Workshop 1_Concept Modeling – TOMORROW, Note things to bring!

Concept-Model-by-Allied-Works-Architecture

before class

Each student is required to bring to class a minimum of 2 different media and the necessary tools to be used for conceptual model production and 1-2 large sheets of paper (18×24 – doesn’t have to be nice) and writing utensils.  Consult the list of recommended materials provided below.

2:00

introduction

“getting lit … erary”

+west studio

essential terminology will be defined and the nature of working conceptually discussed

2:30

exercise 1

“interrogating connections | a path to a medium”

+in studio

+ partnered

Beginning with a few “points of entry” into the context of your particular precedent hybrid, the objective of this exercise is to discover relevant connections through actions and to explore the conceptual relationships surrounding these actions through different methods of controlling stream of consciousness.

Working in precedent teams of two or more, begin to interrogate the connections between hybrid uses you are considering or concepts you have developed through concept mapping.  Discover new connections and define these connections as verbs or actions – operations that you could interract with.

keep in mind

If you start with 2 terms, you should strive to end with 100.

The connection (line) is more important than the term(point) as it qualifies the meaning of the relationship between nodes and it defines the action or operation that you will then use to build concept models.

3:00

discussion
+in studio

What do these mappings expose? Evaluate breadth vs. depth in understanding relationships? Identifying potency vs. pitfall? Can you determine or prioritize relevant physical media or processes to associate with the verbs or actions?

3:30

exercise 2

“Exploring a concept through a medium”

Using one of the verbs or actions identified in the first exercise, select a relevant media from the central media repository and generate a sequence of a minimum of 5 different products which embody the nature of the trope.

The sequence should find rigor by forcing the media to produce very distinct products for the the same trope (breadth), or to find the minimum and maximum articulations of the same process for the selected trope as an incremental study(depth).

Emphasis should be placed on developing operational and parametric thinking for how the medium is used to articulate the trope.

5:00

discussion

Studio critique. How well can we understand the concepts being explored without hearing any back story. Quickly tag or label the explorations with the terminology (verbs) they exhibit.

after class

“(re)state your assumptions”

“11:15, restate my assumptions: 1. Mathematics is the language of nature. 2. Everything around us can be represented and understood through numbers. 3. If you graph these numbers, patterns emerge. Therefore: There are patterns everywhere in nature.” – Maximillian Cohen in the movie PI

In the movie PI, the character mathemetican Maximillian Cohen, regularly restates his assumptions, reminding himself of the driving agenda behind the project he is immersed in.

In a similar fashion, start a log of your thinking relative to the problems and solutions of the project at hand. Don’t assume that this document is binding or not subject to change, on the contrary it should change over the course of development. This document can be used to retain awareness or focus of your thinking at any particular time. In as clear and concise, yet sufficiently descriptive prose as possible develop a written statement of your project agenda.

  1. what are the most important objectives/goals?

  2. what are the relevant concepts you intend to explore?

  3. define your strategy(s)

  4. what are your tactics?

Do this as frequently as possible, weekly, daily, etc. over the course of the project. To stay articulate about your agenda.

“Verb List Compilation: Actions to Relate to Oneself” – Richard Serra [1967-1968]

to roll

to crease

to fold

to store

to bend

to shorten

to twist

to dapple

to crumple

to shave

to tear

to chip

to split

to cut

to sever

to drop

to remove

to simplify

to differ

to disarrange

to open

to mix

to splash

to knot

to spill

to droop

to flow

to curve

to lift

to inlay

to impress

to fire

to flood

to smear

to rotate

to swirl

to support

to hook

to suspend

to spread

to hang

to collect

of tension

of gravity

of entropy

of nature

of grouping

of layering

of felting

to grasp

to tighten

to bundle

to heap

to gather

to scatter

to arrange

to repair

to discard

to pair

to distribute

to surfeit

to compliment

to enclose

to surround

to encircle

to hole

to cover

to wrap

to dig

to tie

to bind

to weave

to join

to match

to laminate

to bond

to hinge

to mark

to expand

to dilute

to light

to modulate

to distill

of waves

of electromagnetic

of inertia

of ionization

of polarization

of refraction

of tides

of reflection

of equilibrium

of symmetry

of friction

to stretch

to bounce

to erase

to spray

to systematize

to refer

to force

of mapping

of location

of context

of time

of cabonization

to continue

MEDIA(s)/TOOL(s) LIST

Please have 2 sets of modeling materials (media) and the requisite tools with you at the beginning of class for use building multiple small scale models.  You are not required to select from the list.  If you have an idea for a great modeling media or a material you’ve always wanted to work with, bring it in. We do not have time to move back and forth between the shop, so no need to contemplate larger modeling making tools.  Think small, quick, easily controllable.

