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.
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.
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1:45 PM
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