Final Submissions

I've reorganized the server space. Please share with us all the photos, videos, and any other documentation you may have. This is important.
I've uploaded a standard file system for you to use to organize your final file submissions. A link is provided to the right. You will upload these folders and files to the class server by Monday at noon. With every dwg, or .fmz or other cad file include a high quality pdf of the desired image. If you do not submit your work in this format we will not grade your work. Please leave all 3-d models and material studies on your desks and leave your walls full of your work until Sunday morning. We will be taking photos of much of the work and uploading those files into a special folder for you to access. It will be there by Monday morning.

Thanks. Happy Filing.

MONDAY WORK DAY

Marti and I have spent the weekend working 24/7 on the restriping, numbering and signage project for La Pulga. What we have looks great, is well organized, and graphically explained. We also now have Nan's approval for the things we were thinking of doing and we're ready. We've cut templates. We've bought $72 worth of paint stuff. (Any paint pans or brushes anyone can bring would be appreciated.)

WE REALLY NEED YOUR HELP TO GET THIS DONE IN ONE DAY.
I will be out there by 11:30AM. I'll chalk off the first building or so before anyone gets out there.
This is going to be a great thing. We've got large signs to paint on the approach aprons. We've got arrows shaped like hands to paint on the walls leading back into the storage units aisles with bilingual text. We've got six sets of stencils set up to number the place from top to bottom.

Detailed Plan of Existing La Pulga

By Sunday afternoon we'll release a .fmz and .dwg file of the detailed existing site plan.
It will look like this:

Old Diagram

Groundings Post & Readings

I've put links to two things:
a) Images of Ground projects in an html file linked at Support Material called Groundscapes Images.
b) Key texts from the Ruby book Groundscapes linked under Readings & Listings as Groundscapes by The Rubys.

Important readings that each of you should do this week are:
"Infrastructure As Landscape" by Gary Strang
"Programming the Urban Surface" by Alex Wall

Exploded Iso

Cell Scale Assignment

Stall Scale
Current Stall Analysis
Catalog & Cladogram a Single Current Stall
Draw an Isometric of that Current Stall Volumes & Occupation
Cell Projection
Catalog & Cladogram the Model Cells in Your Project
Draw a “Kit of Parts” Exploded Isometric that Projects a Cell into Your Project

Wall of Facts

Think of your wall as an arrangement of facts.

One type of element on the wall will work different from the rest of the facts- the indexical diagram. This typically is either your traffic material study or your surface material study, though there are anomalies. This indexical diagram(s) is your project’s touchstone. It grounds a lot of the other facts in a purpose, a goal, or a model.

The rest of the materials on the wall sit as smaller components in a bigger picture much as an east elevation explains only a fragmentary understanding of a building.
Architects represent projects through compilations of fragmentary images that each represents a partial understanding of the work but when knitted together through notation, scale, and concordance in a SET make a comprehensive overview.

Think of the work on your wall as a SET of drawings, images, models, and diagrams that explain a project as thoroughly as possible; each one being a possible fragmentary fact that adds up to project a comprehensive overview of the work.

Projections are the architect’s means to negotiate the gap between ideas and material- Stan Allen in “Constructing With Lines”

Ludwig Wittgenstein

About FACTS and the things that hold them together:

First, please get your facts straight and out on the table. List your facts. Catalog them. Develop taxonomies of them. The facts are most often not at all profound. They're obvious to varying degrees. Many of you are not seeing the facts of your project because you are looking for something "abstract" or "conceptual" about what you are doing. Reduce your vision to less grand schemes and simply look and record the basic conditions- graphical, spatial, tectonic, or programmatic- of what you've been doing.

Wittgenstein, in his book, Tractatus ­Logico-­Philosphicus, first presented the idea that..."language is a combination of propositions picturing the facts of which the world is composed".

Friday Class / Measured Drawings

We will have a work day on Friday. Marti and I will mostly be working on the painting scheme for La Pulga. We will meet in studio at 1:00PM. We will make some short preparations for this weekend's flea market and then, hopefully, we'll be going down to make stencils on the the laser cutter. Don't forget this weekend's visit to La Pulga. This will be the last weekend we'll be out there before we have our final review out there.

