset is more inclusive than the set. Face is a representational and directional condition, as in the command, “about face”. Surface is a type of face that includes more than the root. Surface-talk is broader than face-talk. In the geometry of ordinary speech, face is a type of surface, where by definition the surface is the top face.
Maybe surface is more directionless because it is doubly directional.
A face intuitively has a direction, usually forward or front.
Sur-Face is literally Top-Face.
Its like the front outer or the right outer. Too many directions to be directional. Face is the front. Surface is specifically more general.
Face is naturally anthropomorphic (zoomorphic).
Faces typically (ordinarily) do not exist on their own.
Both surfaces and faces are expanses.
The notion of the singular surface is very important and unique to the discussion. Things with a singular or unitary surface have a unique place in the discussion of surfaces, they are very primary.
“Surfaces are where the action is.”
Four conceptions of surface (two abstract and two physical):
1) Leonardo da Vinci
Surfaces are locations between two things that are coupled but unique from the two contiguous objects:
1. Things contiguous are in contact
2. The intersection is a surface
3. Surfaces are shared but separate between the contiguities
4. Surfaces have no bulk or substance
'
5. They are not a part of either condition
A form of abstraction.
You can’t scratch or gouge a Leonardo surface.
2) Physicalist definition
Surface as the abstraction of the limit of the thing (intuitive definition)
Operation: Thin out X where X is the surface (limit) of Y.
Imaginary line.
3) Ordinary conception
The surface is the physical surface.
Denies all fiat conditions of surface.
Property boundaries, migration patterns, shadows, mirages
1. Surfaces have depth (roads and shirts), a mantle
2. Surface either have boundaries or are boundaries
3. Surfaces can be bound by edges
4) Scientific conception ; Somorjai
The surface is found at the edge of the atomic or subatomic structure of a thing. It is an interface. In an ordinary conception of surface a swimmer would sink away from the surface of a pool. In this definition the swimmer would sink toward the surface of the pool. The scientific is physical but is not a visual understanding of surfaces and boundaries.
Dove siamo?
So there are abstract and physical surfaces in the world. Both exist and describe related but the differences are not with our definition of surface but in the composition of the entity being described.
Not all boundaries are part of surfaces.
Some types of boundaries:
1) Edge
2) Border
3) Rim
4) Surface
A Typology of Surfaces:
Patches
Mosaic
Matrix
Extent
(from Richard T. T. Forman’s Landscape Ecology)
--Brian Rex 02:39, 18 January 2010
Introduction
This is the record of a box man. I am beginning this account in a box. A cardboard box that reaches just to my hips when I put it over my head. That is to say, at this juncture the box man is me. A box man, in his box, is recording the chronicle of a box man.
Kobo Abé in The Box Man (1974)
The Sandbox is a 20 inch by 20 inch by 10 inch space inside a box made of 2 by 12 lumber rails joined to a plywood bottom and collectively glued and screwed together. The inside faces of the box are painted white. Numbers are stenciled at one inch intervals along one side and letters are stenciled along a perpendicular side at one inch intervals. The box is half filled with a level mass of 20 inch by 20 inch by 5 inches of fine beach sand.
Discovering Weightiness: Each student makes a sandbox. The box is the first thing we make in studio. It is pretty heavy. For many of the students it is the heaviest thing they've ever made. Buildings weigh even more. That by itself is a great lesson- the weightiness of architecture.
Shaping Form in a Surface: The visible and viscous sand surface inside the box becomes a model for our first architectural "Site". We shape the sand and operate in it. Dave Hickey says, "Architecture only works where it is at”. As with architecture, the "Site" in the Sandbox is a surface in which to situate and form space.
Working through Materiality: In shaping the surface we observe material limits (like angle of repose or systems of retention) and incorporate those material issues into the way we play in the sand. Early and naive work is sculptural and overcomes the limits of the sand to desired effect. Eventually, we learn to design the desired effect through the limits of sand.
Speaking Everyday Geometries: While playing in the Sandbox, we learn a sort of "surface-talk" to describe the surface of the sand. One of the main things architects do is tell people where to put stuff. The Sandbox teaches beginning students a geometry of adjectives and verbs to help with those descriptions.
--Brian Rex 22:59, 8 January 2010
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