Museum of Distributed Artefacts - syllabus

 

Museum of Distributed Artefacts

 

Overview

Professor: Michael Leighton Beaman

University of Virginia | School of Architecture

ARC 3020

Campbell Hall 3rd floor studios

Monday & Friday: 1:00 - 5:00

Wednesday: 1:00 - 3:00

 

Objects are the elements in nature which can ‘be again.’ - Alfred North Whitehead

 

Artefacts are those things which are formed through a specific and directional process. The distributed artefact is one that is de-centralized, embedded, immaterial, phased, interrelated, or expansive. Their distributed nature lies in their relation to human spatial and perceptual dimensions. Likewise, their incorporation into the edifice of the public museum presents a unique challenge for architects.

Our studio will focus on architectures that take into account these distributed artefacts as the focus of contemporary museums. Our mission is to consider how distributed artefacts can be conceptualized, contextualized, curated and contained.  And, to explore how human interaction with these artefacts manifest through buildings. We will do this in two parts, each foregrounding a particular aspect of these considerations, and based on two separate, yet connected design questions:

 

PART AHow do designers create spatial experiences of artefacts that defy human perception and elude human interaction? 

PART B | How do designers create spaces that transform these problematic objects into spatial experiences? 

 

Our efforts this semester will be to generate architectural propositions which address these two questions. And, to explore the means by which these propositions are communicated as experientialized, formalized, and rationalized artefacts. We will, when appropriate, disregard conventional and disciplinary means of documentation. In their place we will engage alternative, yet increasingly salient, modes of communication - these will include animated, procedural, and virtual environments.

We will be working with three partners on this project:

All three organizations will assist us in developing, understanding, and communicating the spatial implications of our work.  

 

Grading

All work and participation is graded using a points systems. Points are determined using three criteria, and distributed by the stated percentages and/or points. Points translate to grades from A - D in  +/- increments.

GRADE DISTRIBUTION: 

This studio is divided into two parts; 1) Installation and 2) Museum. Grade distribution for each phase is as follows:

PART A | 35 pts (35%):  Installation of Distributed Artefacts: National Building Museum, Washington DC

PART B | 65 pts (65%):  Museum of Distributed Artefacts: Dupont Circle, Washington DC

 

GRADING CRITERIA:
Grading will be determined by how well each student performs in the following areas: 

Understanding + Application
The understanding of the course/studio project at hand, combined with an appropriate process of inquiry & development of a consistent and rigorous analysis/design process with clearly articulated ideas.

Craft + Execution
The ability to accurately and precisely craft a digital and physical response to the analysis/design assignment.  This includes the ability to clearly and concisely communicate ideas, and produce well-formed digital and physical: models, diagrams, drawings, and images the project.

Effort+ Participation
The ability to engage in the assignment with fellow students and your instructor & the ability to receive criticism and incorporate this into your project’s development. Your ability to work in groups, meet deadlines, and contribute to studio culture.

 

GRADING DEFINITIONS:

A | Excellent:  90 - 100 points  
Project / Course Work surpasses expectations in terms of inventiveness, appropriateness, verbal and visual presentation, conceptual rigor, craft, and personal development. Student pursues concepts and techniques above and beyond what is discussed in class. Project is complete on all levels.
    
B | Good: 80 - 90 points
Project / Course Work is thorough, well researched, diligently pursued, and successfully completed.  Student pursues ideas and suggestions presented in class and puts in effort to resolve required projects. Project is complete on all levels and demonstrates potential for excellence.
    
C | Acceptable: 70 - 80 points
Project / Course Work meets the minimum requirements. Suggestions made in class are not pursued with dedication or rigor. Project is incomplete in one or more areas.
    
D | Poor: 60 - 70 points
Project / Course Work is incomplete. Basic skills, technological competence, verbal clarity, and/or logic of presentation are not level-appropriate. Student does not demonstrate the required design skill and knowledge base. Work is incomplete.

 

Software & Hardware

This course focuses on using digital media to expand on conventional methods of representation. As such you will be expected to engage these practices with the use of various devices, procedures, and media environments. 