We have four weeks from Monday before the final review. We will have a review on Monday.

I need the files for the updates to the La Pulga measurements that you all did Wednesday. It was a tough day for me. I need those drawings as soon as possible. Hurry. Please send them with a list of who worked on your file. Send to: b.rex@ttu.edu

Thanks.

Wednesday Class

We'll meet out at the site tomorrow.
You can take this time to begin developing a more localized catalog of just the Flea Market program and its accouterments.
We'll have specific things for teams of you to measure and record in your computers.

Please find yourselves in pairs or threes and for each group we'll need you to have:
paper on a clipboard
pencil
computer, preferably with Form•Z
measuring tape

If someone has a good toolbox they can bring then we can explore taking up the "turtles" from the site and look at reconfiguring them into a sign on the ground.
If someone knows how to attach them to the ground (ramset?) then let's discuss that.


This is an important day for us.
We have to get our plan in order for painting so we can begin on Friday.
Otherwise, we'll have to wait until Wednesday of next week.

We'll need to locate in a drawing all the:
Trees
Electrical plugs
Lights
Speakers
and anything else out there that we may need to label or draw.

We'll need the Spanish translation team out there tomorrow.
Sergio and Brenda, we really need you there.

Scratch Today Too!

So, I got the weather wrong. Friday morning's forecast was reversed. Yesterday was beautiful. Today is crappy. NO LA PULGA TODAY. GET TO WORK!!!

Dallas Farmer's Market

To the right, under support material, is a new set of images from the Dallas Farmer's Market. This is a particularly strong market set up. Its level of success seems to be the inverse of the success of the adjacent downtown.

Weekend at La Pulga

It looks like Saturday is not going to be a good day for La Pulga.
It will rain a lot according to the NWS.
We will not participate in the Flea Market on Saturday.
We will on Sunday. We will start setting up at 11:30AM.
We'll have our site plan out there and we'll discuss the small scale improvements we'll propose to Nan and Michelle out at the flea market on Sunday. All are welcome. People committed to times on Sunday are expected to show up. The Saturday people should try to participate on Sunday too.

Good.

Friday's Schedule

Let's run a pretty tight schedule over the four hours so we can get to all of you as much as possible. I'd like each of you to have your progress pinned up on your studio wall before your scheduled rotation. You only need be here for your scheduled time but make sure that you have someone in class and taking notes for you if you're missing.

Of course, all are welcome to sit in on any and all of the reviews we'll be conducting.

Starting on the wall from Robert, we'll move three at a time around the room, taking 30 minutes on each pair. 1:15 people should be ready at 1:00PM.

1:15 Louis, Brenda, Robert
1:45 Justin, Amanda, Marcus
2:15 three more down the line
2:45
3:15
3:45
4:15 and ending with Adam and the pair next to him.
4:45 OUT

During the reviews we will be asking you to print certain things large for display at the flea market on Sunday. We'll tape these printouts to the ground of our area and we'll give people the chance to comment on the drawings.

Wednesday Class

We may have a special visitor, Alex Cunningham, who is a biologist and entomologist, in class on Wednesday. Alex is interested in your catalogs and talking to you about how to break a place down into some notion of its constituent parts and possible hierarchies. Please be sure to have something on that project if you'd like to talk about things like type, index, catalog, and taxonomies in the world around us.

Handout & Lecture Update

I've added links to the right for the Surfaces Exercises, Marti's Lecture on Surfaces, and my lecture on Cataloging. The first is under "Course Material", the later two are under "Support Material".

Estudiantes en la acción - marcha de 2007

Clic en la imagen para Flickr

Gente en la Pulga - Marzo 2007

Clic en la imagen para Flickr

Flickr & YouTube

We've made up a Flickr and a YouTube account for all of us to share our image banks with each other. For both accounts the username is: ttulapulga and the password for both the accounts is: urbano.

