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Fund Design&Built Env I

by: Sid Streich

Fund Design&Built Env I COA 1011

Sid Streich

GPA 3.79


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This 0 page Class Notes was uploaded by Sid Streich on Monday November 2, 2015. The Class Notes belongs to COA 1011 at Georgia Institute of Technology - Main Campus taught by Staff in Fall. Since its upload, it has received 13 views. For similar materials see /class/233848/coa-1011-georgia-institute-of-technology-main-campus in Architectural Engineering at Georgia Institute of Technology - Main Campus.

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Date Created: 11/02/15
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gt iio 353 0m im zoa mzo0gtgtEOMmmgtgt0mm 0 0mm coa 1011 fundamentals of design and the built environment college of architecture georgia institute of technology fall 2003 section e instructor ann gerondelis r082803 materials 18 X 24 paper compressed charcoal vine charcoal kneaded eraser cloth tissue erasing shield drafting tape 14 Exercises 11 through 13 introduced different types of lines and the different uses they value tone can be put to in helping us describe objects and spaces This exercise introduces the use of value degrees of light and dark to convey qualities of objects and spaces that lines cannot capture Your goal will be to produce drawings that exploit the potential ofthe value scale and of relative values to render objects and spaces You will therefore not use any linework to make these drawings other than to make exploratory thumbnail sketches Before you begin review the reading on Value Chapter 6 handed out by your instructor in class Part One The degrees of light and dark from paper white to pure black and all the grays between will be produced using vine and compressed charcoals The first task therefore is to practice producing a full range of tones from the lightest of grays to the blackest black Place an 18 x 24 sheet of paper in landscape horizontal position Draw two 22 long and 2 high rectangles 4 apart from each other Subdivide each rectangle into eleven 2 x 2 boxes Begin with the first rectangle Using vine charcoal and moving left to right create a gray scale from white no charcoal at all to black The box in the middle the sixth box from the left should be a middle gray Work neatly and precisely building up tones slowly Do not rush Each box should be consistent in tone very much like the paint swatches you get at hardware stores Make crisp edges using a kneaded eraser and an erasing shield Once you have completed the first gray scale repeat this process to produce a second gray scale using compressed charcoal You will immediately notice the difference in material quality and therefore the kind of tone produced by this darker more pastellike charcoal coa 1011 fundamentals of design and the built enVIronment college of architecture georgla institute oftechnology fall 2003 section e instructor ann gerondelis r 082803 Part Two You are now ready to make your rst drawing using only value tone On an 18quot X 24quot sheet ofpaper center a 12quot X 18quot rectangle Mask around this square with dra ing tape pressing lightly Do not grind the tape into the paper Get as close as possible to the object the draped fabric you are drawing Take a few minutes to look at the fabric that has been set up Note the structure ofthe contours See how the folds lines ofthe fabric radiate from points of tension Look at the alue changes and notice how they ove up over and around the folds producing a pattern oflight and shadow Note how these areas ofdifferent values produce speci c shapes Look closer at the variation within areas oflight and shadow See if you can distinguish between them using the vocabulary that Chapter 6 introduced cast re ected and core shadows and highlights and re ected lights Use the understanding gained through this close observation to draw a few thumbnail sketches on the border of your sheet of paper outside the taped rectangle This will give you a chance to assess the situation before you start to draw and commit charcoal to paper You should use these thumbnails to help you determine 0 the overall composition ofthe drawing you wish to make 0 the palette of tone values and their distribution 0 the points of tension that structure the drape ofthe fabric Begin drawing the fabric by massing the shapes that you see with each shape having a speci c value mposing your drawing make sure that at least three sides of the frame the 12quot X 18quot rectangle crop the fabric setup you are focusing on It is preferable to zoom in close focusing on a particular area ofthe folded terrain the fabric offers rather than on the whole arrangement Select from the whole range of blacks grays and whites that you produced earlier Work with the side of your charcoal rather than with the point Work subtractiver as well as additively move 39om both white to black and black to