SOFTWARE & HARDWARE:
Each student is required to have a laptop with the following software installed on the first day of class, unless otherwise noted. Each student must complete any required training associated with the use of laser-cutters, CNC milling, and 3D printing at UVa. You will be expected to use this software and hardware throughout this course.  Training in VR software and hardware will be provided during the course

Software Requirements:

Hardware & Training Requirements

  • Laser Cutter training 
  • CNC Mill training  
  • 3D printer training
  • HTC Vive & associated hardware
 

Policies 

The following adhere to the University of Virginia polices and may impact your grade. Please read carefully.

PARTICIPATION
Students are required to participate in all class activities. Participation includes completing assignments and group presentations, contributing to class discussions, and presenting work. Each student is expected to come to class prepared with questions and comments about assigned reading(s), and completed assignments.  


ABSENCES
Students who are 15 minutes late to class will be marked late. 3 late days = 1 unexcused absence. 4 unexcused absences will result in a lowering of one letter grade, and an additional letter grade for each unexcused absence thereafter. Regardless of tardy of absence, students are responsible to complete all assignments on time, unless alternative arrangements have been made with the instructor.


ACADEMIC HONESTY:
The University of Virginia is committed to the principles of intellectual honesty and integrity. Members of the UVa community are expected to maintain complete honesty in all academic work, presenting only that which is their own work in tests and assignments. This includes recognition and adherence to the UVa honor code. 


STUDENTS WITH DISABILITIES:
Any student who feels s/he may require accommodation based on the impact of a disability should contact the instructor privately at the beginning of the semester to discuss specific needs. In addition, please contact the Student Disability Access Center at the University of Virginia's Department of Student Health directly to coordinate reasonable accommodations prior to the start of any UVa course if you need to discuss or implement solutions to specific needs.

 

DIGITAL DOCUMENTATION SUBMISSION:
Students are required to submit documentation of their work. Late submissions will be graded accordingly. Incomplete and/or failing grades will be given to any student who fails to submit both sets of work documentation

Documentation of all assignments and final project must be submitted to the instructor via Google Drive folder (link will be provided). This submission must include the following:

 1. Packaged InDesign file + PDF of final project board
 2. Photos of your final models, installations, prototypes, etc
 3. All files and requirements from previous assignments 

File naming convention for Individuals | Last Name_Assignment Number_Document Type

For example: Beaman_A01_CirculationDiagram

File naming convention for Teams or Groups | Group Name or Number_Assignment Number_Document Type

For example: GroupA_A01_CirculationDiagram

 


Schedule

The course schedule reflects the provisional allocation of time for each area of inquiry and production. The duration of each assignment or part and the deliverables required will evolve (with your input) throughout the semester. 

WEEKLY
Each week is shown in the following format: Monday | Wednesday | Friday, unless otherwise noted. This schedule is subject to change at anytime to accommodate the needs of the studio, facility and equipment availability, review schedules or any unforeseen issues. 

Part A

Week 01 | Jan 16

W: Introduction & Survey  - Rm: Exhibit B  | A01: Building Context : NBM

F: Studio / Site Model A01: Digital | A02: Analysis of Distributed Artefacts 

Week 02 | Jan 23

M: Studio 

W: Presentation & Proposal (Due: A01 + A02) - Rm: Exhibit C | A03: Formation & Distribution Procedures

F:  Studio 

Week 03 | Jan 30

M: Studio 

W: Pin-Up:  (Due: A01, A02, A03) - Rm: Exhibit C  | A04: Procedural Models

F: UVa Media Lab Tour & VR Tutorial - Rm: Clemmons Library - 3rd flr 

Week 04 | Feb 06

M: National Building Museum Tour & Interview (2:30pm - 3:30pm) - 401 F St NW, Washington, DC 20001

W: Studio

F: Studio 

Week 05 | Feb 13

M: Studio

W: 3d Printing Tutorial | Rm: 105

F: Studio

Week 06 | Feb 20

M: Studio

W: Studio

F: Part A Due (A01 - A06)  Studio | Part 02 introduction & B01: Building Context : DuPont Circle