The naming and nomenclature of the files and folders in both is important. Try to have each file and folder start with "PkMkt_Md_Photos_887766_Bobby_05" or "ParkMarket_Made_Photos_Date_Author_FileNumber". Try to organize images wherever possible but remember your organizational skills have to understandable to our whole group.

Flickr is for photos. I'm organizing them by date of photo. Flickr has limited space so we'll have to edit the photos we show. Anyone who wants to try to orgaqnize what we have is welcome to do so. I have not learned the nuances of Flickr yet. On the Flickr web page there is a free app you can put on your computer that allows you to batch upload rather than one by one.

YouTube is, of course, for video. You'll each have a Playlist on this account to which you will upload your required videos by the beginning of class on Friday.

Travis Venable on Pedal Steel Guitar

Schedule for the Week

Monday: Each person will present their two material models of traffic patterns (existing and proposed) and a diagram showing the proposed state. Our goal is to consolidate and edit all the proposals into a single idea about traffic in the Near South that we'll all share as we progress in this project. The first surface assignment will be delivered. It is due Friday.

Wednesday: We'll discuss your grades, your status in the absence policy (some of you are now at the maximum and will be dropped if you miss another day), and our schedule for the rest of the semester. Please bring your datebook, calendar, or whatever else you use to organize your time. *

Friday: We'll discuss Friday on Wednesday.

*Organizing and accounting for your time, as a professional does in a calendar, is equally as important as organizing and accounting for your production and considerations, as a professional does in a sketchbook. Nothing demonstrates you value your time more than if you can account for it and you've organized it. If you don't have a way to organize your work time buy a calendar or download one on line and start using it. Collecting the education you get in this class and seeing to it that you manage your time in work well are skills you should have already developed to get this far in this program. No one's ever going to let you run anything if you don't record and organize what you have to do to complete the work in a timely manner.

Mas dibujo

Clarificación de ETH y Gottsch

Clarificación de Tschumi y Rex

Please carefully consider this quote from "Spaces & Events" (1984) in Architecture and Disjunction by Bernard Tschumi:

If movement notation usually proceeded from our desire to map the actual movement of bodies in spaces, it increasingly became a sign that did not necessarily refer to these movements but rather to the IDEA of movement- a form of notation that was there to RECALL that architecture was also about the movement of bodies in space, that their language and the language of walls were ultimately complementary. Using movement notation as a means of recalling issues was an attempt to include new and stereotypical codes in architectural drawing and, by extension, in its perception: layerings, juxtapositions, and superimposition of images purposefully blurred the conventional relationship between plan, graphic conventions, and their meaning in the built realm. Increasingly the drawings became both the notation of a complex architectural reality and drawings (artworks) in their own right, with their own frame of reference, deliberately set apart from the conventions of architectural plans and sections.

The realization that all or some of you looked through the image that Marti posted and saw a base to mount the trophy (project) is haunting us to no end. Certainly, Amanda, Kristen, and a few others have integrated a notion of base or surface into the model. The assignment talked about bundling sticks of material to diagrammatic effect vis a vis the vehicular traffic in the context of the location we are studying. Nothing more. Quit giving us poetry in our calculus class.

Everything in the model is part of the exploration. Craft is care. Craft is intention. Craft makes clear. Do you understand that? Let's talk about "Craft is Care" if you don't understand.

The lack of discovery in many of the studies should concern you and you should adjust your work accordingly. That's practice! You're not stupid, just wasting your time in not engaging the spirit of the assignment- especially in dealing with the specifics of the materiality. Don't do anything with a material that seems unholy, unnatural, or dioramic (like a diorama). Craft with materials like the trades craft. It's a great way to learn to be an architect who makes stuff. It also goes a long way in gaining respect from the craftspeople you'll interface with in your professional careers. Shee-yah!

To succeed as a designer you have to make things that discover or enframe external situations AND stand up as artwork (self-referential) unto themselves.

Please do the drawing as a bundle of vectors that explore the possible shifts, redirections, stops, starts, pauses, switches, interchanges, etc. in the site. Make a drawing that happens to be an enframing of traffic possibilities in the situation yet stands as an artifact on its own.

