bebopstudio06

04.15 selected student work

2006-05-06T00:36:00.000-05:00

"I believe one should look BACK, not just FORWARD, at the work one has done." - John Hejduk

The site of this ongoing investigation is your mind.
The viewer, as the ultimate client, establishes the program.
The function is the psychological demand of spatial experience.
The material is space and light.
The budget is time, passion, and commitment to the study of architecture.

Over 3500 physical and digital model images were generated by the studio this semester. Each student's bebop space project is re-presented here as a series of 6 unique images. Ultimately it is up to each student to reflect upon what was learned, and take this knowledge forward. Like Hejduk, it will take time for each student (and the teacher) to understand what was accomplished.

04.14 final submissions

2006-04-28T12:46:00.000-05:00

submit the Powerpoint presentation (.ppt file) or Keynote (.key file).
submit the final formZ model (.fmz file).
submit final formZ generated high rez (1600 or more pixels across) isometrics, perspectives, sectional sequence views (.jpg files).
submit animation (.mov) files, if applicable.

due: on the archlab server folder 04.14, no later than 8pm, Sunday, April 30th; Presentations start at 9am Monday, May 1st. arrive early, just in case anything has to be adjusted on your wall.

04.13 final presentation comments

2006-04-26T12:59:00.000-05:00

If you don't know how to use computers, you don't know how to draw! Beware of the Mythical Man Month.

Edit and question each image and slide critically. Look for relationships between views you are generating and studies you did in the past. Work backwards to construct your story. Think about Jazz, Bebop, and architecture.

Re-sizing images within Powerpoint is okay, but do not use any special effects or image manipulations (such as transparency, rotate, crop, etc.). Instead pre-prepare the image in Photoshop. Then re-insert the the manipulated image into Powerpoint. Do not use CMYK or TIFF. Make sure your images are RGB and saved as JPG. Use arial font. You can use white backgrounds and black backgrounds within the same presentation. It depends on what you are placing in the slide.

Watch your pixel count on images, especially if you have multiple images on a slide.You do not want to have more than 3 images at 3000 pixels on a single slide. Placing too many high pixel images (each with 3000 pixels or more) in one slide slows down the program. Down sample images in Photoshop (to 1000 per image) or create one multiple image file (that is 2000-3000 pixels) and then insert into Powerpoint.

For fade ins, or fade outs, it is better to set it up as a sequence of individual slides vs. multiple images layered within one slide. You can pace your narration more effectively by spreading out your words among each slide.

Movies must be pre-approved by Neiman; format must be Quicktime .mov files. Include a copy of the file in the same folder with the Powerpoint file.

PRINTS:
1 best isometric 11 x 17
2 best perspectives, one per sheet 8.5 x 11
Sectional sequence; horizontal, longitudinal, transverse; as a series or individual best cuts; on 11 x 17 or 8.5 x 11
1 best photo or set of relief photos 8.5 x 11

04.12 screen presentation setup

2006-04-19T18:47:00.000-05:00

For the final review each student will be required to deliver a 5 minute Powerpoint presentation. This presentation will be a carefully scripted narration similar to what was seen in the Neiman bebop presentation. What is your design story? You should treat the presentation as a poetic visual/verbal essay that is read to the audience. It is an audio visual performance. Rehearse prior to presentation.

For each slide enter text into the Powerpoint note field. Some slides might be silent (no text). It is best to limit the amount of verbiage for each slide. Tend to have more slides so that the text can be divided into smaller chunks. Text should direclty relate to each slide. Use the bebop powerpoint template. For Macs use the bebop keynote template. The template The template contains 8 slide formats. Use slide sorter view to copy a slide type and paste as needed. This actually works better than using the New Slide button which tends to add unwanted elements to the slide. Keynote does not require this type of work around.

