31.01 final instructions

2402 studio instructors are having an Internal Review on Wed May 2nd 8:30 AM. Please leave your final review drawings, models, and reliefs on the wall and on display as in the final review until 2pm, Friday May 4th. Make sure you number and name file submissions correctly (note that the deadline has been extended; see below). Let me know if you have any questions.

25.01 digital relief master take: in addition to files already submitted, upload the most refined, constructed, formZ model files (.fmz) for the first relief and the two-sided relief.

26.01 solo improvisations: submit files produced during this individualized process sequence.

27.01 solo recordings: submit a formZ model file (.fmz) for each relief generated.

28.01 bebop studio physical model: Photograph the physical model as follows; 5 overall shots; 5 in between shots and 5 closeup shots 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, adjust, and enhance the digital photo; black background. Submit images as JPG (set to compression level 12).

28.02 bebop studio digital model: submit the formZ model file (.fmz) final version.

29.01 bebop isometrics: submit Illustrator files of the Isometric Series and Referenced Take-apart drawings.

30.01 final encodings: submit Illustrator files of the selected encodings displayed at the final review (even if the file was previously submitted under an earlier assignment).

Due Date: Tue. May 1st, 5pm.

30.01 final encodings

Print 4 encodings; one is from the physical reliefs, the other 3 are the best of the encodings which contribute to the final model and digital reliefs. Format: 18" x 24" sheets with the 13.5" x 18" image centered on the sheet. Prints should be high quality on bond or coated bond (see Johnny for advice for optimal printing from Illustrator).

due: preliminary 8.5" x 11" tests by Fri. Apr 20th; final prints by Mon. Apr 23rd.

29.06 bebop isometrics

Brian T. Rex. Positive-Negative, 1987. take-apart isometrics (hand drawn).

29.05 bebop isometrics

Gordona Bojer. Positive-Negative, 1987. take-apart isometrics (hand drawn).

29.04 bebop isometrics

Dean Albright. JazzStudio, 1994. take-apart iso. (hand-drawn & photoshop).

29.03 bebop isometrics

Example of relief isometric series. Primary side from above and from below.

29.02 bebop isometrics

Example of 45 degree isometric opposite side

29.01 bebop isometrics

Chadwick Kipfer, JazzStudio 1997. reference take-apart isometric (encoded).

Isometrics will be presented for the final review as follows:

Sheet 1: Isometric Series 24" x 36". Include a series of vertically oriented (elevational) reliefs selected from the physical reliefs (one-sided and two-sided) and the best digital reliefs (two-sided). These isometrics should be encoded. They should show primary and secondary as opposite sides (or above and below) arranged on the sheet similar to example shown on post 29.03.

Sheet 2: Referenced Take-apart 24" x 36". Include the final digital model (based on the final physical model) and relief components that pull away from the total structure. There are many ways to construct this drawing. Various parts of this drawing should also be encoded in ways that support or enhance the reading of your design. See the example above, and posts 29.04, 29.05 and 29.06 as sources of inspiration.

Suggested iso angles. try a 45% iso first. In formZ getting the right angle and the opposite angle is tricky. If you are not getting the right results go back to Front Elevation. Then go to view parameters and change the inclination angles to x =45 and y=45. Record the view in the view palette. To change the iso view to the opposite side, change the eye point x or y setting from a negative number to a positive number, or vice versa. Let me know if you have any problems and we can figure it out. It is also best if the model is located in the center of the x, y, and z axes.

due: have mockup prints (without encoding or only a small sample of encoding) of the drawings ready for criticism, up on the wall by class time on Friday. 4/20. 9am

28.02 bebop studio digital model

Develop the formZ model in conjunction with the physical model. Use layers; record views.

due: computer model progress. Mon. Apr. 15th

28.01 bebop studio physical model

A Design-Build Construction Project: Begin work on a final physical bebop studio model. Work back and forth between the physical model, the digital formZ model, and the encodings.

The model is more than an extrusion. The model is the re-combination and interaction of two to five digital reliefs. There is a primary side, a secondary side, and the in-between condition. Re-scaling and re-orientation of reliefs can occur. The model has three idealized spatial zones (each @ 2.25" depth). These are not separated zones. The model should define and articulate these zones, but at the same time have spatial interaction between the zones (similar to what occurs between Parker and Gillespie in Leap Frog). In other words there is a push and pull between zones.

