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WORKFLOWS WORKFLOWS WORKFLOWS WORKFLOWS WORKFLOWS WORKFLOWS WORKFLOWS WORKFLOWS WORKFLOWS WORKFLOWS WORKFLOWS

#process #communication #representation

University of Virginia School of Architecture Visualization Module // Fall 2013 Instructor: Matthew Pinyan

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WORKFLOWS

#process #communication #representation University of Virginia School of Architecture Visualization Module // Fall 2013 Instructor: Matthew Pinyan

WORKFLOWS #process #communication #representation

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WORKFLOWS

#process #communication #representation


The primary goal of workflows is to introduce students to the various digital communication tools available to designers as well as their roles, abilities and limitations within the design process. Communication within design fields is primarily visual; therefore this course will place emphasis on the importance of each student developing a rigorous and efficient process for creating/constructing drawings, graphics and other forms of visual representation using digital design tools. As graphics and drawings are rarely created using a single tool, workflows will introduce a series of different processes and techniques for working between and across multiple digital tools simultaneously to visualize and represent design ideas. We will not treat digital drawings and visualizations as precious or singular artifacts, but rather as design tools that gain layers of information and complexity with the application of multiple representational techniques and software. Through a series of projects and exercises students will test and experiment with graphic communication tools to enhance their own design process. Students will develop a digital workflow/ process that is mutually supportive of their own design process. Additionally, this course emphasizes the importance of developing a clear and legible graphic language through which to convey concepts, ideas and form – both in digital and physical formats. workflows will be organized around three topics in order to teach not only the basic techniques and methodologies of using digital representation tools but also methods and conventions of producing clear and communicative design drawings/documents. Beginning with essential processes and workflows of constructing two -dimensional drawings, we will move to more complex, hybridized approaches of drawing and diagramming and, finally, to spatial drawings/visualizations that incorporate both two and three dimensional information as well as material, tectonic and experiential information. In parallel with these strictly digital processes of creating drawings/ visualizations, we will also explore the potential and importance of physical and printed form [prints, boards, models, books, portfolios, etc.] in further communicating ideas.

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#process #communication #representation

Students:

Ian Carr

Bocong Chen

Tareq Khalaf

Haidi Liu

Marina Michael

Will Munford

Megan Watson

Kurt West


#process will serve as an introduction to basic digital design and communication tools and their roles within representation of architecture and landscape architecture. The goal of this portion of the module is to gain familiarity with these tools [specifically AutoCAD, Adobe Illustrator and Photoshop] so that you are proficient, fast and efficient in their use – ultimately, these tools and processes will become integral to and mutually supportive of your studio design process. Emphasis will be placed on utilizing these tools’ basic functions, testing their abilities and limitations, and strategically moving between the tools to generate a set of graphically clear and information-rich two-dimensional design documents. We will transform and evolve this set of drawings from a very basic vector file of physical information to a series of drawings that express and communicate specific types of additional material and experiential information about a project.

AUTOCAD:

2D Drafting + Drawing Techniques

Typical Projections / Types of Drawings

Layer Management

Reference / Export / Plot

ILLUSTRATOR:

Layer + Lineweight Management

Graphic Manipulation

Coding + Hatching + Diagramming

PHOTOSHOP:

Import / Formatting

// V-RAY: RHINO

Creation of Section Model from 2D Drawing V-Ray Render to Export Shadows Raster Image Manipulation

Tonal Manipulation / Creation

Material Mapping in 2D

Export / Import / Process

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#process ASSINGMENT

03 SEPTEMBER:

Introduction, 2D Vector Drawings [AutoCAD + Illustrator] Tutorial: AutoCAD drawing techniques + Illustrator Assignment Part 1: Base Drawings [studio or case study]

10 SEPTEMBER:

Illustrative + Tonal Drawings [AutoCAD, Illustrator, Photoshop] Tutorial: Illustrator + Photoshop [Intermediate], File Management Pin-up/Review: Base Drawings [Black and white linework] Assignment Part 2: Drawing Evolution

17 SEPTEMBER:

Material Drawings [AutoCAD, Illustrator, Photoshop] Tutorial: Photoshop + Hybrid Drawing [Advanced], Export Pin-up/Review: Illustrative + Tonal Drafts

24 SEPTEMBER:

Coordination of Drawings [InDesign] Tutorial: InDesign + Graphic Layout Pin-up/Review: Revisions, Material Drafts, and Drawing Set

ASSIGNMENT DUE: Friday, 27 September [submit digitally to Classes folder]