The big white model, as we saw out there on site, does that.

P.S. the most relevant article for this assignment, Keller Easterling's, Switch, Terminal, Terminal, and Vehicle is now properly linked to the right.

Access To Maps & Images

To the right under "Support Material" I've posted detailed aerial photos & maps of the site in history at "SITE HISTORY" and I've made a post of "STUDENT WORK" from the Fall Site Planning class. Refer to this material for your traffic studies to understand historical patterns.

Sunday Afternoon at La Pulga

Thanks to everyone who came out to La Pulga yesterday. I think that was a great success. We owe a debt to the second year students who made the big white model. That thing was the total object. Many of us busted our butts out there today but Sergio really deserves the ultimate credit for our success. He and that big white model did a dance all afternoon for the people.

Today, Monday, we'll focus on the traffic models & the readings.
Wednesday we'll look more at the traffic stuff and we'll discuss as a group the next weekend's flea market visit. We can have the same space we had Sunday for this coming weekend. We need to cut some projects, like the laser cuttings, and focus more intently on performances and recordings out there. The panorama images were admired. People were interested in seeing if they got into the picture. They make a great record of the day at the market. They could be much more uniform. We need to do more (and better) of these sorts of recordings.


Think of your traffic model as the vector base for your further work, a sort of site made up of flows of infrastructure in between, under, and over which formal and programmatic surfaces are organized. You are constructing a site made up of infrastructural flows into which you manipulate large formal and programmatic surfaces of park and market.

We need to deliver a grade to you before we all leave for Spring Break. Please update your server space so that all the assignments and videos are there.
Videos: Garden, Shopping, PkMkt_FirstVideo, PkMkt_Consumer, PkMkt_Merchant
ai or pdf files: Garden, Shopping, Traffic
Three folders total: GG, Shopping, PkMkt

Both Marti and I can really see this project taking shape in great ways. The people at the flea market showed that they were going to look if we show it to them. That's one of the best and most respectful audiences I've seen for this kind of work. They seemed to understand and appreciate urban issues. Letting them ask questions and answering them with our own questions set a stage for what you do along the way.

This week I'd like to feature some iteration of your traffic studies out there. Traffic was a clear bridge with them. Everyone I talked to I started hammering on the traffic issues and I got a lot of feed back and a lot of support for the issue of "in the neighborhood" or "out on Texas" traffic vectors. People were quick to point out that it's hard to find a way up Texas Ave. from the south. Nan Young (Penney) seemed to be a supporter of traffic changes. Certainly, on a day like yesterday Avenues H, J, and K all get a little "treacherous" to cross by Lubbock standards.

No Saturday

It is the sixth seal of the apocalypse today, so there will be no flea market. Lets try again tomorrow. Until Sunday....

Work on your models, make them bitchin'.

Class on Friday, Feb. 23rd / Press Release

Here's the finished press release:
For class today we'd like to meet with specific groups early in the afternoon & get everyone together IN THE STUDIO at 3:30PM. Once assembled, we'll all move the material we have over to the Flea Market & set it up in a dry run.

The groups we'd like to meet with are:
a) at 1:30 in studio we'd like to meet with Nicco & Marcus about video
b) at 2:00 in the studio we'd like to meet with Louis & Dillon about print
c) at 2:30 in the studio Marti would like to meet with Jeff & Amanda about the white model
d) at 2:30 in the studio Brian would like to meet with Kristen, Jessica, & Les about the laser cut models
e) at 3:00 in the studio we'd like to meet with Mike & Adam about Event Coordination

The rest of you should know what you are doing & need the time to do it. We'll meet with those groups on Monday (Web, DigiMod, Media, Service, & Translation).

New Data

Just to the right is a new link "Area Plan" to a .zip file that holds dxf, dwg, ai, & .fmz contour maps of the mile square of the city that holds Burns Park & the Flea Market. The .dxf is the file supplied by the city on their website. All the others are our translations.

Revised Rosters

The revised rosters are available in the link to the right.
Thanks for being patient with scheduling & name spellings.
If you can't make one of your scheduled times, make sure someone covers for you.