Model format: overall spatial zone of 18" x 13.5" x 6.75" must be defined in some way. (click on diagram above). Materials: same as discussed in 17.02 relief materials; encouraged to use laser cutter; painted white with gesso.

due: physical model progress and computer model. Mon. Apr. 15th

27.01 solo recordings

Finish developing 5 unique digital reliefs based on the "new encodings" you have been generating. It is advised that you generate one relief per encoding vs. trying to produce multiple reliefs off of one encoding. But each relief must, as before, address the issues of primary side, secondary side, and the in-between. The in-betweenness can be accomplished through layered repetition and variation of encoded elements, or you can choose to combine two or more takes of the same or similar encodings into one relief. Invent your process.

Prints: we are in the beginning stages of producing prints that will be chosen for the final review, therefore print out the following studies on 8.5" x 11" sheets, using your own printer:

• new encodings which are used to generate the digital reliefs.
• old encodings which were used to generate the physical reliefs.
• encoded isometrics (use live paint; see above) of the digital reliefs (primary and secondary sides).

Server upload: formZ files of each relief; new encoding files; iso files; make sure you number each file according to assignment and deposit in Alternative Reality folder.

due: Wed. Apr. 11. 9am.

26.02 relief examples

physical relief model by Jeff Olgin, JazzStudio spring 2005

Other selected physical relief models and digital drawings available at the jazz studio sp05 site.

26.01 solo improvisations

drawing by Jeff Olgin, JazzStudio spring 2005

Each student works on an individual process sequence for the next week as discussed in studio today. The goal is a new series of articulated formZ reliefs generated from the re-studies. See individual notes below. Significant progress due: Mon. Apr. 2. 9am.

Falcon
17.01 collage2ver3_3-2-07 series
re-encode
bring in new parts
change orientation
fz reliefs

Danley
re-trace collage-extensions-encode
look at vertically; sectionally
generate fz reliefs

Slavin
15.01 chromatic encoding 1
re-encodings
look at vertically; sectionally
generate fz reliefs

Smith
16.01 Chromatic Encodings 3.pdf
re-configure; perhaps add new parts
re-encodings
look at vertically; sectionally
generate fz reliefs

Samuel
09.01 Inventing Instruments Take 2pd 4.jpg
extreme crop and blowup tracing
extension and encode
generate fz reliefs

Card
14.01 Chromatic.Colors.C.ai 15.01
Chromatic.A.ai 15.01 Chromatic.B.ai
15.01 Chromatic.C.ai
go vertical orientation
generate fz reliefs

Arellano
10.01 Mastered Diagrams.jpg
re-trace collage-extensions-encode
look at vertically; sectionally
generate fz reliefs

Fancher
09.01 Instrument 10.jpg
re-trace collage-extensions-encode
generate fz reliefs

Sena
10.01 remapping5copy.jpg
re-trace collage-extensions-encode
fz modeling generate fz reliefs
later generate fz reliefs: 06.01 Combination1 11x17.pdf into formZ and 11.01 illustratormapping2.pdf into formZ

Nepsund
12.01 CollageDrawing10.3.ai
13.01 CollageDrawing6.4.ai
re-encoding in prep for fz model look at vertically; sectionally generate fz reliefs

Brockman
15-002b2.pdf encoding projected in fz relief
15-001b2.pdf encoding projected in fz relief
14-001a2.pdf encoding projected in fz relief

Baab
10.01 new instrument7 2-5-07.jpg
re-collage with other parts then re-trace c
ollage-extensions-encode generate fz reliefs

Tran
16.01 Chromatic encoding tsake 3-2.ai
15.01 Chromatic encoding take 2-2.ai
new set of encodings look at vertically; sectionally
generate fz reliefs

Sands
re-articulate tracing 13_01_2.ai
go back to collage 10_01_3.jpg for more ideas to interpret architectonically extensions-encode
generate fz reliefs

25.02 file management

In preparation for your evaluation meeting, review all of your files in the alternative reality folder. It is important that you have an awareness of your body of work produced thus far during the semester. The work in this folder has the official numbering system that must be used for future submissions. If there are files missing, add the file(s) and number accordingly. Download the assignment list.