Beginning by generating a set of clear, legible orthographic [black and white] drawings of a project [plan, sections, site plan, etc.] in AutoCAD, students will explore different techniques and methods of manipulating and transforming these drawings in Illustrator and Photoshop to bias and clearly explain certain sets of information [material quality, light quality, programmatic use]. Three drawing types will be explored — Tonal [light and shadow], Rendered [material and tectonics] and Illustrative [program and use]— testing and experimenting with a series of different digital techniques and workflows to convey information about the project. You may use either your current or a previous studio project or choose from the case study buildings listed below [documentation available]. PART 1: VECTOR TRANSLATIONS You will begin by constructing a set of drawings [3-4 drawings] that fully explain the project – generally these should include a site plan, plan and 1-2 sections. These drawings will be constructed entirely in AutoCAD. Layer management and organization is essential – think about your orthographic projections in terms of what is cut, what is projected, what is above, what is below, what is closest to you, what is farther away, is there a middle range, multiple degrees of distance, what are the physical layers of the project – these will serve as the basis for your drawing’s layers. After constructing the base drawings, you will transform them into black and white line drawings [using one of two methods/processes demonstrated in class], emphasizing depth, variation and hierarchy of information – these should be DETAIL Magazine quality drawings. PART 2: EVOLUTION AND MANIPULATION Using the base drawings with essential physical information about the project [plans, sections, etc.], you will begin the process of evolving and manipulating these drawings [adding, subtracting and highlighting certain information] in Illustrator and Photoshop to generate three types of representations/drawings. Illustrative: This drawing should use additional vector work, hatching as well as tones and shades to communicate information about the program, use and inhabitation of various ‘zones’ of the project. Material: This drawing should express the material and tectonic qualities of the project – students should overlay and embed various textures and materials within the drawing to render the project in its material form. Lines may or may not be needed. Tonal: The tonal drawing should emphasize and express the qualities of light and shadow within the project – ideally this drawing would delineate form and space through contrast and lines would not be necessary.

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JDS

NICE ARCHITECTS

NO RULES JUST ARCHITECTURE

JDS

NO RULES JUST ARCHITECTURE

NO RULES JUST ARCHITECTURE

SMAQ

SMAQ

NO RULES JUST ARCHITECTURE

WWA

BALL

BALL

SINCLAIR


BUD CUD

WWA

NO RULES JUST ARCHITECTURE

NO RULES JUST ARCHITECTURE

NICE ARCHITECTS

BUD CUD

ECOSISTEMA URBANO

NICE ARCHITECTS

REX

Q

REX

REX

BADEN-POWELL

DAY

DAY

NGUYEN-TRAN

#process LECTURES 9


workflows #process 03 September - AutoCAD: Drawing Construction 01. SETUP - Open New Drawing - Check Units [Architectural, Feet] - Model Space: Full Scale Drawing Space - Paper Space: Scaled Drawings for Plot/Export - Navigation [Zoom, Pan] -Zoom Extents of Drawing: [ze] -Zoom Selected Portion: [zw] + draw window -Zoom Selected Object: [zo] (select object first) 02. LAYERS // LAYER MANAGEMENT - Layer Properties Toolbar [layer] - Create new layers [Alt +N] - Color assignment, strategy, lock/unlock, on/off 03. DRAWING COMMANDS // TECHNIQUES - Line [l] - Polyline [pl]: line with multiple control points, most useful - Spline [spl]: continuous line, don’t use - Polyline Arc [pl] + [Alt + click]: best used for making arcs/irregular lines/topo - Circle [c]: Specify radius or diameter from center - Rectangle [rec]: Specify opposite corner points - Drawing Modes: - Ortho [F8]: Only draws in polar directions (up, down, right, left) - Object Snap [F3]: Snaps to certain drawing elements (ends, points, centers, intersections, etc.) 04. DRAWING MODIFICATIONS // MANIPULATIONS - Move [m]: Moves object - Copy [co]: Copies object in reference to selected base point. - Offset [o]: Copies line at specified distance and direction from original – walls - Trim [tr]: Trims/removes portion of line based on ‘cutting object’ (press space bar twice) - Extend [ex]: Extends line in same direction to ‘boundary object’ (press space bar twice) - Rotate [ro]: Rotates object based on reference line or angle (follow prompt in command bar) - Join [j]: Joins together two separate drawing elements (select objects and type ‘j’) - Explode [ex]: Explodes polyline into separate segments for editing (select object and type ‘ex’) - Array [ar]: Copies an object multiple times in one direction at specified spacing - Scale [sc]: Scales drawing element by numerical value or reference length. Value: Select object + [sc] + Select Base point (corner) + Enter Value Reference: Select object + [sc] + Base point + Ref length (click 2 points) + Enter new length - Align [al]: Scales and rotates objects automatically based on reference points. - Area [area]: Measures area of region. - Distance [di]: Measures length of a line. 05. IMPORT // XREF [Base Drawing for Copy] - Insert / Attach image - Specify placement ‘On-Screen,’ leave scale at 1.00. - Scale image/base drawing to full scale using known measurement - Secure known measurement from Google Earth or scaled drawing - Scale [sc] + select object + Reference [r] + Model length [click 2 points] + type desired new length - Rotate [r] to orthogonal orientation using reference points. - X-Ref [xref]: inserts base drawing file (.dwg) into model space for reference, editable.