 

Part B

Week 07 | Feb 27

M: Studio

W: Reading Discussion 01 - Rm: Exhibit C

F: Pin-Up (Due: B01) - Rm: 205 | B02: Systems: Programs & Artefacts  / B03: Systems: Relationships & Forms

Week 08 | Mar 06

Spring Break 

Week 09 | Mar 13

M: Studio | B04: Systems : Structure & Material

W: Studio

F: Studio 

Week 10 | Mar 20

M: Studio | B05 Museum

W: Pin-Up ( B02 - B04 ) - Rm: Exhibit C

F: Studio 

Week 11 | Mar 27

M: Studio | B06 Museum

W: Studio

F:  Part B | Mid-Project Review - Rm: 305

Week 12 | Apr 03

M: Studio

W: Reading Discussion 03 - Rm: Exhibit C

F: Studio 

Week 13 | Apr 10

M: Studio | B07 Museum

W: Pin-Up - Rm: Exhibit C

F: Studio 

Week 14 | Apr 17

M: Studio | B08 Museum

W: Studio

F: Pin-Up - Rm: Exhibit C

Week 15 | Apr 24

M: Studio

W: Red-lines - Rm: Exhibit C

F: Red-lines - Rm: Exhibit C

Week 16 | May 01

M: Studio

W: Part B due - Rm: 305 

Th: Final Review TBA

 

 

Part A

Our design work will revolve around finding reciprocity between design research and design communication ( in the form of a publication).  See schedule for weekly focus

RESEARCH ASSIGNMENT

The following Survey will match you with your project subject. Please take time in answering each question.  Make sure you answer each question by choosing an answer on the left or right of each question. 

 

RESEARCH TOPIC
Once research topics have been assigned, you will be asked to design an installation that allows others to experience the spatial dimensions of your distributed artefact(s). The installation may itself be distributed, free standing, attached, or in any way spatialized, as long as that spatialization references human interaction. 

STUDENT:

Vy Do 

Melanie Crittenden 

Stephanie Yusif 

Katie Bigler

Dylan Myers

Oscar Castro 

Kendra Chow 

Athena Loi

Roz Bracho-Sanchez

Chris Proffitt  

Josh Gritz 

Andrew Ashcraft

Courtney Young

ARTIST/DESIGNER:

Antoine Pevsner / Noam Gabo

Gordon Matta-Clark (Intersects Series)

Sol Le Witt (Structures Series + Wall Drawing Series)

Greg Lynn (Blobwall Series)

François Morellet

Jean Claude + Christo

Cai Guo-Qiang

Cornelia Parker

Carmen Herrera (Sculptures & selected 2D works)

Tara Donovan

Anish Kapoor (Non-objects Series, Dismemberment Series)

Lebbeus Woods

Li Hongbo

TERM(s):

minimize  / truncatate

boolean (difference)

permutations

boolean (intersection & union)

boolean (intersection)  / frames

line / wrap

swam / flock / pack

dispersion / dissipate

misalign / skews

aggregate

warp / stretch

laminate / intersect / section

distort/ segment / boolean (union & subtraction)

 

Program

This project has one programmatic requirement: Spatial Experience. This term can be defined in anyway as long as it forms a holistic understanding of your assigned installation(s) subject and the spatial limitations of the National Building Museum "Great Hall" 

INTERIOR

Installation:

  • Min: no less than 20% of the total "Great Hall" volume must be utilized (this includes circulation & installation attachments).
  • Max: no more than 40% of the total "Great Hall" volume must be utilized (this includes circulation & installation attachments).
  • The installation must be experienced from all three public levels.

Circulation:

  • Movement around and through the installation(s) by humans must meet ADA minimums.
  • Existing circulation paths and equipment must not be disrupted.