25.01 digital relief master take

Continue making the model as a constructed process. Work on the two-sided relief according to detail and events that are embedded in the chromatic encoding. Produce prints from hidden line isometric views for each relief side. Export image as Illustrator File; print from Illustrator on 11 x 17 sheets; one isometric per sheet; minimum 4 sheets. Upload to the server formZ models of all reliefs produced thus far. Also upload Illustrator files (or PDF) for produced views. Adjust line weights.

Due: Fri. Mar. 30. 9am.

24.01 digital relief take 3

from Konrad Wachsman's, The Turning Point of Building (click on image).

Finish work on the two-sided relief. Begin a third take (new file), this time refining the two-sided relief according to detail and events that are embedded in the chromatic encoding. Produce prints from hidden line isometric views for each relief side. Export image as Illustrator File; print from Illustrator on 11 x 17 sheets; one isometric per sheet; minimum 4 sheets.

As discussed in studio formZ is primarily a solid modeling program. Think about creating solids from surfaces and how those solids join and connect to each other similar to a constructed process (like carpentry). All models produced should reduce form collisions and conflicts. Do not union the entire model or major portions of the model. Use difference, intersection and split as if the model can be assembled and disassembled (see above).

Upload to the server formZ models of all reliefs produced thus far. Also upload Illustrator files (or PDF) for produced views.

Due: Wed. Mar. 28. 9am.

23.01 digital relief take 2

Finish work on the first relief. Begin work on the two-sided relief. Produce prints from wire frame and hidden line isometric views for each relief (see example above or below). Export image as Illustrator File; print from Illustrator on 11 x 17 sheets; one isometric per sheet; minimum 4 sheets.

Due: Mon. Mar. 26. 9am.

22.01 digital relief

Use form•Z to begin digitally “modeling” the first physical (analog) relief model. Your revised and layered encoding file (saved as Illustrator 8) is the basis for this model. Construct the formZ model according to the actual height and thickness measurements of the physical relief.

Many of the forms of the physical models are somewhat idiosyncratic, thus requiring each student to discover and share techniques for constructing these forms. Start with the primary forms and structure of the relief, working your way toward constructing the more complex forms. The model has to be entirely solid modeling, not just surface modeling.

Be prepared to show the progress of the model on your computer screen.

due: Fri. Mar. 23. 9am.

21.01 in between

Photograph the two-sided reliefs as follows; 3 in between shots and 3 closeup shots 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, adjust, and enhance the digital photo; black background. Submit images as JPG (set to compression level 12).

due: Fri. Mar. 23. 9am. Upload photo images to server.

20.01 relief re-presentation

Task 01: Photograph both reliefs as frontal elevations; turn in 3 images per side (9 total) 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, adjust, and enhance the digital photo; black background. Submit images as JPG (set to compression level 12). See examples of relief photos.

Task 02: experiment with Illustrator file export and formZ import techniques discussed in studio today. First prepare your encoding file (layering, line work, extension line length, etc.). Re-save the file as an Illustrator 8 version. Import this file into formZ as a Draft file. Analyze the results. Reminder: the size and scale of the Illustrator file is the same as the relief (14" x 10.5") when it is brought into formZ. We will use this scale to construct the formZ model according to the actual measurements of the physical reliefs.

due: Wed. Mar. 21st. 9am. Upload photo images to server.

19.01 two-sided relief

Fabricate a “two-sided” relief based on your based on the re-framed chromatic encoding. One side is seen as primary, the other as secondary, with the both sides based on the same diagram, interacting with one another. Use the same diagram as in the previous relief, but generate several new chromatic encodings to help you imagine the in-betweenness of the proposal. The notion of the in-between space is demonstrated in this two-sided reliefness movie clip. Format: size 10.5“ x 14” by 1.75“ deep.

• this should NOT be a repeat of the previous relief.
• avoid mere extrusions.
• think of inventive ways of working with materials, textures, and 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 a balance between base and figure.
• don't over or under cook the pizza!
  

due dates:
Wed. 03/7/07. 09:00AM; progress critique; prints of chromatics.
Fri. 03/9/07. 09:00AM; model and final prints due (size TBA).

18.01 relief

Fabricate a relief based on your re-framed chromatic encodings.

• not just a base with elements piled on top.
• an interactive investigation of positive and negative
• in the base; above the base; on the base.
• use a variety of materials and thicknesses
• use gesso.
  

Format size 10.5“ x 14” by 1.75“ deep

due date: Mon. 03/5/07. 09:00AM

17.02 relief materials

Have the following variety of materials or scraps available to begin reliefs in class on Friday, Mar 2.