06. BLOCKS [Repeatable/Multiple Elements without increasing file size – trees, furniture, structure] - Draw or Import Object desired to replicate - Make Block: Select object + [block] - Specify Base/Insertion point - Name Block - ‘Create Block’ - Duplicate Block in model space using Copy [co] command - Edit Block: Double click one instance of block in Model Space - In Block Editor, make changes, Save + Close 07. HATCHING -Hatch [h] – put hatches on different layer from other drawing elements -Add: Select objects (select object, must be closed shape) -Select hatch pattern, scale appropriately to fit. -To change scale: select hatch instance, change scale in upper ribbon toolbar or double click hatch to edit. 08. PLOTTING // EXPORT [to PDF] - From Paper Space: enter Paper Space through tab along bottom ribbon. - New/Edit Paper Size: Right click Layout tab + Page Setup Manager - Adjust frame of model space: Click once on frame edge and move with control points - Change scale of drawing: Double click inside frame, zoom in/out or select scale from drop-down menu in bottom right corner - To Plot: Right click current Layout + Plot - From Model Space: File + Plot - Select Paper Size - Plot Area: Select ‘Window’ from drop-down menu + draw window around desired area in model space - Scale: Select scale from drop down – check to make sure drawing doesn’t exceed bounds of paper size. 09. LINEWEIGHTS [AUTOCAD] – CTB File - Enter Plot Window, Click [>] icon in lower right corner to expand options. - Plot style table: Select ‘New’, ‘Start from Scratch,’ advance to ‘Plot Style Table Editor’ - Assign properties to each color used for a Layer in your drawing [layer management essential] - Color: Plot Color of ‘Layer Color’ - Linetype: Solid, dashed, dotted, etc. - Lineweight: Thickness of line in plot form. - Save + Close, Apply and Preview in Plot window. 10. LINEWEIGHTS [ILLUSTRATOR] - Plot file [to scale] to pdf, with layer colors intact [no plot style applied]. - Open pdf file in Illustrator, crop to ‘Media Box.’ - Create new Layers in ‘Layer’ Tab – One for each color used in drawing. - Separate lines/colors into different layers using ‘Select Same Fill + Stroke Tool’ [under Select] - Isolate Layers, Select Lines and adjust Stroke Color + Weight using ribbon along top.

#process TUTORIALS


workflows #process 10 September - Illustrative + Tonal Drawings

ILLUSTRATIVE DRAWING [AutoCAD + Illustrator] Hatch Patterns - Transform (Scale and Rotate), Edit Color Clipping Masks Patterns – Make Pattern from scratch within square framework (Scissor Tool) (Blend) Live Paint - Make Live Paint Group, Merge new objects Color + Swatches – Adobe Kuler Symbols – Create Symbol, Application and Manipulation (Rotate, Scale, Reposition) Pen Tool – Add + Delete Anchor Point, Convert, Arc Lines with Anchor + Control Points Text + Type - Type on Path, Character Properties, Alignment Tools Illustrative Drawing Resources: Nice Architects No Rules Just Architecture [NRJA] BudCud ECDM ecosistema urbano architects REX SMAQ WAA Architects Program diagrams // Miyoung Pyo, Seonwook Kim Construction and Design Manual: Architectural and Program Diagrams // Seonwook, Kim Construction and Design Manual: Architectural Diagrams TONAL DRAWING [3 METHODS] [Illustrator//Photoshop. Rhino//VRray//Photoshop. Photoshop] 01. ILLUSTRATOR//PHOTOSHOP Layers [top to bottom]: Section drawing, Shadows, Elevational Information Pen Tool to draw Shadow from edges + change Opacity Pen Manipulation Live Paint Groups Add Entourage in Photoshop 02. RHINO//VRAY//PHOTOSHOP RHINO EXTRUSION Import DWG into Rhino, rotate to correct orientation Extrude Floors/Walls [Extrude Curve, Solid, Capped] Create Background Plane onto which Shadows will be cast [Plane from 3/4 corner points] Viewport: Rendered in Orthographic View. Viewport: Rendered in Orthographic View. Panels > Turn on Sun [Adjust location, date and time in side bar] Set Current Renderer: VRay VRAY SETTINGS: CAMERA: Physical Camera ‘On’ F-Stop: 16 [Adjust F-Stop to Darken (Higher) or Brighten (Lower) Render] Shutter Speed: 200 ISO: 200


OUTPUT: For Test Renders: 640x480 For Final Render: Larger Resolution [1600, 1200, etc] DON’T TOUCH ANYTHING ELSE! Render > Save Final Image as png. PHOTOSHOP Open Drawing PDF [open with Media Box] Open Render png file separately – merge and scale drawings appropriately on separate layers Select cut areas from base drawing – Save selection within file Manipulate shadow – Erase and Add (Clone Stamp), Desaturate Clipping Masks (Brightness/Contrast, Levels, Hue/Saturation, Exposure) + Hiding information Insert Background/Context + Entourage [Manipulate + Effects] 03. PHOTOSHOP Open Drawing PDF [Media Box] Insert background tone behind drawing Select cut regions - Save Selection Delineate background/elevational information of drawing from context [Layer Mask] Draw Shadows from cut objects [Layer Mask + Polygonal Lasso + Fill] Manipulate and fade shadows [Layer Mask + Brush Tool + Erase] Background/Context + Entourage – Color + Tone [White/Gray/Black]