Video in Achre. Representation

...digital video could concern not only the creative process in urban and landscape design, but also the entire chain of decisions leading to the understanding and approval of a specific project. This new way of looking probably lies at the very margins of our habitual conceptual framework, where the actual blending of different times in space produces a new dimension. The tool of digital video, combined with to some extent more classical means of topographic and architectonic representation, would enable one to formulate such a synthetic vision of site, where the relativity of time, space, and motion are all present...It requires students to better incorporate spatial and temporal considerations in their work.

Christophe Girot teaches at ETH-Zurich. We'll read this article in the next few weeks.

MEDIA WEEK

Media Work:
- This week we'd like to focus on preparing for the public portion of our course. We've got a job on a media roster for each of you. Each of these jobs is very important to the success of this operation. We hope you'll be as thoughtful & innovative in your media work as is possible.
- Today- Monday, February 20th, we will meet at the site at 1:30PM at the basketball court in the park. We will spend the class time walking around the neighborhood.
- Wednesday, February 21st will be a in studio work day for media projects.
- On Friday, February 23rd we will meet in the studio but move to the site during class time.

Interview Question Exercise:
- In addition to your media duties you should continue with the readings, which we'll discuss in class each day this week.
- You should be thinking of what professional questions you could ask people around the flea market. We'll meet Friday to settle on some agreeable ones & use them this weekend. By Friday, February 23rd, at 9AM have five relevant and insightful questions ready that you'd ask a merchant & five questions that you'd ask a customer submitted to b.rex@ttu.edu.

Traffic Model Exercise:
- In a week you will present two models made of bundled, banded, gathered, or lashed strands of material representing force paths and vectors of traffic.
- The scope of the model will include the intersections of Texas & 19th, Texas & 34th, as well as Q & 23rd. It should include the width, height, & speed of I-27.
- The proposed model will be programmed to return traffic to Texas Avenue & to clarify the flow of traffic to & from I-27, 19th St, Q, & 34th. It will take traffic away from the residences & narrower roads in the neighborhood & will redistribute the traffic accordingly. Clarify in the neighborhood traffic model the presence of switches and circuits in the city with this model.
- By Friday, February 23rd, at 1PM have a test model of neighborhood traffic ready for discussion.
- By Monday, February 26th, at 1PM have two Traffic Models : one of existing traffic & one as an alternative of traffic constructed of controlled strands of material.

Cust & Merch Videos:
- In two weeks, on Monday, March 6th at 1PM, you will present two-two minute videos (saved on the server at 640 by 480px, .mov file- XXX_Video_Site_Customer01.mov & XXX_Video_Site_Merchant01.mov) one featuring the needs & techniques of a Merchant in the flea market, the other featuring a Customer characteristic, perceived need, or tendency.
__________________________

Listed below are all the service rosters we have. If your name is not there, make a comment to this post telling me where you want your name filled in. If you are trading on the media roster then let me know via a comment to this post as well.

Readings

I have uploaded the readings and linked them to this webpage to the right. They are:
Betsky, "Let it Rain"
Easterling, "Switch Terminal, Interchange, Vehicle"
Corner, "Agency of Mapping"
Strang, "Infrastructure as Landscape"
Pyle, "Famer's Markets USA"
Sheryl, "Analysis of Flea Markets"

Read them in that order.

First Thing To Do

Please watch this video while are drafting your isometric drawing.

Greg Lynn at Harvard

Shopping Assignment

Leaving all construction lines, build an isometric drawing of the retail site you are studying. Include the complete retail site- building volume(s); signage; various interior retail volumes such as "back of house", sales floor, loading areas, cash wrap (PoS), and display aisles; parking layout w/ curb cuts and islands, exterior landscaping and lighting, utility connections, perimeter screens and adjacencies, and anything else you observe about the place.

In the drawing emphasize the primary retail space(s) by making the surroundings translucent in nature while emboldening the primary retail volume(s) with line weight and line type. Your secondary emphasis should be the other points of transfer, termination, and exchange in the commodity / consumer network. These are things like transferring from car to foot; collecting a shopping cart; or locations of commodity transfer or display.