• white gesso (1 quart or larger costs less than multiple smaller jars).
• brushes (have water jars available to keep from drying).
• blue or pink foam.
• pressboard, masonite or mdf
  
• basswood strips and chunks (1/16" to 1/2" variable thicknesses).
• dowel rods or tubes (wood, plastic, or metal)
• museum board (different thicknesses).
• chipboard or card board.
  
• foam core 1/8", 3/16", 1/2" thicknesses.
• sticky back sheet adhesive.
• glue gun.
• sobo or elmer's glue.
• cutting mat.
• no. 11 xacto knife and blades.
• matt knife or equivalent.
• metal straight edge with cork backing.

17.01 cropping and framing

As discussed in studio today, go back to 15.01 chromatic encodings, and test various cropping and framing studies keeping in mind the relationship between figure and field. Some students have been instructed to rework the encodings in addition to cropping and framing.

Print at least 4-6 variation studies overall; 8.5" x 11" sheets; frame is fixed at 7.5" x 10".
to the server: upload Illustrator files (or PDF).

due: Fri. Mar. 2 9am.

16.01 chromatic encoding take 3

Task 1: Perform another set of chromatic encodings according to the discussions in studio today. Artboard and print size is increased to 18" x 24". Crop or scale (increasing or reducing) two of the previous constructed tracings. With an increase in scale, you might have to generate more extension lines in order to increase opportunities for articulation. Consider binary oppositions: primary (A’s) vs. secondary (B’s); vertical vs. horizontal; ascending vs. descending; continuous vs. discontinuous; thick vs. thin; tension vs. compression.

Task 2: Produce analytic prints for each chromatic encoding at 8.5 x 11" as follows: (1) constructed tracing without color (2) only color layers.

to the server: upload two Illustrator files (or PDF).

Due: Wed. Feb 28. 9am.

15.01 chromatic encoding take 2

After working on several of these improvisations in a row, previous key moves and patterns start to repeat themselves instinctively as variations within the structure, in slightly different ways. These improvisations are performed in as many takes as necessary until a satisfactory level of ordering is established. It is difficult to improvise immediately. You can usually improvise better after you have been playing for a while. If you are practicing, and then draw upon that experience, then in effect, you are warmed up.

Task: perform another set of takes for the three constructed tracings according to discussions in studio today.

artboard: 11 x 17; print to legal size paper or 11 x 17; one with all the layers turned on; one with only the color layers on; six prints total.

to the server: upload three Illustrator files (or PDF).

Due: Mon. Feb 26. 9am.

14.01 chromatic encodings

The underlying extension-line (constructed tracing) vehicle is played as a series of chromatic encodings that take multiple trajectories. Selected elements and regions are filled with different colors. Each color type (red, blue, black, and gray) represents subliminal systems, sometimes metaphoric, other times structural or organizational. The chromatic encoding process does not follow a strict recipe or formula. It is an exploratory search to define primary, secondary and tertiary precincts within the given underlying order. There are numerous experiments produced moving from the original source image to the base extension line drawings to the chromatic encodings. These studies test orientation constants and variables. Other drawings explore figure and ground. Principles derived from the cross-mapped diagram analysis (from Leap Frog) can be used as a guide.

The work proceeds in each study for a certain period of time, such as fifteen minutes, or a couple hours, or until a sense of balance occurs. At that moment, the chromatic encoding improvisation is declared as a take and is printed. Then it is put away. A new one based on a second tracing, and then a third tracing is started from memory. No attempt is made to consciously replicate a previous improvisation or to redesign it. Each subsequent study is started entirely from memory with the underlying drawing as a base.

These studies have aspects of minimalism. At the same time there is an illusory condition that has an abstract representational quality. It is encoded space, not literal space. You read relationships among individual elements. It represents reciprocal notions of plan and section. Within the complexity it is open ended. There is a strong architectural quality to it. Although it appears to be very flat, it also gives a sense of depth because of the strength of line weights and different densities of color and shade.

Task: perform an Illustrator live paint chromatic encoding for each of the three constructed tracings according to procedures demonstrated in studio today. Use the following colors from Pantone Swatch Libraries: red, blue, black, gray 1 (light), gray 2 (medium). Set up layers in Illustrator as follows: frame, extension lines, figures, red, blue, black, gray 1, gray 2.

artboard: 11 x 17; print to legal size paper; one with all the layers turned on; one with only the color layers on; six prints total.

to the server: upload three Illustrator files (or PDF).