#process TUTORIALS


workflows #process 17 September - Photoshop 01. REVIEW - Review workflow – vector programs into raster programs to add texture - Review Layer masks + Clipping Masks to fade and erase - Review entourage 02. MANIPULATION TOOLS - Jpeg textures – tile to make large textures + flatten - Clone stamp tool to make texture - Combination textures + Manipulation [water, etc] – b+c, exposure, hue/sat. - Overlay + manipulation – magic wand - Effects – add noise - Multiply + opacity + color overlays - Layer Management + application of layer masks to single layer - Burn and dodge tools to brighten and darken materials based on light - File management – keep original layered file, save each as jpeg [300 dpi max]

#process TUTORIALS


#process PROJECT DELIVERABLES All files/drawings should be submitted digitally to the Classes folder by Friday, September 27 at 5pm as PDF files. Files should be stored in a folder classified by Student’s Last name with appropriate sub-folders [listed below] Individual drawing file sizes should not exceed 5MB. Late submission will result in a grade deduction.

DRAWING DELIVERABLES All PDF Drawings should be submitted in 18”x24” format [unless otherwise instructed] and scaled appropriately, either portrait or landscape orientation is acceptable. Please place in sub-folder labeled ‘DRAWINGS.’ Remember that you are responsible for the ENTIRE space of the drawing – your drawings should not float [unless intentionally] and you should address the entirety of the paper space. Pay close attention to strategic rendering of information/context and effective use of white space. 1. At least three [3] original black and white vector drawings exported from AutoCAD. Correct use of varying line weights and types is of most importance – drawings should be clean and clear, not rendered. 2.1 At least one [1] Illustrative/Diagrammatic drawing with varying hatches + tones to delineate different types of information about the project [program, space, use, context, etc.]. 2.2 At least one [1] Tonal drawing rendered with shadows and tones to demonstrate quality of light and shadow within a space. 2.3 At least one [1] Material/Tectonic drawing with site context demonstrating materiality of the project and certain physical and tectonic characteristics; can be further manipulation of the Tonal drawing but must be submitted separately. 6 DRAWINGS SUBMITTED IN TOTAL

WORKING FILE DELIVERABLES Please submit your working Illustrator and Photoshop files for reference in a separate sub-folder within your student folder labeled ‘WORKING FILES.’ Generally this should be one file per drawing, and these files should have well organized layers that explain your workflow/process of constructing the drawing.

FOLDER STRUCTURE PINYAN_PROJECT 1 DRAWINGS [All drawing PDF’s, 18”x24”, less than 5MB per file] WORKING FILES [All working .dwg, .ai and .psd files]

#process DELIVERABLES


I. CARR

STUDIO FORD

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I. CARR

STUDIO FORD

19


I. CARR

STUDIO FORD

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SECTION -3

SARC 5555-014

SECTION -4

BOCONG CHEN Sept. 26th, 2013

ORIGINAL CAD FILES: SECTION -1

F1

PLAN

F1

PLAN

SECTION -2

A-A SECTION SECTION -3

F2

PLAN

F2

PLAN

NORTH

NORTH

SOUTH

SOUTH

SECTION -4

A-A SECTION


HOUSE-UNIT DESIGN

EAST

SARC 5555-014

A-A SECTION

WEST BOCONG CHEN

Sept. 26th, 2013

SARC 5555-014

BOCONG CHEN

Sept. 26th, 2013

NORTH NORTH

SOUTH SOUTH

VISUAL ARTIST STUDIO& COMMUNITY

B. CHEN

STUDIO CLARK

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WH


M. WATSON STUDIO LI

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M. WATSON STUDIO LI

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ROOF “FINS” ARE A RESULT OF ROTATING PANEL 3A AT 45 DEGRESS 3A

POLYHUT

OPENINGS IN POLYCARBONATE ROOF AFFECT NATURAL DAYLIGHTING CONDITIONS

ASSEMBLY

16MM POLYCARBONATE (MULTI-WALL) SHEETS SANDWICH ASSEMBLY SIDE OF OPENING 1A 1B 2A 3A

16MM POLYCARBONATE (MULTI-WALL) SHEETS SANDWICHED ASSEMBLY SEATING 1A 1B

WOOD HANDLEBARS ON EACH CORNER OF THE STRUCTURE DL-07

ENTRANCE THRESHOLD (3/4” PLYWOOD)