EXTERIOR:

n/a

 

Site

National Building Museum: 401 F St NW, Washington, DC 20001

 
 

Assignments

Though we are working on a semester long project divided into two major parts, smaller assignments will be issued throughout the semester to address specific needs and to keep the studio focused on our projected deliverables. These assignments will be added here.

 

FILES:

Studio Google Drive

 

 SUBMISSIONS:

Studio Google Drive

A01 |  Building Context : National Building Museum

(group work)

STEPS

1. Using the Rhino file(s) provided, prepare or modify the existing file for use in studio by all students. You will need to create two models - One for 3D modeling, VR, Renderings, Diagrams, and Drawings & a second one which will be used for manufacturing physical models. As a group decide on strategies for both of these

2. Preparation for both models should include:

  • Clearing out all redundant geometries
  • Making all surface edges, eliminated gaps, holes, and irregular geometries
  • Removing portions of the building that will not be used in Part A

3. For the Digital Model, include the following:

  • Assigning geometries to appropriate layers. To begin, decide as a class on your assignment strategy.
  • Supplement existing geometries so that the model reaches a level of "Believable Complexity"
  • Add line work to match material and formal patterning.

4. For the Digital-to-Physical model, reduce the existing model to that the following can be achieved:

  • A physical model can be produced from laser-cut sheets of white, smooth, cool-pressed Bristol paper @ 110lbs or greater. 
  • Decide on and detail how free-standing 3-dimensional objects will be modeled and produced - for instance columns.
  • Add line-work that can be etched to express material or pattern.
  • Design a detailing system that allows physical models to be mass-produced at various scales. 
 

A02 | Analysis of Distributed Artefacts 

(individual work)

STEPS

1. You have been assigned an area of research. These topics include an artists or designer, ( along with a specific project series), and a term that contextualized their work Using this information research the spatial, material, and experiential aspects of this work. 

2. Create a folder of research about your assigned topic. This can include, images, podcasts, videos, text, interviews, videos, diagrams, drawings, or any other medium. Make sure that you document where all your research comes from. For more information of documentation protocols can be found at EasyBib

3. Using your research develop a proposal for spatializing your distributed artefact. Answer the following

  • What are the geometric characteristics of this work?
  • What are the organizational characteristics of this work?
  • What are the material characteristics of this work?
  • What processes and techniques do these artists/designers use to create or elude to spaces?
  • How doe these works communicate or create spatial experience? 

4. Propose a way of diagramming answers to these questions? Find examples

5. Using your research and answers from the steps above, create a proposal for an installation that utilizes the geometries, organizational strategies, and techniques you have identified. Consider the following issues?

  • What is the spatial experience others would have when engaging with your proposal?
  • How would it occupy an existing space?
  • What qualities should the proposal embody?

6. Create a presentation of this work. Presentation of your proposal should be digital an evoke answers to each of the questions above. You may choose your own way of expressing these answers

 

A03 | Formation & Distribution Procedures

(individual work)

STEPS

1. Using the analysis of artists and designers from A02 as a starting point, write out each step your artists/designer uses to create thier body or series of works.  

  • Consider how these steps can be generalized in a way that they describe multiple pieces. 
  • Consider what you are and are not specifying - What attributes and operations the artist/designer concerned with, what are they letting emerge, and what are arbitrary.
  • Consider how these steps are communicated to others who do not know this work.

2. Create a folder with 13 examples of existing diagrams that can be used as precedence. Look for:

  • Use only black white and gray scale line work. Limited use of color, texture, shading, etc are acceptable
  • Find examples of 3D diagrams and 2D diagrams
  • Find examples of diagrams that show process/procedures and forms
  • Find examples that are graphicly complex and graphically minimal

3A. For each step invert the analytical nature of your descriptions in such a way as to create a "generative diagram" - A diagram that can be used to create new artifacts, rather than only describe existing ones. Use the examples from step 2 to guide you. Create these using sketches, drawings, and 3D models (see step 3B)

3B. In Rhino a attempt to recreate artefacts with similar spatial qualities as your artist/designer.  Focus only on translating your written procedure into digital operations. Consider only the procedural, formal, and spatial implications of your artefact. 