white Erase as much as you draw 2 coa 1011 fundamentals of design and the built environment college of architecture georgia Institute of technology fall 2003 section e instructor ann gerondelis r082803 Do not rush draw outlines and then fill in with tone blend edges of shapes excessively BEFORE YOU BEGIN your drawing cover the desktop with sheets of newsprint from your newsprint pad Try to keep the desktop from getting smeared with charcoal When you are finished spray the drawing with Fixative DO NOT spray in the studio in the building or in the areas outside the building USE THE SPRAY BOOTH in the basement of East Architecture Before you leave use paper towels and a cleaner to wipe offthe desktop coa 1011 fundamentals of design and the built environment I college of architecture georgia institute of technology fall 2003 section e instructorann gerondelis r082803 Part One Object Landscapes in DifferentLighting Conditions Acquire a banana and two other fruits or vegetables When selecting the two other pieces look for interesting textures and distinct shapes Chose a desk or tabletop near a window that can remain undisturbed over the course of a clay Set the fruitsveggies on a sheet of unlined white paper preferably a sheet of your 18 x 24 drawing paper Arrange the items on the center of the sheet Do not obsess over the arrangement of the three items Draw this object landscape three times under three distinctly different lighting conditions In the evening or at night you may use a desk lamp or a candle a torch e ow different lighting conditions affect your perception of the objects For example dramatic cast shadows emphasize the profile of the objects while ambient or side lighting glances off the objects drawing attention to their surface textures Frame these drawings the same way you did the fabric drawings Ex 14 in class Use charcoal to produce a full range of tones Do not use lines Do not draw these objects at a small size adrift within the frame of the drawing Plan your compositions carefuly This is your opportunity to give this sequence of drawings maximum formal interest How you choose to crop the image what pointof view you choose to employ what use you make of foreshortening and the way in which you exploit lighting is up to you Think through all the strategies and techniques introduced in the exercises and readings so far to help you plan your compositions for the effects you desire Exploratory thumbnails will help you do this Make sure you pin up the thumbnails along with your finished drawings It would also be a good idea to summarize your intentions in two or three sentences on a small index card 14 homework coa 1011 fundamentals of design and the built enVIronment college of architecture georgla institute oftechnology fall 2003 section e instructor ann gerondelis r 082803 I I a Part Two Translating Texture This exercise shifts our attention away from seeing the world exclusively in terms of contour pro le and value lights and darks Instead it focuses on the complex and ne grained world of sur ce textures challenging us to nd ways with which to translate textures into line drawings In a light pencil make a grid of nine 2quot squares on an 18quot x 24quot sheet of paper The squares should be separated from each by 12quot on all sides Find three distinctly different textures from the world around you Do not depend just on your eyes to make the selection the haptic is no less important a mode of perception than the optic Feel your way through a range ofpossibilities Develop a tactile understanding of the textures you may wish to choose In making the nal selection privilege physical texture the texture ofthe material itself over graphic pattern visual texture Draw each ofthese three textures at three scales actual size larger than actual size smaller than actual size Three textures times three will give you nine swatches a nine square of sample textures Draw these texture studies in black ink Use afelttip pin or a pen recommended by your instructor Before you begin experiment with this new medium Explore different ways of making marks with this pen ex eriment with creating tone by building up lines in different ways by hatching layering up scribbling etc Think about the design and layout ofthe nine swatches The ninesquare offers you a tic tac toe matrix Should textures of similar complexity or size go next to each other Or should thejuxtapositions be more extreme Always ay careful attention to such issues of composition because they in uence how the drawing or set of drawings will be received ake these swatches as realistic as possible Make lines precisely Do not use a back andforth motion Keep an eye on your watch Spend at least fteen minute per square However do not get bogged down on two or three to the detriment ofthe rest It is important to nish the ninesquare GEORGIA INsTITUTE OE TECHNOLOGY COA 1011 EUNDAMENTAIs OE DESIGN AND THE RUIIT ENVIRONMENT 1 SUSAN PRYOR pworsuscmhotmqilcom