D-01

DL-06 6A

D-03

CONNECTION PLYWOOD FLOOR

VACNANT DOWEL OPENING. ALL OPENINGS ALIGN WITH EACH OTHER ALLOWING FOR ADDITIONAL DOWEL SUPPORT AND CONFIGURATION

3A

COMPONENTS

1A

PLACEMENT

1A

1B

1B

2A


OPENINGS IN ROOF AFFECT NATURAL DAYLIGHTING CONDITIONS

4A

D-04

2A D-03

1A

D-01

1A D-02

SEATING POLYCARBONATE PANEL 1A 1B 3A 6A INSERT THAT DIVERTS PRECIPITATION AWAY FROM SEATING AREAS

D-04

SEATING 6A WOOD BLOCK INFILL

D-03

OPENINGS IN BUILDING ENVELOPE PROVIDE ACCESS TO DOWEL CONNECTORS

6A

OTHER OPENINGS ARE A RESULT OF REMOVING OR ADDING VARIOUS PANEL TYPES TO THE THE STRUCTURE’S ASSEMBLY

6A

STEEL CHANNEL (SKID STRUCTURE)

6A

1B STEEL TUBE (SKID STRUCTURE)

4A

DL-05

D-01

DL-06

D-02

DL-07

D-03

DL-08

D-04

5A

3A

3A

6A

6A

6A

kdw5ae

2A

K. WEST


FLOOR PLAN

INTERIOR no.1


K. WEST

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kdw5ae

INTERIOR no.2


Bottom Level Brewery

2nd Floor


W. MUNFORD STUDIO LI

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T. KHALAF


Lower Brewing Corridor

W. MUNFORD STUDIO LI

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W. MUNFORD STUDIO LI

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H. LIU

STUDIO BARGMANN


E. O’BRIEN

STUDIO FORD

16’

32’


T. KHALAF STUDIO LI

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#process #communication #representation

Students:

Ian Carr

Bocong Chen

Zhifei Cheng

Rosa Corrales

Tareq Khalaf

Julia Kwolyk

Haidi Liu

Marina Michael

Will Munford

Lauren Nelson

Elizabeth O’Brien

Graham Snow

David Tucker

Megan Watson

Kurt West

Laura Willwerth


#communication will explore and emphasize the importance of visual graphics and techniques to clearly and concisely explain architectural projects and ideas at multiple scales. As designer’s, we rely heavily on graphics and drawings as communicative tools, therefore this module will stress the importance of developing a strong graphic language and systems of annotation to explain ideas through drawn form rather than written form. Throughout the 4 weeks, we will use little to no textual information to accompany ideas. Project reviews will not consist of author’s explaining intentions but instead others will interpret the author’s design intentions. Every document and artifact we make should be able to explain itself without the assistance of words [either written or spoken]. We will begin at the scale of an idea/object/building – experimenting with the role of transformational 3-d diagrams and drawings in depicting design operations and manipulations. From the scale of the drawing we will move into an exploration of the impact of graphic design and printed form in constructing narrative about a project in its entirety. How can the curation and presentation of design documents and artifacts do more than merely explain the physical characteristics of an idea?

RHINO:

3D Modeling / Massing Models

Rapid Modeling + Workflow Efficiency

2D Export / Process

ILLUSTRATOR:

Graphic Manipulation of 2D Exports Development of Annotative Graphic Systems

Sequential Diagramming

Graphic Clarity / Tools for Drawing Information

INDESIGN:

Layout + Communicative Graphics

Text + Typography / Graphic Design

File Organization / Size Management

Export / Creation of Printed Artifacts

PRESS: PRINTING

Press Room Tools / Cutting + Binding Books

Construction of Printed Artifacts /Process

Experimental Printing + Binding

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#communication ASSIGNMENT

01 OCTOBER:

Introduction to 3D design diagram typologies; graphic and annotative techniques QUICK TUTORIAL: Rhino Export + Illustrator Annotation/Graphics QUICK-FIRE [30 mins]: Diagramming Exercise + Pin-up

08 OCTOBER:

Introduction / discussion of books + printed artifacts [InDesign] TUTORIAL: InDesign Techniques/Basics + Press Room Tools PIN-UP/REVIEW/DUE: PROJECT 1

15 OCTOBER:

Fall Reading Days [no class] MP available for project critique review during the week, schedule office hours.

22 OCTOBER:

Review + Discussion of Design/Print Artifact in process PIN-UP/REVIEW/DUE: Mock-up of Artifact [binding, size, weight, paper] and test spreads [graphics, images, drawings, type].

ASSIGNMENT DUE: Friday, 25 October [submit physical + digital copy to Classes folder]