The following are suggested themes that could be included in the presentation:
key image(s) important to your project from the musical analysis.
the synthesis diagram.
the distilled diagram.
collage series work (inventing musical instrument crystals & musical structures).
tracing series work (musical tracings & extension line network).
physical relief photo re-presentations (multiple selected views & manipulated views).
digital relief re-presentations (as isometrics).
digital expanded reliefs (as isometrics and exploded isometrics demonstrating expansion processes)
digital model (isometrics, perspectival studies, sectional sequences)

For this first cut you can insert preliminary images which can be refined or replaced later as needed.
First presentation cut is due Monday, April 24th 9:00 am.

04.11 digital model II

2006-04-19T17:05:00.000-05:00

Continue work on the digital model; refine or rework the model strategy as suggested in critique; work on views, lighting, color, tone, etc. Adjustments (cropping and contrast) can be performed in Photoshop if necessary.

required images:
2 isometrics which document the exterior strategy of the model.
6 perspectives which explore the interiority of the model.
12 sectional sequence cuts (use clip hither and yon): 4 transverse; 4 longitudinal; 4 horizontal.

Format JPG level 5 in formZ export; level 10-12 in photoshop.
size: approximately 1600-2000 pixels across (in formZ adjust image options to get desired resolution).

due date: Friday, April 21st 9:00 am;
submit formZ model and jpgs of required images to the server folder 04.11.

04.10 digital model

2006-04-14T13:56:00.000-05:00

Create a completely new model. Start with the expanded versions of your two digital reliefs. Strategy should be based on the ideas, not necessarily the form of your distilled diagram. View choice, especially for perspectives, is very important to this study. Work on lighting, shade, shadow, tone, transparency for this model.

required views:
4 isometrics which document the exterior strategy of the model
6 perspectives which explore the interiority of the model.

Format JPG level 5 in formZ export; level 10-12 in photoshop.
size: approximately 1600-2000 pixels across (in formZ adjust image options to get desired resolution).

due date: Wednesday, April 19th 9:00 am;
submit formZ model and jpgs of required views to the server.

04.09 expanded compressed model 2

2006-04-12T12:00:00.000-05:00

Create a second study. Re-read posting 4.08 (study the posted image below; click on it to see it bigger); re-look at the presentations and videos. Think about what I said during your crit. Many of you did not try expanding your relief within a volumetric precint, prior to duplicating and other operations. Try expanding first! Relate the proportion and scale to your distilled diagram. Use layers to help with differentiating elements or systems.

submit new formZ model and isometric jpgs to the server.
isometrics should not be closeups, but about seeing the structure from different positions.

due: Friday, April 14th, 9:00 am

04.08 expanded compressed model 1

2006-04-10T14:08:00.000-05:00

Expand and compress the information loaded in both of your digital reliefs. Once digital objects are created, their locations can be reconsidered. In this exercise, students use the modeling software to explore variable locations of the digital reliefs in space. Space is accessed and re-evaluated through the intentional screen of a computer. Unique model configurations are created as an interpretive transformation of the relief studies. In this exercise, design is the interpretive arrangement and composition of objects in digital space. Your distilled diagram sets up the volumetric precinct and overall strategy for this model.

Make one expanded-compressed model by freely re-arranging and experimenting with combinations of elements from the reliefs in formZ space. Use both digital reliefs as your sources; consider replication, duplication, scaling (proportional and non-proportional), expansion and contraction of elements; use the reliefs as a kit of parts.

Generate and render 6 unique isometric views of the structure (save in view palette). Experiment with solid, void, translucency, gray tones, lighting, shade, shadow, transparency, reflectivity.

Format JPG level 5 in formZ export; level 10-12 in photoshop.
size: approximately 2000 pixels across (in formZ adjust image options to get desired resolution).

due date: Wednesday, April 12th 9:00 am; submit formZ model and jpgs of required views to the server.

presentations to consult:
expanded compressed model slide show
Big Kids Little Kids (analog-digital workshop Colorado 2001)
Yalin's external spinathon animation
Yalin's internal triple animation
Yalin's vrml model 1 quicktime virtual reality
Yalin's vrml model 2 quicktime virtual reality
Yalin's vrml model 3 quicktime virtual reality
Yalin's vrml model 4 quicktime virtual reality
Yalin's vrml model 5 quicktime virtual reality
What is Your Definition of Architecture? comments by Mark Gross)

04.07 spatial viewpoints

2006-04-07T12:25:00.000-05:00

Task 01 - Analog/Digital: Generate new alternative spatial viewpoints of both physical reliefs (5 views for each relief). This might involve re-shooting the models, but more likely it will involve the re-seeing or reconfiguring of existing shots with photoshop. Use cropping, selection, and transform tools to selectively scale, rotate, skew, distort, perspective, or warp the image into alternative spatial viewpoints of the relief.