You can use only black and grey tones. No color. No shading or hatching.
Use lineweight, linetype, and grayscale linetones liberally.

Get a picture of how things work. Start drawing to investigate that picture. Build the drawing up to see how the spaces and forms relate to the events and functions. Use the drawing to collect all the facts about these relationships. Then we'll go to a larger scale and investigate how that works. We'll combine the two scales and complete the study by combining everyone's into a collection about shopping in Lubbock.

We will complete the whole shopping study in one week, on Friday, February 16th. We have our first weekend at the flea market on February 24-25.

Please ask questions about this assignment as comments on this post. It gives me a record of what you understand.

Uploading

We have created a folder at

smb://archlab.arch.ttu.edu/arch_5604

(or for windows users)

\\archlab\arch_5604

LOAD THEM UP

Meeting Time Today

Marti, Katy, and I are going to meet with Nan at the Flea Market at 12:30PM. We will not be in studio until 2PM today. We will begin then. The template files are zipped up and linked to the right. See you at 2PM.

Notes on Axos

General:
There are a lot more lines in a thing than it’s boundaries.
In some of these overall figures where there is no edge, drawing the stops vs. the gradients is critical. Show the whole place and its surroundings.
Specific:
Robert (Central Park): Circuits of circulation in a even grid context.
Layers: Boundary. Main Circuit (Carriage Path) Finer Path scales no shown but talked about, Built structures, Water bodies, Recreational Surfaces & Features, Cross-Town Channels,
Brenda (Broadacre City): Grid is the city. What do we call the heirarchical system used in this place?
Les (Vaux le Vicomte):
Andrea (Claremont): Bounds. infrastructure. Sequencing illegible. Hierarchy of roads. Pauses. and circuits.
Louis (Plan Voisin): Grid City. Complex subway circulation system. Notational system needed.
Amanda (La Villette): All about the grid of follies. Drawing developing.
Jeff (Campidoglio): Piazza is an upsidedown bowl. Elements are vertical
Josh (Villa Aldobrandini): Social Screen? Lost? No Boundaries.
Kristen (Salt Works): Horizontal layers (depth) signifies chronos. Procession is not at all clear.
Nicco (Valzanzibio): Procession through screens is the interesting part. Box hedges screens
Dustin (Villa Aldobrandini): Social separation. Processing through cut back.
Mike (IIT): Mies is rolling in his grave. Axis? Grid of structure? Separate the circulation from the structure. Is the grid intersection poins the column lines.
Sergio (Prospect Park): The Buffer Scheme. What’s the intermediate space? Integrate more ideas into the drawing and it’s notation.
Jessica (Isola Bella): Horizontal layers. Theater. Hinge.
Travis (Vaux le Vicomte): Perceptual vs. Actual
Brad (Villa d”Este):
Erica (Chantily): Axiality is most important. Leveled the land to create different stages of the equestrian statue. Focus. Statue and the horizon. Animating the statue.
Amy (Belvedere Court): Three layers. Multi-Purpose. Moving to public to private. Holies
Adam (Champ de Mars): Viewing the grounds or viewing the exhibits? Ephemeral vs. permanent? The word for the perimeter layout is PASTORAL. Exterior circulation, passage, and procession.

Sent to 75 2nd Yr Students

I'd like to brief you on what we're doing this semester and to invite you all to a review of the current grad student projects.
This coming week we're finishing up a study of grounds and gardens from across history. It's turning into an interesting project.
Next monday, February 5th, we'll have a review of the graduate grounds and gardens work from 1PM to 5PM.
They're drawing axonometrics and making two models that animate the places by folding and cutting a single sheet of paper.
The work will be on the wall for the review, of course, but the real twist to the presentations will be that the grad students will make their presentations as exactly three minute videos. They'll play the video and then take questions.