4. You will present these Rhino models on Friday - Jan 27th

 

A04 | Procedural Models

(individual work)

STEPS

  1. Define a volume(s) inside the NBM which sets the boundary for your installation. This can done created in a 3D digital environment or be a model that is virtualized into a 3D digital environment.
  2. Using your set of procedures (textural and graphic instructions), rebuild your installation volume(s). Consider how the parts of your installation are crafted and connected.
  3. Start with simple parts or units, and simple volumetric definitions. Build complexity by refining and aggregating units, and articulating volumes. 
 

A05 | 3D Printing

(individual work)

PREPARE MODEL : RHINO METHOD for NURBS & Meshes

  1. Bake your "closed" Grasshopper geometry, or Isolate solid Rhino geometry
  2. Close all open NURBS objects
  3. Boolean all solid NURBS objects
  4. Convert NURBS surfaces in to Meshes ( Mesh > From NURBS Control Polygon) 
  5. Weld the mesh ( Mesh > Mesh Edit Tools > Weld ) 
  6. Find Naked Edges ( Analysis > Edge Tools > Show Edges) Select Object(s) 
  7. Check for and repair Naked Edges ( Mesh > Mesh Repair Tools >  Fill Hole ) or ( Mesh > Mesh Repair Tools >  Patch Single Face )
  8. Weld the mesh ( Mesh > Mesh Edit Tools > Weld ) 
  9. Unify the Normals ( Mesh > Mesh Repair Tools >  Unify Normals )
  10. heck for and repair Naked Edges ( Mesh > Mesh Repair Tools >  Fill Hole ) or ( Mesh > Mesh Repair Tools >  Patch Single Face )
  11. Select object (Mesh) Export Selected as STL file

PRINT MODEL (Catalyst)

 

A06 | Installation Proposal

Part A Final Review | (individual work)

Physical Model

  • 3D printed model situated in NBM model @ 1/16"

Digital (VR) Model

  • Mesh obj file (Installation in NBM @ full scale), checked for holes and unified normals (faces)

Graphic Descriptions & Documentations

Orthogrpahics:

  • PLAN: includes NBM and installation @ 1/32"
  • LONG. SECTION: includes NBM and installation @ 1/32"
  • CROSS SECTION: includes NBM and installation @ 1/32"

 

  • PLAN: Installation @ 1/8"  (include figure on ground)
  • SECTION: Installation @ 1/8" (include figure on ground)
  • ELEVATION: (2 sides) @ 1/8" (include figure on ground)

 

Diagrams:

  • RELATIONSHIPs: Forms/Spaces to Rules
  • INSTRUCTIONS: graphically explain the rules behind your installation

Part B

Part B will focus on designing a public museum which houses and displays distributed artefacts. The museum is composed of 3 main prgrams

MUSEUM OF DISTRIBUTED ARTEFACTS

Museums typically display work within a space and at a distance from an observer. A Museum of Distributed Artefacts should do neither. Rather, this museum of should recognize that it's subject is already spatial, and operates through both exposure and enclosure. This presents a number of design challenges, particularly in the way in which artefacts are presented and accessed. 

The role of the Museum as a civic space and as social institution is one that can be explored to a greater degree when it's contenets are themselves spaces that can be experienced in thier own right.

 

 

Program

The following distribution of program is a guide line, individual projects should be developed with precise relationships and square footage assignments.

The following distribution of program is a guide line, individual projects should be developed with precise relationships and square footage assignmnets.