PROJECT 1: Design Transformations [3D Diagrams] Beginning with either an existing project, current studio project or predetermined form – generate a series of diagrams [minimum 8] that depict and explain design operations and transformations. Ideally these will transformations will be verbs – actions imposed by a designer – however these drawings also explain specific piec¬es of a design [program, materiality, etc.]. Sequence and developing a clear annotative system of demonstrating operations is of highest importance. Equally important is how these diagrams are presented in relationship to one another – are they printed in a horizontal row, vertical column, exploded into different pieces? NO TEXT IS ALLOWED IN THIS ASSIGNMENT. PROJECT 2: Design/Print Artifact [Board / Book / Pamphlet] Taking a previous studio or research project [or two related projects] that is/are fully complete – meaning documentation is available at multiple scales [drawings, models, site information, diagrams] – construct a physical printed/graphic artifact that explains the narrative of the project. This may be a book, a board, a pamphlet or something new or in between depending on the nature of the idea and the project. Emphasis should be placed on graphic consistency and clarity as well as the physicality of the object to further explain the ideas inherent within the project. It is allowed and ENCOURAGED to manipulate drawings that are already complete in order to prepare them for publication/ print – you shouldn’t view this as a static collection of images and drawings but rather an important dialogue between different design representation tools working in conjunction towards a similar graphic goal. You might think about the role of process/documentation in demonstrating the development of an idea over time and how that might relate to the final documentation. Think about the format – is this one page, multiple pages, does it fold/compress or expand, how is it bound or not, is it digital? Is this meant to be mass produced or are there very few editions? What type/color of paper is necessary? Compose every page with an inten¬tion and create a graphic structure that carries throughout – in the end, this is one really large comprehensive diagram of your project. ONLY 1000 TEXT CHARACTERS [INCLUDING SPACES] ARE ALLOWED IN THIS PROJECT [unless otherwise arranged with instructor].

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written or spoken].

We will begin at the scale of an idea/object/building – experiment diagrams and drawings in depicting design operations and manipu will move into an exploration of the impact of graphic design and p #communication CHALLENGE project in itsQUICKFIRE entirety. How can the curation and presentation of de merely explain the physical characteristics of an idea? The Quickfire originates from a recurring challenge on the popular TV show, Top Chef, in which chefs must create a dish within a narrow set of parameters in only 30 minutes. In

ASSIGNMENTS

an effort to encourage efficiency and speed in digital workflows, these short Quickfire’s challenge students to generate a type of drawing given a basic start point and a set of requirements in 30-40 minutes. Following this period, a pin-up of the results shows the

successes and failures, and the process of generating drawings quickly[3D allows students PROJECT 1: Design Transformations Diagrams]

- 20% of fin

to develop shortcuts and gauge which parts DUE: October 8 of their design/working process need to be strengthened.

Beginning with either an existing project, current studio project or QUICKFIRE 1 // OCTOBER 01 // 30 mins: diagrams [minimum 8] that depict and explain design operations a Beginning with a basic 3D Rhino model of a volume [pre-determined], generate a series formations will be verbs – actions imposed by a designer – howeve of, at least, 3 subsequent three-dimensional diagrams that illustrate transformational esfrom of athedesign [program, materiality, Sequence and developin design acts [choose list below]. Drawings should be clearetc.]. and illustrate ingtext operations is of highest importance. Equally important is how t these actions without but rather through a quickly developed annotative system in Illustrator. This process strategic in Rhino,in quick and efficient row, vertical colum to onerequires another – aremodeling they printed a horizontal exports/good layer management, and development of graphic strategies in Illustrator to IS ALLOWED IN THIS ASSIGNMENT. quickly diagram ideas and actions.

TWIST SPLIT ROTATE CUT//DIVIDE SHIFT SUBTRACT ADD SCALE ORIENT


D. TUCKER

J. KWOLYK

R. CORRALES

M. WATSON


JDS

JDS PART 5 - SITE ASSEMBLY

Step 5.1 Pour Concrete Piers + Attach Brackets (1) 1-CY 12-bracket package

PART 5 - SITE ASSEMBLY

Step 5.6 SIPs Wall / Floor / Amenities Completion (3) A panel (3) B panel (1) G panel (1) H panel (3) S panels Living Room Amenities

SHOP

MOXON

NABITO

WEISS MANFREDI

PART 4 - CONTAINERIZATION

PART 4 - CONTAINERIZATION

PART 4 - CONTAINERIZATION

PART 4 - CONTAINERIZATION

Step 4.1 SIPS Roof Panels

Step 4.2 Deck Cartridges

Step 4.3 Doors / Windows / Vents

Step 4.4 SIPS Deck Wall Panels

Step 4.5 Sta

(20) R panels

(9) T cartridges

(1) exterior door (1) interior (10) windows (11) vents

(2) K panels (1) L panel (2) M panels (1) N panel (1) O panel (1) Q panel (1) P panel

(4) treads (3) risers (5) ribs

PART 4 - CONTAINERIZATION

PART 4 - CONTAINERIZATION

PART 4 - CONTAINERIZATION

PART 4 - CONTAINERIZATION

PART 4 - CONTAIN

Step 4.6 SIPS Floor Panels

Step 4.7 SIPs Long Wall Panels

Step 4.8 SIPs Short + Interior Wall Panels

Step 4.9 - LVLs with attached Ledgers

Step 4.10 - B

(15) S panels

(7) A panels (7) B panels

(2) C panels (2) D panels (2) E panels (2) F panels

b4architects

(2) a LVLs (with 4x4 ledgers attached) (2) b LVLs (with 4x4 ledgers attached) (2) c LVLs (with 4x4 and 2x4 ledgers attached) (2) d LVLs (with 4x4 and 2x4 ledgers attached)