Task 02 - Digital/Digital: Explore both formZ relief models in terms of lighting, transparency, and spatial viewpoint conditions. Use Renderzone; represent the model in shades of grays (can post process images in photoshop to adjust levels of gray). Alternative views should be more than just looking at the model as an object. Explore the potential internal or in-between spaces of the models (use cone of vision to get "inside" of the model). Required views for each formz relief: 2 isometrics; 1 front orthographic view and 1 side orthographic view; 5 alternative views (perspective).

Format JPG level 5 in formZ export; level 10-12 in photoshop.
size: approximately 2000 pixels across (in formZ adjust image options to get desired resolution).

due date: Monday, April 10th 9:00 am; submit final formZ models for both relief; jpgs of required views.

04.06 relief re-presentation IV

2006-04-05T12:00:00.000-05:00

make a formZ model of the first relief model.

due date: Friday, April 7th 9:00 am; submit progress formz model to server.

04.05 relief re-presentation III

2006-04-03T12:00:00.000-05:00

continue work on formZ model of the second two-sided relief model.

due date: Wednesday, April 5th 9:00 am; submit progress formz model to server.

04.04 relief re-presentation II

2006-03-29T15:18:00.000-06:00

Task 01: take 5 frontal elevation photos of the first relief; same criteria as in assignment 4.03.

Task 02: revise or retake 5 frontal elevation photos per side of the two-sided relief as discussed in Wednesday's critique.

Task 03: for both reliefs submit 5 images (10 total) of non-frontal views; experiment with variable viewpoints of the models.

Task 04: continue work on formZ model of the relief model; consult tutorials for techniques; note that the model has to be entirely solid modeling, not just surface modeling

formZ model output: print out 4 isometric wire frame views on 4 sheets 8.5 x 11"; also be prepared to show the model dynamically on screen on your computer.

due date: Monday, April 3rd 9:00 am; turn in photo files and formZ model to the server.

04.03 relief re-presentation I

2006-03-27T14:32:00.000-06:00

task 01: begin reconstructing your two-sided relief (or first relief) as a formZ model; start with the easy forms, working your way toward constructing the more complex forms; consult tutorials on the formZ program disk for techniques; assume that the physical relief model is 1/16" = 1 (11" x 17" = 176' x 272'); measure the model with a scale to derive heights; use the ZX or ZY reference plane in the model space.

task02: photograph the two-sided relief as an frontal elevation; turn in 5 images per side showing variable lighting, shade and shadow conditions; photo frame minimum is 2000 pixels across (3 megapixel camera); fill the frame with the model; use photoshop to straighten and adjust the digital photo; neutral black or white background.

see examples of relief photos.

due date: Wed. 03/29/06. 09:00AM; progress work on formZ; photos uploaded to the server for viewing in class.

04.02 two-sided relief

2006-03-22T10:27:00.000-06:00

Fabricate a "two-sided" relief based on your musical structure collages and extended line drawings. One side seen as primary, the other as secondary; both sides based on the same diagram, interacting with one another; can use the same diagram as previous or make this one a blow up or different region; should not be a repeat of the previous relief.

Format size 11" x 17" by 2" deep; avoid mere extrusions; think of inventive ways of working with materials, textures, gesso; not just reliance on one material; use the diagrams and extension lines; don't think of this as just a base with elements applied; should be an ambiguity between base and figure. For reference see the collage to reliefs lecture

due date: Friday. 03/24/06. 09:00AM for progress critique; final model due Monday 03/27/06.