INTERIOR

Galleries & Exhibition: 

  • Main: 1 @ Variable based on Installations
  • Supplemental: multiple @ 1,000 - 5,000 SF

Education

  • Classrooms: 2 @ 250 SF
  • Auditorium 1 @ 200 capacity

Conservation & Archieves:

  • Lab: 1 @ 750 SF
  • Shop: 1 @ 500 SF
  • Equipment Storage: 1 @ 500 SF
  • Archives/Storage: 1,000 SF

Administrative:

  • Conference Room: 2 @ 250 SF
  • Offices: 4 @ 150 SF
  • 8 @ 50 SF (400 SF total)
  • Storage: 250 SF

Cafe:

  • Kitchen: 1 @ 500 SF
  • Storage: 2 @ 150 SF
  • Seating: 750 SF
  • Sales: 100 SF

Utilty:

  • Maintainance Closet: 2 @ 200 SF
  • Equipment Room: 1 @ 500 SF
  • Loading Dock: 1 @ 1,000 SF

Bathrooms

  • Genderless/Family: 6 @ 50 SF
  • Male: 2 @ 250 SF each
  • Female: 2 @ 300 SF each

Lobby:

  • Entry: 250 SF
  • Reception: 1 @ 250 SF
  • Gathering / Waiting: 500 SF

Circulation:

~ 20% of total SF (ADA compliant) - Includes:

  • 2 means of vertical egress
  • 2 Public Elevators: 10 capacity
  • 1 Freight Elevator: 14' x 10'

 

EXTERIOR:

Galleries & Exhibition: 

  • Main: multiple @ Variable based on Installations

Circulation

  • Pedestrian - varies (ADA compliant)
  • Entry
  • Gathering
  • Fire Egress

 

  • Automobile
  • Delivery Bay 

 

  • Metro
  • Accesible to DuPont Circle Transit Station

 

  • Bus
  • Accesible to Bus transit
 

Site 

Dupont Cir NW, Washington, DC 20036

 

Washington DC | CAD Files

 
 

Assignments

Though we are working on a semester long project divided into two major parts, smaller assignments will be issued throughout the semester to address specific needs and to keep the studio focused on our projected deliverables. These assignments will be added here.

 

 

B01 |  Building Context: Site Documentation & File Preparation

(group work)

All work produced below will be shared by all students.

Site Model (digital)

Create a 3D Rhino Model of our studio site. Use the "Area Boarder" layer to determine the area to model.

Team Members:

  • Courtney
  • Dylan
  • Athena

 

Site Model (physical)

Create a physical model of our studio site. Use the "Area Boarder" layer to determine the area to model.

Begin by proposing a scale, materials, methods, and a budget for the physical model. 

Team Members:

  • Andrew
  • Melanie
  • Stephanie
  • Chris

 

Plan & Elevation Drawings

Create a plan drawing of our site in AutoCAD. Use the "Area Boarder" layer to determine the area to model

Create 4 elevation drawings of our site in Auto CAD. Use the "Elevation Boarder" layer to determine the extents of each elevation.

Create a site-plan key that shows where each elevation is taken. 

Create a set of plan drawings/diagrams that show D.C. and local conditions. These should include:

  • area/national landmarks
  • area museums
  • public transit
  • city plan geometry (major thoughfares)
  • parks, trails, waterways, and other amenities

 

Team Members:

  • Kendra
  • Roz
  • Vy
  • Oscar
  • Josh
  • Katie
 

B02 |  Systems: Programs & Artefacts

(individual work) 

Due: Mar. 22 @ 4:30pm

  • 3 precedence
  • Sketches (6)
  • Isometric diagram (1) - illustrator from rhino isometric projection

Consider the relationship between your exhibited artifacts and the museum program.

Steps:

  1. Select 5 artefacts that you will exhibit in your museum. Collect the drawings, 3D models, diagrams, etc that you will need to make decisions about the relationship between these 5 artefacts and the museum.
  2. Examine 3  museum precedence. Answer the following:
    • What is the relationship between the contents of the museum and the program of the museum?
    • Can these be summarized into a single word, phrase, or diagram?
    • How do these museums allow visitors to experience it's collection?
    • What is the sequence of events from entry to exit that visitors go through? 
    • How do art pieces arrive and where are they stored? 
  3. Sketch out 6 strategies that define the relationship between these 5 artefacts and the assigned program. Think of the program in blocks or collections of similar program.  Each sketch should establish a clear relationship between artefact and program, and should be drawn as an axonometric. This may be facilitated by selecting a term to describe the relationship you are exploring.
  4. Convert these into 3D models using lines, surfaces and volumes. You will eventually convert these into a set of isometric diagrams. Use the 3D site model + the 3D models of each artefact to explore its relationship both abstractly, and within a dimensioned space.
  5. Once these have been developed create a workflow that allows you to go from Rhino to  illustrator. Think about what lines in Rhino will be converted and articulated in Illustrator.
  6. Produce 1 Isometric Diagram. Consider line weight, line type, line color, shading, and point of view.
  7. Print 
 