PART 4 - CONTAIN

(1) 1-CY bracket p (1) 1-CY fixtures /


PINYAN

PINYAN PART 5 - SITE ASSEMBLY

PART 5 - SITE ASSEMBLY

PART 5 - SITE ASSEMBLY

Step 5.2 LVLs with Ledgers

Step 5.3 SIPs Exterior Walls

Step 5.4 SIPs Floor Panels

Step 5.5 Interior Walls / Amenities Unit

(2) a LVLs (with 4x4 ledgers attached) (2) b LVLs (with 4x4 ledgers attached) (2) c LVLs (with 4x4 and 2x4 ledgers attached) (2) d LVLs (with 4x4 and 2x4 ledgers attached) (1) e LVL (1) f LVL (1) g LVL

(1) A panels (1) E panels (1) F panels

(3) A panels (2) B panels (1) C panels (1) D panels

(1) A panel (1) B panel

(2) S panels

PART 5 - SITE ASSEMBLY

(1) I panel (1) J panel (4) S panels Bedroom Amenities

PART 5 - SITE ASSEMBLY

PART 5 - SITE ASSEMBLY

PART 5 - SITE ASSEMBLY

PART 5 - SITE ASSEMBLY

Step 5.7 Deck Cartridges

Step 5.8 SIPs Deck Walls

Step 5.9 SIPs Roof Panels

Step 5.10 Windows / Doors / Vents / Stairs / Coatings

(1) C panel (1) D panel (1) E panel (1) F panel

(2) M panels (1) N panel (1) O panel (1) Q panel (1) P panel

(2) K panels (1) L panel

(6) S panels (4) T cartridges

(18) R panels

(2) R panels

(1) 1-CY fixtures / coatings / misc. package (1) exterior door (1) interior door (10) windows (11) vents (4) treads (3) risers (5) ribs

reCOVER

PINYAN + WILKS LATERAL OFFICE

MOXON

MOXON

MOXON

JDS

JAGNEFALT MILTON

NERIZATION

airs

NERIZATION

Bracket / Coatings / Misc Packages

package coatings / misc. package

#communication LECTURES

49


workflows #communication 08 October - InDesign 01. INDESIGN DOCUMENT SETUP - New document [size, bleed] - Rulers and guides, different views 02. MASTER PAGES - Setup + applying master pages - Page numbers [constant], how to change where they start. - Copy and paste in place 03. IMAGE/DOCUMENT INSERTION - Place or drag into frame - Multiple frames of same size [applies to text as well] - Link management [save in different location, at least 150-200 dpi, no more than 300] - Inserting interactive media - Editing links with other programs, view paths - Alignment and Resizing [resizing multiple things at the same time ‘E’] - Overlays + multiply 04. DRAWING TOOLS - Shapes and lines [pen tool + stroke, how to move anchor points] - Eyedropper tool - Scissor Tool 05. SWATCHES + TEXT - How to add swatches and load other swatches - Insertion of text and placeholder text [character basics + paragraph basics] - Color matching eyedropper - Placeholder text + hyperlinks - Underlines + blocks behind text - opacity 06. KNOWING WHEN TO USE ILLUSTRATOR OR PHOTOSHOP AND WHEN TO USE INDESIGN - Diagrams [large + folding] – illustrator [export as pdf or jpeg] - Funky text or patterns – illustrator, place illustrator file directly - Image manipulation – Photoshop [always save a copy] - Overlays of sketches - photoshop - All linked files/pdfs – if they are large/slow open them in photoshop and downsize, save copies. 07. EXPORTING AND SAVING -Export options + presets [hyperlinks, spreads v pages, resolution, bleeds, crops] - Packaging - Background tasks GRAPHIC STRATEGIES: Overlays, zoomed in photos, good photos of models [black backgrounds], good, crisp drawings with white backgrounds, strategic text, give structure to the document [guides, implied datums, fields of images or text], use color strategically, pair sketches and images of related ideas – sequence matters.

#communication TUTORIALS


#communication PROJECT DELIVERABLES All digital files should be submitted digitally to the Classes folder by Friday, October 25, 2013 at 5pm. All files should be submitted to: Classes: SARC 5555-014 // #communication // SUBMISSION // [Student Last Name]. Please use the folder structure provided [copy, paste + submit appropriately]. Late submission or files that do not adhere to the appropriate submission requirements [file size, nomenclature, etc.] will result in a grade deduction. Consult syllabus for grading rubric.

PROJECT 1: Design Transformations [20%] •

Submit one PDF of all diagrams/transformations to the FINAL folder as STUDENTLASTNAME_PROJECT1; file should be less than 5MB.

Submit working Illustrator File to the WORKING FILES folder as STUDENTLASTNAME_ PROJECT1_ILLUSTRATOR. File will be evaluated on layer management, process, and diagramming/construction techniques.

Submit Rhino/Sketchup 3D model used for exports to the WORKING FILES folder as STUDENTLASTNAME_PROJECT1_3D.