Examples:

Sheet goods: Corrugated cardboard, foam core, chip board, plywood, wood veneer, acrylic, paper(s), metal(s), fabric, rubber, canvas, other, etc.

Linear goods: Bass wood, polymer extrusions, rope, wire, other, etc.

Sculptable materials: Plastelina, clay, wax, polymer shapes, florist foam, pink/blue insulation (please check out a wire cutter), other, etc

Paintable materials: Paint, silicone, inks, dyes, rapid setting adhesives, other, etc.

Found objects: Bottle caps, DVD’s, old cd covers/cases, newspaper, magazines, books, natural materials (plants, landscape), food, clothing(s), recyclable bottles/plastic, other, etc.

NECESSARY TOOLS: Please bring all tools necessary for small scale and FAST (!) model building including but not limited to:

Glue, knives, blades, hot glue, straight edge, scissors, markers, hot wire cutter, drills, ruler, wire cutter, pliers, other, etc.

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Workshop 1: Concept Modeling, Wednesday, September 18th.

Concept-Model-by-Allied-Works-Architecture

before class

Each student is required to bring to class, 2 different media and tools to be used for conceptual model production, large sheets of paper (18×24) and writing utensils.  Consult the list of recommended materials provided below.

2:00

introduction

“getting lit … erary”

+west studio

essential terminology will be defined and the nature of working conceptually discussed

2:30

exercise 1

“interrogating tropes | a path to a medium”

+in studio

+ partnered

Beginning with a few “points of entry” into the context of your particular precedent hybrid, the objective of this exercise is to discover relevant tropes and to explore the conceptual relationships surrounding the tropes through different methods of controlling stream of consciousness.

Working in precedent teams of two (four to five people), and using the provided trope list (see below) or concepts that you have or can develop, identify a term or small collection of terms which you feel are appropriate or interesting relative to the nature of your specific projects.  Work in teams to establish connections and develop a “concept map” of the semantic and conceptual relationships of those terms.

keep in mind

If you start with 2 terms, you should strive to end with 100.

The connection (line) is more important than the term(point) as it qualifies the meaning of the relationship between nodes

3:00

discussion
+in studio

What do the mappings expose? Evaluate breadth vs. depth in understanding relationships? Identifying potency vs. pitfall? How do you determine relevant physical media or processes to associate with the tropes?

3:30

exercise 2

“Exploring a concept through a medium”

Using one of the tropes identified in the first exercise, select a relevant media from the central media repository and generate a sequence of a minimum of 5 different products which embody the nature of the trope.

The sequence should find rigor by forcing the media to produce very distinct products for the the same trope (breadth), or to find the minimum and maximum articulations of the same process for the selected trope as an incremental study(depth).

Emphasis should be placed on developing operational and parametric thinking for how the medium is used to articulate the trope.

5:00

discussion

Critique of the sequences clarity of expression. How well can we understand the concepts being explored without hearing any back story. Quickly tag or label the explorations with the terminology (verbs) they exhibit.

after class

“(re)state your assumptions”

“11:15, restate my assumptions: 1. Mathematics is the language of nature. 2. Everything around us can be represented and understood through numbers. 3. If you graph these numbers, patterns emerge. Therefore: There are patterns everywhere in nature.” – Maximillian Cohen in the movie PI

In the movie PI, the character mathemetican Maximillian Cohen, regularly restates his assumptions, reminding himself of the driving agenda behind the project he is immersed in.

In a similar fashion, start a log of your thinking relative to the problems and solutions of the project at hand. Don’t assume that this document is binding or not subject to change, on the contrary it should change over the course of development. This document can be used to retain awareness or focus of your thinking at any particular time. In as clear and concise, yet sufficiently descriptive prose as possible develop a written statement of your project agenda.

  1. what are the most important objectives/goals

  2. what are the relevant concepts you intend to explore

  3. define your strategy(s)

  4. what are your tactics

  5. define your politics

Do this as frequently as possible, weekly, daily, etc. over the course of the project. To stay articulate about your agenda.