I'd like to invite any and all of you to be our main visitors for this review. There are 21 graduate students. It will be informal and a chance for any of you who want to have input about your findings in the near south to meet the grad students and to see how they work. We'll just scatter groups of a few of you with a couple of them. All I ask is that you show respect, be intent and curious, and just ask and tell them what you see in the work. The videos will be great. I'd like to invite you all for later visits to talk directly with the grad students about what you saw in the near south and what they're thinking.

In coming projects the grad students will be:
a) Making a graphical study of the different types of shopping around Lubbock
b) Making video interviews with the public at a location around Lubbock other than the Flea Market (such as the mall or at a roller rink)
c) Making a graphical study of the full length of Texas Avenue to sort out traffic problems associated with the site
d) Making a design proposal for a Park Market- a public and civic market grounds.
e) AND running a booth at the Flea Market for five weekends in the semester in which they're giving out the products of the studio- folded models; pop-up models; etc. We'll have racks of axo drawings. We'll have racks of paper punch out models. We'll have some of your mapping and statistical work on racks and, of course, the big model will be there. I need a DJ or music playing person(s)- if you know anyone, yo. We just bought a gum ball machine that dispenses capsules of folded gardens. We hope to make T-Shirts with projects on them for the final review / sale. Of course, you all are invited to come out and visit the stall while we're up and running. We'll also be showing videos and making new ones while there. Our weekends at the market will break the ice and get people talking.

Some Notes on the Last Review

Many of your drawings rely a whole lot on representation via the outline of things- their trace. There are more lines and points to a thing than it's profile.

Emphasize the ground line in the section and minimize the visual impact of the box below it.

How would you talk about this in terms of movement and sequence?
Is it best described by talking about how you'd proceed through the spaces in the garden?
or, is it about the history of the place as made up of shifts in boundaries and surfaces of the garden?

Did this place change over time in a way that, when drawn out, reveals something significant about the underlying relationship between the form and the sequences of event that happen in the place? Is this axo drawing of movement and time in the place historical time (Chronos) or is it about the experience of sequenced movement (Physio) across the forms of the garden?

If someone asked you to make a place like this, a place that has the same formal and evental structuring then what would you make? How would you break the architecture of the garden down to building materials and labor for estimating? If you were charged with laying this place out, what would you do? Where would be your first transit line? second? third? What types of those transit, geometry, boundary, and zone lines does the drawing have? Break them down into sets.

As you lay this thing out in Axo, construct it, just like you think you would if you were constructing it. Draw it in that sequence, notate your linework, and don't delete any lines you draw, just organize them to read with like lines.

Does the garden have a clear bounds or does its boundaries project out? Is it distinct from wilderness or does it gradually dissipate into the surrounding wilderness? How important is the idea of a boundary in your garden?

You can't answer all of these questions solidly- some of them don't really have an answer in your garden. There are good questions somewhere in there.

The main thing is: construct your drawings like people will build the thing. If you're not sure how it's built use your drafting skills to investigate the garden graphically. How do you build the drawing so that it is built on it's own right. Lay it out. Draw relationships.

Translate the geometries of constructing the gardens / grounds into the geometries and notations of a drawing.
This axonometric drawing technique will do that for you.

The first three diagrams are site analyses of the architecture/art courtyard. The last diagram is notating different methods of circulation present from a site in Paris.

The first three images are from Cooper Union. The first is an analysis of Central Park, the second is called the Fascination of Manhattan, the third is entitled Datum Project: Times Square.
The last two images are from ETH in Zurich. The project is entitled Urban Strata and focuses on the diagramming of the layers of a site within an urban context.
These examples illustrate different uses of notation within variant situations. Take note of the excellent use of graphic annotation and heirarchy apparent in each of these diagrams.

