discussions

Architectural Interventions


Lebbeus Woods

Gordon Matta Clark

simple interventions


Projective Drawing

Orthographic projection and Section


Orthographic Projection +

Sections

Ground

How does your structure meet the ground?

How does it articulate ground?

Enrique Miralles cemetery

Yokohama International Port Terminal by Foreign Office Architects (FOA)

Michael Heizner

Figure Ground

Drawing

origins of projection

how do we use drawing:

communicative

analytical

generative

VOLUME

describing a volume

Buckminster Fuller

FROM 2D to 3D to 2D

lebbeus woods

 

Gego

MODULARITY AND AGGREGATION

Habitat 67

aranda/lasch

Hernan Alonso Diaz

Evan Douglis's students

Michele Gorman's Fall 2012 studio:

A N A L Y S I S

Finding an organization and a set of rules can derive from the process of analysis. We use Analysis to find Ideas and problems to solve in order to Design (synthetic process). 

Today we are doing an analysis of the events performed with ink on Mylar (REAL marks). You must use observation to search for patterns, repetitions, hierarchies and differences in order to extract information. You can then use mapping as an analytic tool to relate information to find your performed events.

Think of your analysis like a blood spatter report. You are looking for a set of relationships to piece together the events that took place. Ask yourself questions as to the direction, speed, distance, trajectories in order to make relationships between points.

A N A L Y S I S    to    O R D E R

Mapping... hunting and finding unknown relationships. Actively making connections. If obsessive enough, and using rules to find the connections, this becomes an ordering system.

N O T A T I O N  A N D  D I A G R A M M I N G


DRAWINGS ARE INSTRUCTIONS FOR FUTURE ACTION

notes on DIAGRAMS vs NOTATIONS from Stan Allen's Practice: Architecture Techniques + Representation and Goodman's The Language of Art

N O T A T I O N

NOTATIONS belong to time.

DEFINITIONS OF NOTATIONS

-ANTICIPATION: "Notations always describe a work that is yet to be realized."

-INVISIBLE: "Notations go beyond the visual to engage the invisible aspects of architecture."

-TIME:  "Notations include time as a variable."

-COLLECTIVE:  "Notations presume a social context, and shared conventions of interpretation."  "Notations operate according to given codes and shared conventions of interpretation." 

-DIGITAL DIAGRAMS: "Notations work digitally."

-The many hands of construction is what the notational language is for. 

-reading is extended, unfolding in time, like reading a musical score... as appose to a diagram which can be read instantaneously. 

use of SYMBOLS: The data can be categorized as qualitative or quantitative. Work through generalization: selection, classification, simplification, symbolization.

D I A G R A M

DIAGRAMS belong to space and organization.   

note: "all notations are diagrammatic, but not all diagrams are notational.  Those aspects of space and organization contained in a notational score, such as the position of a dancer's body in space, would be diagrammatic while the overall score could still be considered notational.  Time and change over time might be implied in a particular diagram, but the precise description of time-based phenomena is a property of notational systems.  This is consistent with the fact that notational systems operate according to shared conventions of interpretation, while diagrams are by definition open to multiple interpretations.  Notations are, strictly speaking, digital, while the diagram retains some analog properties.  For Goodman, this is the determining characteristic of notation: that each score designates a unique work, allowing little little latitude for change or interpretation."   

DEFINITIONS OF DIAGRAMS

The diagrammatic or abstract machine does not function to represent...but rather constructs a real that is yet to come, a new type of reality.
Gilles Deleuze and Felix Guattari, A Thousand Plateaus

-"A diagram is a graphic assemblage that specifies relationships between activity and form, organizing the structure and distribution of functions. As such, diagrams are architecture’s best means to engage the complexity of the real."

-"The diagram is understood as a visual tool designated to convey as much information in 5 minutes as would require a whole day to imprint on the memory."

-"A diagram is not a thing in itself but a description of potential relationships among elements, a map of possible worlds."

-"Diagrams are not regulating devices but simply instructions for action or possible formal configurations." 

-"Architecture's most powerful tool to think about organization.  "Its variables include both formal and programmatic configurations: space and event, force and resistance, density, distribution, and direction.  Diagrams are highly schematic and graphically reductive, but they are not simply pictoral.  Diagrams are syntactic and not semantic, more concerned with structure than with meaning.  In an immediate apprehension of the relations between the parts, while the process of reading a notational schema is more extended, unfolding in time, like reading a text or a musical score.""

-"Diagrams function through matter/matter relationships, not matter/context relationships.  They turn away from the questions of meaning and interpretation and reassert function as a legitimate problem, without the dogmas of functionalism.  The shift from translation to transposition does not so much function to shut down meaning,, as to collapse the process of interpretation.  Internal relationships are transposed, moved from part-to-part from graphic to the material, by means of operations that are always partial, arbitrary, and incomplete.  The impersonal character of these transpositions shifts attention away from the ambiguous personal poetics of translation, and its associations with the weighty instructions of literature, language, and hermeneutics."