 

TROPE LIST
“Verb List Compilation: Actions to Relate to Oneself” – Richard Serra [1967-1968]

to roll

to crease

to fold

to store

to bend

to shorten

to twist

to dapple

to crumple

to shave

to tear

to chip

to split

to cut

to sever

to drop

to remove

to simplify

to differ

to disarrange

to open

to mix

to splash

to knot

to spill

to droop

to flow

to curve

to lift

to inlay

to impress

to fire

to flood

to smear

to rotate

to swirl

to support

to hook

to suspend

to spread

to hang

to collect

of tension

of gravity

of entropy

of nature

of grouping

of layering

of felting

to grasp

to tighten

to bundle

to heap

to gather

to scatter

to arrange

to repair

to discard

to pair

to distribute

to surfeit

to compliment

to enclose

to surround

to encircle

to hole

to cover

to wrap

to dig

to tie

to bind

to weave

to join

to match

to laminate

to bond

to hinge

to mark

to expand

to dilute

to light

to modulate

to distill

of waves

of electromagnetic

of inertia

of ionization

of polarization

of refraction

of tides

of reflection

of equilibrium

of symmetry

of friction

to stretch

to bounce

to erase

to spray

to systematize

to refer

to force

of mapping

of location

of context

of time

of cabonization

to continue

MEDIA(s)/TOOL(s) LIST

Please have 2 sets of modeling materials (media) and the requisite tools with you at the beginning of class for use building multiple small scale models.  You are not required to select from the list.  If you have an idea for a great modeling media or a material you’ve always wanted to work with, bring it in. We do not have time to move back and forth between the shop, if drills, saws, etc are potentially needed to work with your material please make arrangements before the start of class.

Sheet goods: Corrugated cardboard, foam core, chip board, plywood, wood veneer, acrylic, paper(s), metal(s), fabric, rubber, canvas, other, etc.

Linear goods: Bass wood, polymer extrusions, rope, wire, other, etc.

Sculptable materials: Plastelina, clay, wax, polymer shapes, florist foam, pink/blue insulation (please check out a wire cutter), other, etc

Paintable materials: Paint, silicone, inks, dyes, rapid setting adhesives, other, etc.

Found objects: Bottle caps, DVD’s, old cd covers/cases, newspaper, magazines, books, natural materials (plants, landscape), food, clothing(s), recyclable bottles/plastic, other, etc.

NECESSARY TOOLS: Please bring all tools necessary for small scale model building including but not limited to:

Glue, knives, blades, hot glue, straight edge, scissors, markers, hot wire cutter, drills, ruler, wire cutter, pliers, other, etc.

Workshop #1: Concept

1 8/24 WORKSHOP
building concept|concept building
before class Each student is required to bring to class, 2 different media/tools to be used for conceptual model production.  Consult the list of recommended materials provided below.
2:00 introduction “getting lit … erary”
+lower core essential terminology will be defined and the nature of working conceptually discussed
2:30 exercise 1 “interrogating tropes | a path to a medium”
+in studio
+solo or
partnered
Beginning with a few “points of entry” into the context (site+program) of the semester’s design problem, the objective of this exercise is to discover relevant tropes and to explore the conceptual relationships surrounding the tropes through different methods of controlling stream of consciousness.Working in pairs, and using the provided trope list (see below), identify a term or small collection of terms which you feel are appropriate or interesting relative to the nature of the project.  Graphically develop a “concept map” of the semantic and conceptual relationships of those terms.keep in mindIf you start with 2 terms, you should strive to end with 100.The edge (line) is more important than the node (pt) as it qualifies the meaning of the relationship between nodes
3:20 discussion
+in studio What do the mappings expose? Evaluate breadth vs. depth in understanding relationships? Identifying potency vs. pitfall? How do you determine relevant physical media or processes to associate with the tropes?
3:40 exercise 2 “Exploring a concept through a medium”
+in studio
+solo
Using one of the tropes identified in the first exercise, select a relevant media from the central media repository and generate a sequence of a minimum of 5 different products which embody the nature of the trope.The sequence should find rigor by forcing the media to produce very distinct products for the the same trope (breadth), or to find the minimum and maximum articulations of the same process for the selected trope as an incremental study(depth).Emphasis should be placed on developing operational and parametric thinking for how the medium is used to articulate the trope.
5:10 discussion
+in studio Critique of the sequences clarity of expression. How well can we understand the concepts being explored without hearing any back story. Quickly tag or label the explorations with the terminology (preferably verbs) they exhibit.
5:30 exercise 3 “(re)state your assumptions”
+in studio
+solo
“11:15, restate my assumptions: 1. Mathematics is the language of nature. 2. Everything around us can be represented and understood through numbers. 3. If you graph these numbers, patterns emerge. Therefore: There are patterns everywhere in nature.” – Maximillian Cohen in the movie PIIn the movie PI, the character mathemetican Maximillian Cohen, regularly restates his assumptions, reminding himself of the driving agenda behind the project he is immersed in.In a similar fashion, start a log of your thinking relative to the problems and solutions of the project at hand. Don’t assume that this document is binding or not subject to change, on the contrary it should change over the course of development. This document can be used to retain awareness or focus of your thinking at any particular time. In as clear and concise, yet sufficiently descriptive prose as possible develop a written statement of your project agenda.