Assignment 03- Projecting Time

For Wednesday at 1:00PM:
Make two drawings at the same scale and each on a 24 by 24 sheet. Use black and grey lines only except that the sequencing lines in #2 are red. Do this:
1) Construct the place in axonometric (plan projection) or oblique to a common scale that fits the place on 24 by 24 paper and as though it is constructed of one single surface with discrete objects that rest on it, in it, or above it. No shades or fills. (A model shown in projection view is not an a projection
and then either one of the next two:
2) Map the sequences through the place through the projection drawing as though the vectors of passage are marked as a red line on the centroid of the moving object (higher for a train than for a toddler). Notate velocities and pauses. For multiple sequences or movements use line types and line weights of the same red. No shades or fills. Same scale as above.
3) Map the historical development of the place through the projection drawing by showing the place in exploded or unfolding projection and notations. Use only black and gray lines. Use line type and line weight. No shades or fills.

Readings for this Week

You should be reading the articles on gardens by Dotson, Teyssot, and Reh.
Next week we'll read about the notion of Grounds as a form of urban fragment.

A Few Thoughts About Gardens

Garden. A plot of land, generally enclosed, where people cultivate useful or attractive plants. Market garden, fruit garden,
vegetable garden.... (Source: Le Grand Robert)

A traditional garden is a landscaped, finely worked, and useful site. It is a site for orderly rhythms; the rhythm of the neat rows of plants and, correspondingly, the equally regular rhythm of the gardener.
A garden is, however, an ambiguous site. It projects into the world outside itself from a space that nonetheless exists within a delimited framework. A garden is therefore a sort of inwardly finite space with outwardly infinite perspectives.

Garden. Phrase - (1869). Theatre. Coté jardin: stage right (left of actor facing audience). (Source: Le Grand Robert)

The coté jardin is a transient space, the last step before going on stage, a space also for pulling back, for leaving the stage. It is a silent, hand-wringing pause that precedes and succeeds the moment for expressing oneself and becoming another person, a character.
The garden idea here conveys the full concept of stageworthiness, acting, staging, ideas, and stories.

Garden. (1532, Rabelais). Metaphorical. Rich, fertile region. "The garden of Italy" (E. Quinet, in T.L.F.). (Source: Le Grand
Robert)

A garden is land, a rich, diverse space, a zone of interaction between the soil, plant, and animal worlds. A garden forms part of the landscape and is a landscape at the same time.
A garden is a microcosm where culture and nature form a sumptuous whole.

Garden. Literary, poetic. A place or setting where something blossoms. The garden(s) of childhood. - The green paradise.
Phrase - Secret garden: secret place of one's feelings and most intimate thoughts. (Source: Le Grand Robert)

It is an intimate place where dreams and ideas take shape. A garden calls upon the imagination. A garden dwells in us.
A garden is also a vehicle that leads us elsewhere, whose poetry transforms us and turns us into others.
A garden is finally an invented place, where poetry and imagination are freely expressed.

Garden Design and CIty Design Quotes

“Whoever knows how to design a park well will have no difficulty in tracing the plan for the building of a city according to its given area and situation. There must be regularity and fantasy, relationships and oppositions, and casual, unexpected elements that vary the scene; great order in the details, confusion, uproar, and tumult in the whole.”
Observations sur l’Architecture
Abbé Laugier, 1765

“The garden as a criticism of the city and hence a model of the city. This is a theme which has already been introduced and which should deserve attention.”
Collage City
Colin Rowe, 1978

“Gardens have had a strange fate. Their history has almost always anticipated the history of cities.”
Disjunctions
Bernard Tschumi, 1993

Garden Reference Books

Moore, Charles Willard.
The poetics of gardens.
Cambridge, Mass. : MIT Press, c1988..
Location: ARCH ARCH SB472 .M64 1988

Mosser, Monique.
The architecture of western gardens.
Cambridge, Mass. : MIT Press, 1991..
Location: ARCH ARCH SB466.E9 A7313 1991

Shepherd, J. C. (John Chiene).
Italian gardens of the Renaissance.
Princeton, N.J. : Princeton Architectural Press, 1986..
Location: ULIB STACK OVERSZ SB466.I8 S8 1986

Steenbergen, Clemens.
Architecture and landscape.
New York : Prestel, c1996..
Location: ARCH ARCH SB470.55.E85 R44 1996

Wharton, Edith.
Italian villas and their gardens.
New York, The Century Co. [1904].
Location: ULIB STACK DG420 .W55