04.01 relief

2006-03-20T09:39:00.000-06:00

task 01: What is the idea of your distilled diagram; one short sentence of series of words; what is it?
task 02: Fabricate a relief based on your musical structure collages and extended line drawings. Format size 11" x 17" by 1" deep; not just a base with elements piled on; an interactive investigation of positive and negative; in the base; above the base; on the base. For reference see the collage to reliefs lecture catalog (guitar, sax, trumpet)

due date: Wed. 03/22/06. 09:00AM

04.00 Post Spring Break Materials

2006-03-10T13:41:00.000-06:00

Have the following materials available to begin reliefs in class on Monday, March 20th.

blue or pink foam
basswood strips and chunks (1/16" to 1/2" variable thicknesses)
museum board (different thicknesses)
foam core 1/8", 3/16", 1/2" thicknesses
white gesso; buying 1 quart costs less than multiple smaller jars.
sticky back sheet adhesive
glue gun
sobo or elmer's glue
cutting matt
no. 11 xacto knife and blades
matt knife or equivalent
metal straight edge with cork backing

Pre-Spring Break Requirements

2006-03-08T13:26:00.000-06:00

Turn in files (.fmz and .JPG) for all assignments 03.03 thru 03.12; make a folder for each assignment labeled as follows: 03.03; 03.04; 03.05, etc. Include the linked underlay jpg you used for each formZ draft file. Make sure everything is clearly organized.

due: Friday, March 10th; 9:00 am

03.12 extension lines take two

2006-03-08T13:13:00.000-06:00

Choose a second area to blow up to double the scale or blow up the area of the previous study to double the previous scale. Continue to question figures and see more than you previously saw in the underlying collage. Exploit details, joints, connections, interlocking figures, overlaps, etc. Go beyond just merely drawing the outline of figures. Continue to develop the extension line network.

print directly from formZ or transfer to Illustrator; use line color to differentiate between figures and extension lines.

due: Friday, March 10th; 9:00 am (prints on wall and upload formZ file and underlay to server) pinup the collage with the new prints.

03.11 extension line network

2006-03-06T13:12:00.000-06:00

click on the image.

Choose a significant area of your previous study; double the scale and articulate as discussed in studio.

The underlying distilled diagram generates extension lines. This redefined study also requires that every orthogonal figure in the drawing generate an extension line in both the horizontal and vertical orientations. The non-orthogonal figures work against these extension lines. The beginning is somewhat literal, but soon there is a realization that certain elements need to be adjusted and refined in various ways. For instance, if an element is so close to being orthogonal, it might as well be orthogonal. Correcting this flaw in the line drawing gives more meaning to the elements that are obviously angled or curved. There is a negotiation between individual moves in the drawing, and the reconciliation of figures relative to other elements and the extension line network. Ultimately, it is a search for the logical arrangement and articulation of objects within the musical tracing.

Print directly from formZ draft; use line color to differentiate between figures and extension lines; one color denotes figures, another color depicts the extension line network.

due: Wednesday, March 8th; 9:00 am (prints on wall and upload formZ file and underlay to server)
pinup the collage and the new prints.

03.10 musical tracing take two

2006-03-03T00:00:00.000-06:00

Make a copy of the first musical tracing file. Proceed with further articulation and definition of the drawing in the new file. Be more literal in terms of tracing more detail on the most significant part of the underlying collage. Do not geometricize elements.

due: Monday, March 6th; 9:00 am (prints on wall and upload formZ file and underlay to server)
pinup the collage and the new tracing prints.

03.09 musical tracing

2006-03-01T13:10:00.000-06:00

Construct a selective tracing of your best musical collage structure. A literal tracing procedure translates the bit-mapped information of the underlying source analog schemas using the vector-based program form-z. The traced vectors are adjusted and refined.

Procedure for underlay: open your JPEG file of the musical structure (image should be approximately 7.5" x 10" @ 300 ppi) adjust the levels to make the image a "half-tone"; re-save the image; go to underlay in formZ; set scale to 1/16" = 1'; choose the file; check image to verify that the length is approximately 160'; start tracing.