Due: Fri. Feb 23. 9am.

13.01 neimanized final take

Make final refinements and improvements to the three constructed tracings, based on Monday's studio discussions. Most students need to reduce the number or density of extension lines present in the drawing. Other students need to increase the number or density of extension lines. Everyone needs to exploit further detail from the original patent collages. Curved figures need to be smooth (consult Illustrator Help; type in "pen" and you will see a lot of information on how to draw curves with the pen tool).

On extension (construction) lines and axial lines. A major axis of the drawing should be aligned orthogonally (vertical and horizontal) in relationship to the orthogonal frame of the sheet. Most students have already done this. The generated extension lines must be orthogonal with respect to with the major axis. Only the most important non-orthogonal or rotational lines should be shown in the drawing. Eliminate circular construction lines. Axial lines are dashed or dotted.

Line Weights (relative thickness or grayness). Figures in the drawing are primary, therefore all extension lines must be subservient to the figures.

format: artboard size 11” x 17” horizontal or vertical. Three 8.5" x 14" inch prints.

to the server: upload three final Illustrator files (or PDF).

due: Wed. Feb. 21. 9am

12.01 Rexercises

The development, articulation, and refinement of three constructed tracing studies, in terms of line weights, line types, axial lines, extension and construction lines. Reviewed by guest studio critic Brian Rex.

to the server: upload three illustrator files.

due: Mon. Feb. 19th

11.01 constructed tracings

Pick your three best invented instrument studies (based on patent drawings). Use Illustrator tools to accurately construct a vector tracing of each composition. Every element in the drawing must be a closed shape (example: a line would be a very thin rectangular bar). Focus on joints, articulation, and connections. Use singular line weight. Format: artboard size: 11” x 17” horizontal or vertical. Three 11 x 17 inch prints.

to the server: upload three Illustrator files.

due: Wed. Feb. 7th

10.01 inventing instruments master take

Invent five new musical instruments; five sheets; one invented instrument per sheet. Continue using only the patent drawings. Each instrument should have a strong theme or organizational idea. Use erasure (subtractive) as well as additive methods. Work on joints and connections.

format: print to 8.5 x 11 sheets; use photoshop; do not use special effects or transparency tricks. Canvas size: 10” x 7.5” @ 300 ppi (3000 x 2250 pixels); turn in file as flattened JPG set to 12 High.

to the server:
Upload any improvements to the previous set (09.01).
Upload the five new instruments.

Due: Mon. Feb 5. 9am.

09.01 inventing instruments take 2

Invent five new musical instruments; five sheets; one invented instrument per sheet. This time base your studies only on the patent drawings. The studies can use one instrument or multiple instruments. Use erasure (subtractive) as well as additive methods.

format: print to 8.5 x 11 sheets; use photoshop; do not use special effects or transparency tricks. Canvas size: 10” x 7.5” @ 300 ppi (3000 x 2250 pixels); turn in file as flattened JPG set to 12 High.

to the server:
Upload the two compositions generated in class.
Upload the five new instruments.

Due: Fri. Feb 2. 9am.

08.02 inventing instruments

today's lecture slides on Inventing a new Instrument.
EBN Emergency Broadcast Network

Make sure you upload your revised Nicholson analysis (your analysis + the image you analyzed + 3 ideas document) to your folder on the server.

08.01 inventing a musical instrument

Invent five musical instruments; five sheets; one invented instrument per sheet. Each invented instrument is seen as a combination of collage crystals, nuggets, mechanisms searching for inventive combinations. Parts from many instrument photos and drawings are selected and exchanged (saxophone, trumpet, drums, piano, bass). Recycle parts and ideas from previous collage studies. Work quickly and do not dwell on decisions. The following thoughts are considered:

• 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 (overall and localized).
• use erasure or subtraction.
• watch scale of elements relative to the sheet.
• follow the natural contours of an image.
• break up circular objects into arcs; consider using perspective of circles.
• create repetition with variation.
• mix diagrammatic elements with photographic elements.

format: print to 8.5 x 11 sheets; use photoshop; do not use special effects or transparency tricks. Canvas size: 10” x 7.5” @ 300 ppi (3000 x 2250 pixels); turn in file as flattened JPEG set to 12 High.