  1. what are the most important objectives/goals
  2. what are the relevant concepts you intend to explore
  3. define your strategy(s)
  4. what are your tactics
  5. define your politics

Do this as frequently as possible, weekly, daily, etc. over the course of the project. To stay articulate about your agenda.

TROPE LIST
“Verb List Compilation: Actions to Relate to Oneself” – Richard Serra [1967-1968]
to roll
to crease
to fold
to store
to bend
to shorten
to twist
to dapple
to crumple
to shave
to tear
to chip
to split
to cut
to sever
to drop
to remove
to simplify
to differ
to disarrange
to open
to mix
to splash
to knot
to spill
to droop
to flow
to curve
to lift
to inlay
to impress
to fire
to flood
to smear
to rotate
to swirl
to support
to hook
to suspend
to spread
to hang
to collect
of tension
of gravity
of entropy
of nature
of grouping
of layering
of felting
to grasp
to tighten
to bundle
to heap
to gather
to scatter
to arrange
to repair
to discard
to pair
to distribute
to surfeit
to compliment
to enclose
to surround
to encircle
to hole
to cover
to wrap
to dig
to tie
to bind
to weave
to join
to match
to laminate
to bond
to hinge
to mark
to expand
to dilute
to light
to modulate
to distill
of waves
of electromagnetic
of inertia
of ionization
of polarization
of refraction
of tides
of reflection
of equilibrium
of symmetry
of friction
to stretch
to bounce
to erase
to spray
to systematize
to refer
to force
of mapping
of location
of context
of time
of cabonization
to continue
MEDIA(s)/TOOL(s) LIST
Please have 2 sets of modeling materials (media) and the requisite tools with you at the beginning of class for use building multiple small scale models.  You are not required to select from the list, if you have an idea for a great modeling media or a material you’ve always wanted to work with, than bring it in. We do not have time to move back and forth between the shop, if drills, saws, etc are potentially needed to work with your material please make arrangements before the start of class.
Sheet Goods

  • corrugated cardboard
  • foam core
  • chip board
  • aircraft ply
  • wood veneer
  • acrylic
  • paper(s)
  • sheet metal(s)
  • newsprinting aluminum
  • fabric
  • rubber
  • canvas

Linear Goods

  • bass wood
  • polymer extrusions
  • rope
  • wire
Sculptable Materials

  • plastelina
  • clay
  • wax
  • polymer shapes (acrylic, silicone,etc)
  • florist foam
  • pink/blue foam

Paintable Materials

  • paint(s)
  • silicone(s)
  • adhesive(s) (instant/rapid setting)
  • inks + dyes
Found Objects

  • old cd covers
  • boxes (from cigarettes to uhaul)
  • newspaper
  • books
  • natural materials (plants,landscape elements,etc)
  • food
  • clothing

Tools

  • glue
  • knives
  • ruler/straight edge
  • writing utensils
  • heat gun
  • hot wire
  • drills
  • sanding devices

Kearns Studio: Warmup Exercise

With site and material, construct a series of pieces which engage with a particular term or terms from Richard Serra’s trope list seen below.  Use the given material to explore strategies for providing shade. Expand the single square sheet through your designed operations to occupy a rectangle between 150-200%.  Each study should take you no more than 10-15 minutes.  Develop organization for your series at the onset of selecting your first term.  One of the key’s to successful iteration is to sensitively control change from each iteration.  Versions should find a comfortable point between baby steps and conceptual leaps.  Should a new trunk be started? On occasion sure, but diligently try to run the term out before switching to a new term.  Actual available time aside, I would like to spend somewhere around an hour working on the exercise in studio with 20-30 mins to discuss afterwards

Richard Serra Verb List via ubuweb