PHOTosHOR 101 LAYERs LAYERS ARE USEEUL EOR MANAGTNG DTEEERENT TYPES OE MANTPULATTONS WHEN YOU OPEN A DTGTTAL TMAGE TN PHOTOSHOP THE TMAGE TS THE BACKGROUND OE THE ETLE YOU CAN SELECT AREAS CHANGE COLORS SCALES TONES ETC YET STTLL RETATN THE ORTGTNAL TMAGE ON THE BACKGROUND OR ANOTHER LAYER BY DEEAULT YOU SHOULD HAVE A MENU ON YOUR SCREEN CALLED LAYERS TE YOU DO NOT SEE THTS GO TO THE MENU BAR AND CHOOSE WTNDOW SHOW LAYERS THE ACTTVE LAYER TS HTGHLTGHTED TN BLUE LAYER EUNCTTONS TNCLUDE 1 ONOEE THE EYE TCON TO THE LEET OE LAYER NAME LOCKUNLOCK LTNKUNLTNK BLANK BOgtltTO LEET OE LAYER NAME CHATN TCON OPACTTY TOEgt RTGHT OE DTALOG BOX CREATE NEW LAYERS ON THE MENU BAR LAYER NEW LAYER 95110 RENAME LAYERS RTGHTCLTCK ON ACTTVE LAYER SELECT HLAYER PROPERTTESH AND GTVE TT A UNTOUE NAME ESPECTALLY USEEUL TE YOU ARE CREATTNG A NUMBER OF DTEEERENT LAYERS THE LAYER DTSPLAY ORDER CAN BE CONTROLLED TN THE LAYER DTALOG BOgtlt THE TOP LAYER LTSTED TS ON TOP AND THE BOTTOM LAYER LTSTED TS BELOW ALLTHE OTHERS TO CHANGE THE ORDER OE A LAYER HTGHLTGHT TT AS ACTTVE LEETCLTCK WTTH THE MOUSE AND DRAG THE LAYER TO THE SPOT WTTHTN THE LAYER ORDER YOU WANT WORKING IN PHOTosHOR 1 ON THE MENU BAR SELECT TMAGE TMAGE STZE SET RESOLUTTON TO 72 DPI scREEN REsOIUTION EOR ROWERROINT EIIEs OR 150 DPI EOR RRINTING CANVAS STZE AEEECTS THE STZE OE THE BACKGROUND LAYER NOT THE TMAGE TTSELE 2 ZOOM TN OR OUT BY USTNG THE MAGNTEYTNG GLASS NEAR THE BOTTOM RTGHT OE THE TOOLS BAR OR BY USTNG CTRL OR CTRL SEIEcTING TE PHOTOSHOP S MATN TOOLBAR TS NOT ON YOURSCREEN GOTO WTNDOW SHOW TOOLS 0 SELECT TOOLBAR TOP LEET BOgtlt ON THE HTOOLSH MENU THERE ARE SEVERAL POSSTBTLTTTES BUT THE RECTANGULAR MARQUEE TS THE MOST COMMONLY USED 0 DESELECT AN AREA BY ETTHER 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39AaVCIN1108 11 191Va18 V 1 111M 89N11 11 135158 01 1101 8M011V 088V110NVOA10d 81001 088V1 o CDA 1011 Fundamental of Design and the Built Environment Exercise 15 Task A spatiale storyat in five or more sketches liaralive a Goals Emphasize the process of setting up a perspective sketch Each sketch made forthis exercise Wiii be buiil Lip using the scaffold introduced in exercise i 3b vanishing points horizon iirie station poirit cone OfViSiOri for Aii sketches made forthis exercise Wiii expiicitiv explore how perspective students h p horizon iirie station poirit cone OfViSiOri and frame in orderto produce sketches that emphasize spatiai descriptions The sketches made forthis exercise Wiii exploit the association or correspondence made bvthe person VieWii ig the sketch With the poiilof Weiv narrative potentiai of What is Shown iri 0r originates Within the frame of the Sketch Emphasize the formatting of a set of sketches on a sheet of paper forthe into consideration theirreiationship to the sheet of paper e its surface Size and proportions e as Well as to each other mpies of compositional relationships from various narrative genres e cinema comics rnariga ioramas etc Will be looked at and analyzed Problematize craft and line quality The sketches made forthis exercise Wiii be exclusively line drawings The types of lines used mavvary from the light scaffoid lines to darkerprofiie lines But for and the FHeSe Sketches Problematize the use of entouragea T e sketches Wiii probiematizethe use of entourage obiecls peopie and sharpen a spatial rea underiine a particular point ofview and not simpivto fill up the space The essential to the storytelling Ratherthev Wiii be used as lightly and as spanngiv as poss Die The should be used in rderto dirig or Wiii also be carefully considered Figure Albrecht purer Print Part i Studies Task Explore the spatial drama inherent in the threeestorv atrium space in multiple series of perspective sketches Each series should have a clearly one ormore eiements ofthe perspective scaffold CDA ilm Fundamentals of Design and the Built Environment i College oi Architecture Georgie institute of Temnology Fall 2006 Tim Frank TuesdayThursday 1 30 pm until 6 00 pm September 19in 2005 3 Main Entry spatial Pronunciation 39spAeshe Function adjective Etymology Latin spatium relatingto occupying or having the cliaracterof space i Entry space Pronunciation 39Sp Function naun 39 iVE age a en attn u Etymology Middle English from Old French espace from Latin spatium area ro 39n eml of space r time a period of time also its du 2 a a limited extent in one two or three dimensions DISTANCE AREA VOLUME b an extent set apart or awilable parking spztsgt ltfloorspacegt ai 39story Pronunciation scope 39scor Fu c 39 n naul39l inflected Forms plural stories Etymology Middle English stone from old French estone from Latin hist 39 more at HISTORY 1 HISTORY I 3 z a an account of incidents or eventsb a statement regarding the facts pertinent to a situation in question c ANECDOTE especially an 39 one 3 a a fictional narrative shorter than a novel speci cally SHORT STORY 1 the intrigue or plot of a narrative or dramatic Wm k 4 a widely circulated mmor 5 E FABEHOOD 6 