B03 |  Systems: Massing & Context

(individual work)

Due: Mar 27 @ 4:30 pm

  • Isometric Sketches (3) as Rhino Files
  • Isometric diagram (1) - illustrator from rhino isometric projection

 

Consider how the relationships established in B02 are formalized into a museum organization & massing.

Steps:

  1. Begin by overlaying sketches on your program-to-artefact axonometric diagrams. Generate 3 versions of how these diagrams define building organization and massing (volumetrics). 
  2. Take into account surrounding urban conditions (roads, buildings, sidewalks, vegetation, institutions, etc.). Each organization/massing drawing should retain the strategy(s) from B02, but may evolve from these initial diagrams.
  3. Select one of the three diagrams to convert into an axonometric drawing that includes the project site.
 

B04 |  Systems: Structures & Materials

(individual work)

Due: April 03 @ 6:00pm

  • Isometric Sketches (3) as Rhino Files
  • Isoonometric diagram (1) - illustrator from rhino isometric projection

 

Consider how the formal organizations and massing you developed  in B03 would be materialized and structured.

Steps:

  1. Begin by overlaying sketches on your massing-to-context isometric diagrams. Generate 3 versions of how these diagrams define building structure & materials. These definitions should be calibrated so that structural logic & material preference correlate.
  2. Take into account how structure and material are used to ensure that massing diagrams are preserved. 
  3. Select one of the three strategy/diagram to convert into an isonometric drawing that includes the project site.
 

B05 |  Crafting a Thesis Statement

(individual & group work)

Due: April 5 @ 1:00pm

THESIS:

A thesis statement is a relatively simple declaration of your work. It consists of the answers to three questions:

  • OBJECTIVE: What are you doing?
  • METHODOLOGY: How are you doing it?
  • CONTEXT: Why does it matter? 

Each of these questions can and should be expanded on, but as a starting point these three questions set the agenda for your work. 

 

STEPS:

  1. Answer each questions using a separate sentence for each. These answers should be clear and concise. Use your diagrams fro B02 - B04 to guide your answers. These should help you answer these questions from work you have already developed.
  2. Construct a single statement that combines the clearest and most salient aspects of each answer from step 1. This will be your opening sentence. 
  3. Build a paragraph that supports the thesis statement. The paragraph should expand upon answers to step one. The entire paragraph, should be clear and concise. 
 

B06 |  Museum | Mid Project Review

(individual & group work)

Due: TBD

Examples:

All drawings & diagrams should be formatted and presented  in Layout Template

Physical Model

  • INSTALLATION MODELS: Scaled, 3D printed
  • SITE MODEL: Painted & Milled Foam
  • BUILDING MODEL: Paper, Plastic, Basswood, or Foam

Digital (VR) Model

  • VR MODEL: Building Massing + Installation + Site | Mesh obj file 

Graphic Descriptions & Documentations

Orthogrpahics:

  • SITE PLAN + 1st FLOOR PLAN (1): includes area identified by group @ 1/32" 
  • PLAN(varies): includes NBM and installation @ 1/32" 
  • LONG. SECTION (1): includes NBM and installation @ 1/32"
  • CROSS SECTIONS (2) : includes NBM and installation @ 1/32" 
  • ELEVATIONS (2): includes area elevations

Diagrams:

  • B02, B03, & B04: Isometric with shading, lineweights/types/colors, & Annotation
 

B07 |  Museum | Final Project Review

(individual & group work)

TBD

 

B08 |  Final Presentation & VR Model

(individual & group work)

TBD