Due: Wed. Jan 31. 9am.

07.02 Collage Thinking

Task 2: Read Collage Thinking by Ben Nicholson. Produce a one page synopsis (300-500 words) focusing on three major ideas which you found important. Produce a graphical analysis using Photoshop and Illustrator of one of Nicholson's collages (available on pdf pages 2, 6, 8, 9, 10, 11).

Due: Mon. Jan. 29. 9am.

07.01 musical instruments

Why look at musical instruments? They come in different sizes. They reveal how they are made and detailed. The materials are simple, mostly limited to wood and metal. Musical instruments reveal their purpose or function, which is to produce unique sounds. Musical instruments appear simple, but are highly complex.

Task 1: Each student finds five unique instrument drawings from the US Patent web site. Consult with your musical instrument team (shown below). Download the TIFF image; open file in Photoshop; adjust Pixel Aspect Ratio to Square; change image mode to Grayscale; change image mode to RGB; save as JPG file (10 maximum); upload images to the shared folder on the server.

• saxophone (Danley, Smith, Sena)
• trumpet (Brockman, Slavin, Nepsund)
• drum (Sands, Tran, Fancher)
• piano (Babb, Samuel, Arellano)
• bass (Falcon, Card, Mecklin)

Due: Mon. Jan. 29. 9am.

06.01 articulated diagrams

Develop or re-generate two new cross-mapped diagrams. As discussed in today's pinup, focus on articulation issues, and maximizing overall ideas related to the music and the mapping combinations (such as: primary vs. secondary + vertical vs. horizontal, etc.). Include titles and notations.

format: 11 x 17 laser prints; use Illustrator.

Submit to server the following:
Listening and Observation Analysis (the entire song) as JPG file (scan or original).
Cross Mapped Diagrams as PDF file(s).
Articulated Diagrams as PDF files(s).

Due: Fri. Jan 26. 9am.

05.01 cross mapped diagrams

Chorus Analysis: submit your final refinement file for the to the server. PDF file or JPG (150ppi; 1650 x 1275 pixel minimum).

Re-Mapped Diagrams: make refinements and adjustments to the 6 diagrams presented on Monday. Submit to the server a PDF file for each diagram or a multi-page PDF. Print the refined diagrams (8.5" x 11" sheets) for display on the pinup wall.

Cross-Mapped Diagrams: Choose 3 of the re-mapped diagrams. Re-scale to 11 x 17 format (see example). Generate 5 combination diagrams (using two re-mapped diagrams at a time) understanding that these cross-mappings require significant new adjustments and refinements. Resolve conflicts and look for new relationships. Include notations to reinforce the meaning of these diagrams. Print diagrams on 11 x 17 sheets. Possible combinations available:

• primary vs. secondary + vertical vs. horizontal
• primary vs. secondary + continuous vs. discontinuous
• primary vs. secondary + ascending vs. descending
• primary vs. secondary + thick vs. thin
• primary vs. secondary + tension vs. compression
• vertical vs. horizontal + ascending vs. descending
• vertical vs. horizontal + continuous vs. discontinuous
• vertical vs. horizontal + thick vs. thin
• vertical vs. horizontal + tension vs. compression
• ascending vs. descending + continuous vs. discontinuous
• ascending vs. descending + thick vs. thin
• ascending vs. descending + tension vs. compression
• continuous vs. discontinuous + thick vs. thin
• continuous vs. discontinuous + tension vs. compression

Due: Wed. 1/24/07 9:00 am.

04.01 re-mapped diagrams take 2

Create a second set of 6 diagrams: primary vs. secondary; vertical vs. horizontal; ascending vs. descending; continuous vs. discontinuous; thick vs. thin; tension vs. compression.

1. Avoid literal interpretations.
2. Economy of means: use as few elements as possible.
3. Justify the relationships of every element.
4. These are distilled diagrams: simplify into essence of the idea.
5. Add notations (description) to each diagram.
6. All diagrams should relate to each other as a series (comparisons are made across multiple diagrams).
7. Every mapping figure (solid figures and void figures) generate extension lines (horizontal and vertical) solid elements generate solid extension lines; voided elements generate dashed extension lines (small dashes).
8. Line weight (stroke) is important.
   
9. Givens: the measures grid (underlying grid) and the AABA grid (chorus sections) can be turned off.

server log on: \\archlab\BRN_2402 (shared folder; your own folder)
Due: Mon. 1/22/07 9:00 am.