Procedure for distilled diagram: open and re-save the Illustrator file as an Illustrator 8 file or lower; import this new Illustrator file in formZ as draft; scale the imported file to the same size as the underlay image; name the layer; trace on other layers as needed; transform line elements into closed shapes using the enclosure tool.

Tracing Procedures: make use of boolean operations; cut and paste; layers; every element needs to be a closed shape; use line weight to help see elements as you trace them.

print directly out of formZ; scale 1/8" 1' (prints will be on two or three 8.5" x 11"horizontal sheets.

due: Friday, March 3rd; 9:00 am (prints on wall and upload formZ file and underlay to server).

hint: clicking on the images above allows you to see a bigger version of the image!

03.08 musical structures take two

2006-02-27T12:00:00.000-06:00

Construct a second set of 5 collage studies applied to your distilled diagram based on pinup discussions. Same rules and format as previous take.

due: Wednesday, Mar. 1st 9:00 am (print and upload files to server)

03.07 musical structures take one

2006-02-24T13:51:00.000-06:00

Construct 5 new collage studies applied to your distilled diagram. These collages must reinforce, interact, and have a conversation with the underlying distilled diagram. Continue to invent "new" instruments/mechanisms/crystals/nuggets/parts. Recycle the best previous instrument studies to start.

Procedures: open (rasterize) your distilled diagram Illustrator file in photoshop (click on dialog box example above); set resolution to 300; cut and paste this new image into an approximately 3000 x 2250 canvas; adjust location; save as PSD file. This file becomes the underlay file that you can rename for each of the subsequent 5 collage files. Use layers to build your collage.

note: erase the words for the purposes of the collage.

format: 8.5 x 11 sheets horizontal format
due: Monday, Feb. 27th 9:00 am (print and upload files to server)

03.06 inventing a musical instrument (3rd take) & distilled synthesis diagram

2006-02-22T12:06:00.000-06:00

Transform or re-conceptualize your synthesis diagram into a simple, articulate idea: primary, secondary and tertiary; a distillation; a reduction. Find ways to refine, combine, and simplify the synthesis diagram; minimize the words.

This distilled diagram must be black and white.
Do not use color or tones; use only line weights and line types (solid line, dashed line, dotted line).

Use Illustrator; 8.5 x 11 sheet horizontal; print both the synthesis diagram and the distilled diagram (both must be same scale).

Also produce five more photoshop collages based on the pinup comments and criteria posted for assignment 03.05; recycle parts and ideas from previous collage studies.

due: Friday, Feb. 24th 9:00 am (print and upload files to server)

03.05 inventing a musical instrument (2nd take)

2006-02-20T15:28:00.000-06:00

Based on Monday's pinup comments repeat previous assignment; invent 5 new instruments. Keep in mind the following thoughts: de-familiarize from the original instruments; avoid using whole instruments; plug-in or interchange parts of instruments; look for interlocking and ironic combinations; break up symmetry all of the time (overall and localized); use erasure or subtraction; watch scale of elements relative to the sheet; selection tool skills; follow the natural contours of an image; avoid circles or break up circles into arcs; consider using perspective of circles; watch your resolution; create repetition with variation; mix diagrammatic elements with photographic elements.

Collage making can be a very exacting activity requiring a steady hand to locate the smallest whiffs of paper in the right position. The collagist's tools arc simple: a scalpel used in tandem with a probe or a pair of tweezers and small tabs to accept things in the right place prior to the gluing operation. Whilst the activity takes place the collagist's table has the same suspense as the surgeon's theater. Cutting, implanting, temporary clamping and adhesion all play a role in the procedure for making a new being. Certain pieces may have to be spliced in and then covered over by a complex layer of interconnecting components. The fingers have to move deftly to prevent the glue from drying too fast. The activity requires that the work concentrates on the tip of the knife and the practitioner must have the skill to free the weight of the body, so that it can pirouette about the scalpel blade whilst constant direction and pressure is applied to its point. - Ben Nicholson

due date: Wed. 02/22/06. 09:00AM

cut instruments catalog (guitar, sax, trumpet)