LEGEND ROMANCE 7 a news article or broadcast 8 MATTER SITUATION i ry T story unction r al39lsill39iE verb inflected toried storying l archaic o a or scrbe in story 2 to adorn with a story or a scene fiom history Main ntry story Vai39iants also storey l39storels 39storelsl Function noun inflected Forms plurd stories ass store s Etymology Middle Engliin sturie from Mediewl Latin histuria picture story of a building from Latin history tale probably itres adorning the w39 do of medieval buildings 5 E 2 m PC to a between a floor and the b tof ms a unit of measure equal to the height of the story of a building ltone s cry in e a horizontal division of a building39s exterior not necessarily corresponding exactly witii the stories within Main Entry Pronunciation Function 1 nxrative 39naraaatlv naun something that is narrated STORY 1 practice of narration 3 the representation in art of an event or story alsa an Exercise Three UnpackPlayback Objects Phase One During the rst phase ofthe project each g 39 ur 5 V 39 with each pass producing a particular set of drawings 1 L A y l g familiar with the object The rst set shall consist of measured drawings and freehand sketches A complete set of measured drawings plan section and elevation views axonometridisometric views exploded cutaway views shall be drawn using pencil on Bristol See below Suggested Sequence for Field Measurements for Measured Drawings A set shall 39 39 scalable quot quotj in the round Students 39 39 11 ulle 39 39 z D n u u l L shoulu elllpluy as well sketching introduced in ex 13 and 25 quot39 l reserves for coa 1011 Keep the sketches small focus on the whole object an on details Once the rst two set of drawings are complete and each member of the group has a basic understanding ofthe project each group will analyze the object in a series of parallel passes using the following lters 0 Analyze the object in terms ofitself o Analyze the object in term of its use l l a other similar objects Each pass will quot 39 439 quot quot quot 39 quot 39 39 charts sequences storyboards etc These analytical series will go through a series of dralts to ne tune both the analysis and its representation L39 quot quot quot39 39 lequired for 39 Before the nal review each group 39 39 39 11x17or17x22sheets The three lters are described in greater detail below See section Analytical Filters JMHSe39mptCa Wind cpManizgv CDA1011 Fundamentals of Design and the Built Environmentl College ofArchitecture Georgia institute orTecnnoiogy all Tim Frank 36 MWF 11 03 04 1 1 I quot quot 39 quotquot quot t quot trace or in notebooksjournals 0 Field notes rst pass measure the object in order to draw it 39om notes taken in the eld n 4 quot 39 39 W F 39 39 for a iul u 0 Field notes second pass quotj 39 39 39 39 rst pass 0 quot 39 39 quot39 39 39 quot quot four one for each student in the group sheets of Bristol paper 0 bundle an 39 quot39 quot 39 quot quot 39 39 in the eld 39 llule sketches and diagrams instead of drawing directly 39om the object Therefore to the degree possible the objects under study 39 t quot lUl 39 39 time Analytical Filters Establishing a shared set of analytical lters for all the objects assigned within a section not only ensures a reasonably comprehensive analysis of each object within a short period of time It also provides a scaffold for comparative analysis of all the objects in terms of both what is particular and what is generic within each 39 39 lters below Groups may develop and use additional analytical lters as necessary Analysis of the object in terms of itself would include an inventory ofthe elements that make up the object the relation of its parts to each other to subgroups and to the w the o 39 39s formal structural spatial and surface characteristics and their relationship to each other the hierarchy between individual parts their proportional geometrical and dimensional relationships to each other and to the whole the language syntax ofits connections and details the order implicit in its construction fabrication and assembly the manner in which it operates its mechanisms moveable parts Analysis of the object in terms of its use would include the way it is used the sequence of interaction the lll use cycle its rela ion 39 39 39 39 39 wriiui it extends conforms to or reshapes uman form and posture the map aiiuiui 39 39 39 the narrative emotional or psychological qualities projected upon it i or r wruuiitun l s 39 39 andlor secret life of the object Analysis of the object in terms of the generic design use and fabrication issues it shares with other similar objects would include comparison of the uujeu wiul 39 39 39 39 39 L comparison of the object with respect to precedents library research comparison of the object with respect to objects analogous to it CDA1011 Fundamentals of Design and the Built Environmentl College ofArchitecture Georgia institute orTecnnology all Tim Frank 36 MWF 11 03 04


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