THE FIRST TWO WEEKS: the domestic ritual

STUDENT WORK

BACKGROUND
You will have been assigned an investigation of one of the agreed daily rituals of 'dwelling'. What are the spatial implications of this ritual? How do the spaces for these activities relate to the human body? How to they relate to the senses--vision, smell, sound, touch, and taste? What are the physical implications of this relationship: the quality and quantity of the surfaces and materials that define this space? How may they facilitate or celebrate this activity through texture, material, light, placement, solidity, opacity, transparency, etc?

LOUNGING / RELAXING (Brittany Teeter)
initial designs by Jeff Su: interior perspectives:models: reinterpretations:
model 1: model 2:model 3:plan 1: plan 2: public vs. private/circulation vs. stasis plan 3: neighboring spaces/rituals Section 1:



PURGING/EXCRETING (Felix Velazquez)
Initial Concept: (By Brittany)

First Drawing

Second Drawing
Third Drawing
Initial Concept Model One
Initial Concept Model Two

Starting Model (Brittany's Model)Skeleton Model
First cast model
Final Cast model
Interior View
Drawings

Public

Private
Neighboring
Section
Graphic Plan


GREETING AND FAREWELL (Ian Coltman)
Original Concept: (Developed by Steven Ross Blake Christian)

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Iteration #1: Concrete Cast

Iteration #2: Stick Model


Iteration #3: Hybrid Model



Plan

Section


Usage Diagrams


GATHERING / CONVERSING (Calder Erwin)
Week Two Models:

Cast/ Linear material exploration












Cast (only) material exploration













AWAKENING / BREAKING FAST (Steven Christian)
Initial Concept (by Drew Carson)

Drawings:


Model:

Reinterpretation (by Christian)

Casted Model:

Wire Frame Model:

Hybrid Final Model:


Plan:

Section:

Diagrams:




COOKING (Angela Previdelli)
Basswood model: Cement Model: Final model:
neighboring activities circulation private and public floor plan section

BATHING/SHOWERING/GROOMING (Drew Carson)
Model:
Plan based on human grid:Section based on human grid:


Public/Private:


Stasis/Circulation:



EATING (Kai Pannu)

Sergey Marandyuk's initial drawings:




Sergey Marandyuk's Study Models:

Reinterpretations
composite model:
Cast Model:



Eating Plan
Ciculation / Stasis Public / Private


PLAYING & MAKING (Sergey Marandyuk)

Initial Perspectives from Johnny Karam:

Initial Models from Johnny Karam:

Cast Model:

Line Model:

Final Model:

Plans:


MEDITATING/EXERCISING (Wendy Fan)
initial work from Calder Erwin

drawings:

models:

reinterpretations:


plan:

section:

diagrams:


DRESSING (Johnny Karam)
Initial Surface Models and Perspectives from Frank Gonzalez: Cast Model:Line Model:Final Model: Plan:Section: Public/Private and Circulation/Stasis Diagrams: Program Diagram:

ORGANIZING / MANAGING (Frank Gonzalez)
initial work from Wendy Fan

drawings:

study models:

reinterpretations: linear material model: cast material model:

model:

floor plan:
section:
usage diagram
neighboring activities



READING / STUDYING (Jeff Su)
Initial Models from Angela Previdelli:

Combination Model (Reading/Study):

Section Drawing:
Plan Drawing:
Circulation/Privacy/Neighboring drawing:



SLEEPING / COUPLING (Zephyr Anthony)
model:

plan

section

diagram study


STUDENT WORK EXPLAINED:

THE ASSIGNMENT

ASSIGNED: Wednesday, 02 April
DUE: Friday, 04 April
TO DO: Part I: (in studio): drawings
• With charcoal on newsprint (or suitable substitute) draw freehand, the ideal spatial qualities of your assigned activity. Imagine this space as something which celebrates this ritual.
o Make 2 (min.) perspectival drawings--views from the inhabitant of the space.
o Concentrate on the essential qualities of this space--the nature of the surfaces defining it, and their relationship to light and shadow. You are defining the stage of container for this ritual.
o Avoid familiar images and elements, such as furniture, cabinetry, fixtures, plants, etc.
o Each drawing should be of a single view; the aggregate of views defining the space as a whole.
o Think of the body.
o Think of the senses.
o Think of the number of bodies served at any given time.
o Think of the degree of containment / enclosure.
o Think of the distances between surfaces: walls, floors/ceilings.
o Think of the contours and qualities of these surfaces: texture, layers, levels, openings, etc.
Part II: (due Friday): models
• Once these drawings are complete, you are to make a physical construction of this space. o This construction is to be made from surfaces only.
o The construction must be approximately 8" x 8" x 8". At least one dimension of it must be of this size.
o There is no scale requirement to this construction, yet each construction must be of a scale relative to the human body: include a credible scale figure in each of your constructions.
o Make a minimum of three of these constructions, and make sure they are complete and ready for discussion by the beginning of studio, Friday.
o These are not museum pieces, so don't be afraid to work quickly. Just make sure there is sufficient craft to clearly illustrate your intentions.



DAILY DWELLING RITUALS DEFINED:

SLEEPING / COUPLING LOUNGING / RELAXING

SEPARATING / REUNITING EXCRETING

PLAYING / MAKING MEDITATING / EXERCISING

CONVERSING / GATHERING AWAKENING / BREAKING FAST

BATHING / GROOMING MANAGING / MAINTAINING

READING / STUDYING DRESSING

COOKING EATING


ASSIGNMENT 02

BACKGROUND
How does the structure of a volume determine its character and its psychological impact? How can the ideas of others be interpreted and developed? What is discovered when one's own ideas are interpreted and developed by others?

ASSIGNED: Friday, 04 April

DUE: Monday for pin-up, 07 April

TO DO:
• Give your best charcoal drawings and best model / constructions from assignment 01 to another student in the studio. Allocations will be determined randomly, by your instructor.
• Once you have the new drawings and model in your possession, you are to make 3 more constructions.
o These new constructions should be considered as further development of the ideas proposed in the material you've been given.
o It may seem as though you are doing pure production on someone else's work; but as you proceed, you will discover plenty of opportunity for individual expression.
o Just don't abuse it for the sake of your own vanity--you must try and remain true to the ideas you've been given.
• The successive constructions shall be executed as follows:
• Keep to the same size.
• Incorporate a scale figure.
• You may remove up to one surface for the sake of clarity.
• Execute the constructions in the following sequence:
o Model 1:
• It must be made entirely of cast material, such as plaster-of-paris, 'rockite', or other solid substance. Take care not to make a mess in studio or in the Unitus building! Do not dump plaster/cemtent, etc. down any drains!
o Model 2:
• It must be made entirely from linear material: in this case, use basswood sticks--preferrably 3/32 x 1/8. Avoid stacking up this material to make solid surfaces or volumes.
o Model 3:
• With the working knowledge you've developed from the previous constructions--and with a keen sense of the quality of space expressed in the drawings and original model given to you, this last construction must be a combination of all three previous materials (surface, solid, line).
• Use each material in the manner you discover is most appropriate to not only express the spatial qualities of the ritual celebrated, but also most structurally appropriate to complete the volume.

All materials from assignments 01 and 02 must be complete, pinned-up / presented, and subject to discussion on Monday, 07 April.