03.02 Leap Frog Clips

To assist in further analysis, I have posted more clips of Leap Frog.
Leap Frog "vehicle" clip (first chorus)
B-Section Chorus 1
B-Section Chorus 2
B-Section Chorus 3
B-Section Chorus 4
B-Section Chorus 5
B-Section Chorus 6

03.01 re-mapped diagram

Diagrammatically re-map the musical events and ideas revealed in your chorus analysis into a series of 6 new diagrams for the following pairs of binary oppositions: primary (A’s) vs. secondary (B’s); vertical vs. horizontal; ascending vs. descending; continuous vs. discontinuous; thick vs. thin; tension vs. compression.

click on title above to download the full assignment pdf.
download the format pdf as a template for each of your diagrams.
Reading: Mapping the Unmappable In Notation by Stan Allen.

Refine and re-print assignment 02.01 chorus analysis according to pinup discussions.

both are due: Fri. Jan. 19. 9:00 am.

02.02 architecture and jazz

download lecture slides and notes from today's presentation.

02.01 chorus analysis

Applying concepts dissussed in today's pinup and lecture, graphically analyze one chorus of Leap Frog. The analysis should also consider four measures before and after the chorus (similar to intro and coda). Distill key musical structures and events. Discover underlying structures by looking for any event in the chorus that can be quantified or described in terms of relationships, numbers, ratios, positions, locations and zones.

-chorus structure diagram
-leapfrog analysis diagram
-student analysis example 1.
-student analysis example 2.
-read Stan Allen's article Mapping the Unmappable in Notation.

due: Wed. Jan. 17. 9:00 am.

01.01 listening and observation

..there are three things this civilization will be remembered for 2,000 years from now: the Constitution, jazz music and baseball. They’re the three most beautifully designed things this civilization has produced.

Gerald Early, Director, African & Afro-American Studies, Washington University, St. Louis

Stage 01 is an interpretive analysis and distillation of the underlying structural and thematic components of a masterpiece jazz composition. Click on the title above to download a pdf file of the first assignment.

download the following:
-Leap Frop by Parker and Gillespie
-Leap Frog graphical chart/analysis by Neiman.
-Leap Frog moving sound graph/analysis by Neiman.
-Bird and Diz recording notes.

00.02 bebop studio

First you learn your instrument.
Then you learn music.
Then you forget both of those and just blow.

-Dizzy Gillespie

The term vehicle was first proposed in jazz by trumpeter Dizzy Gillespie as a near synonym for tune, describing the improviser’s use of the tune as a machine on which he rides during his improvisation. In this studio, jazz is the “vehicle” for generating structured architectural form.

Many of the formal principles and fundamental elements that govern jazz improvisation have analogies in architecture such as: space, time, sequences, links, connections, joints transitions, rhythmics, harmonics, composition, interplay, counterpoint, progression, tension-release, theme and variation, ascending, descending, contraction and dilation of scale, etc.

Students study architecture by spontaneously discovering, reinterpreting, experimenting, translating, transforming, manipulating, articulating, integrating, and synthesizing the structures and sensibilities of jazz improvisation. By understanding the order of an external condition, such as jazz improvisation, architectural programs and sites can be uncovered.

click on the title above to download the studio project statement.

00.01 neiman studio

ARCH 2402 Architectural Desgin Studio II
external conditions of architecture

click on title above to download the ARCH 2402 syllabus for Professor Neiman's section.

ARCH 2401 and ARCH 2402 are the first architectural design studios offered in the pre-professional curriculum at Texas Tech University. The first semester studio emphasizes the self-referential conditions of architecture (object, form and space). The second semester emphasizes the external conditions of architecture (context, time and space).

Both design studios examine the underlying strategies, tactics and techniques of fundamental design. The studio cultivates an understanding of the interrelationships between the idea (abstraction) and its realization (representation). The student learns how to design conceptually and draw analytically by constructing drawings and models.

Links concerning academic regulations discussed in syllabus:
Texas Tech University Undergraduate Catalog 2006-07
Attendance related crisis (illness and death notification)
Student Conduct and Academic Integrity
Civility in the Classroom
AccessTech Academic Accommodation and Disability Support
Architecture Building Policies
Computing Requirement
Computing FAQ
formZ resource page