Project 1 will be evaluated on clarity of drawing/drawing techniques [line weights, diagram sequencing, layout], clear communication of design ideas/actions in graphic form, development of annotative system for explaining ideas graphically, and efficient file management/process of working.

PROJECT 2: Design // Print Artifact [80%] •

Submit one physical printed artifact to instructor in Campbell 121 by Friday, October 25, 2013 at 5pm. No size requirements, size determined by individual student/project.

Submit one PDF of artifact spreads/layouts [pages or spreads determined by student] digitally to FINAL folder as STUDENTLASTNAME_PROJECT2; file should be at least 200dpi and less than 10MB.

Submit one packaged InDesign document [InDesign File + links] to WORKING FILES folder as STUDENTLASTNAME_PROJECT2_INDESIGN. File will be evaluated for link management, document organization [use of master pages, guides, etc.], as well as design techniques and strategies.

Project 2 will be evaluated on effectiveness of presentation of a project/idea, development of a clear graphic language/strategy to structure the narrative, exploration of physical properties/binding techniques to strengthen dialogue, experimentation with different types of graphic approaches, printing materials or binding techniques, and adherence to file size and resolution guidelines.

#communication DELIVERABLES


I. CARR

STUDIO FORD

53


Z. CHENG

STUDIO FORD

55


SARC 5555-014

B. CHEN

STUDIO CLARK

#communication

PROJECT-1

BOCONG CHEN(bc5ce)


K. WEST

DESIGN RESEARCH

57


mid

3

akureyn

2011.grimsvotn

1

2 g tic rid -atlan

reykjavik

keflavic

e

1918.katla 2010.eyjafjallajokull 1973.heimaey 1963.surtsey


blonduos

akureyri

transport egilsstaoir

outer loop all -season su mmer only

borgarnes hofn reykajvik selfoss

features nat ural areas waterways

a l ti t u d e

precipitation

E. O’ BRIEN

DESIGN RESEARCH

59


G. SNOW ECOMOD

61


M. WATSON

STUDIO MARCU


L. WILLWERTH

STUDIO GALI / CHO


W. MUNFORD STUDIO LI


joint [part]

system [whole]

[understand]

[explore]

disassemble

divide

[identify / separate]

[[contrast]


[reconnect]

[translate]

insert

connect

[anchor / ground]

[relate / place]

E. O’ BRIEN STUDIO FORD

67


K. WEST

69


D. TUCKER

STUDIO DRIPPS


71


K. WEST


73


L. WILLWERTH

STUDIO GALI / CHO


75


I. CARR


77


M. WATSON

STUDIO MARCU


79


Z. CHENG

STUDIO FORD


E. O’BRIEN

DESIGN RESEARCH

83


#process #communication #representation

Students:

Eric Barr

Ian Carr

Zhifei Cheng

Tareq Khalaf

Alan Ford

Haidi Liu

Will Munford

Elizabeth O’Brien

Rong Rong

Graham Snow

Megan Watson

Kurt West

Laura Willwerth


#representation will advance a basic understanding of digital representation tools by exploring various methods, tools and techniques of architectural and spatial representations – rendering software, collage, hybrid drawings. Current architectural trends value photorealistic renderings of a building or landscape as communications of the essence of a project, however these representations are often overwrought with unnecessary details and graphics thus rendering the driving ideas of a project unreadable. We will approach three-dimensional representations of space not as ‘rendering’s’ but rather as drawings, diagrams and projections that emphasize and communicate ideas about space, scale, materiality, tectonics, site and context. We will generate these three-dimensional representations of a project or idea from digital models or two-dimensional drawings, experimenting with various rendering plug-ins/software and methods of manipulation of these representations using other processes and digital tools. The main workflow that we will use includes threedimensional modeling software [Rhino, Sketchup], rendering plug-ins [Podium, V-ray, Maxwell], and digital manipulation/collage [Photoshop]. Students will use their current studio project as a testing ground for representation techniques in preparation for final reviews. RHINO:

3D Modeling Tools / Strategic Modeling

Artificial Light + Shadow

SKETCHUP:

3D Modeling Tools / Strategic Modeling

Artificial Light + Shadow / Materiality

Export of Information / Generation of Drawings

PODIUM:

Basic Rendering Tools / Exports

Artificial Lighting + Processing

V-RAY:

Intermediate Lighting + Material Mapping Intermediate Rendering Tools / Layered Exports

Intermediate Lighting + Material Mapping

PHOTOSHOP:

Basic - Intermediate Rendering Tools / Exports

MAXWELL:

Manipulation of Base Imagergy

Construction of Context / Site with Source Imagery

Introduction of Scale, Materiality, Shadow + Context in Drawing

85


#representation ASSIGNMENT

29 OCTOBER:

Introduction, Spatial Representations + Collages, Podium TUTORIAL: 3D Modeling [Conversion + Sketchup]; Podium; Photoshop Collage

05 NOVEMBER:

Spatial Drawings + Manipulations, V-Ray + Photoshop TUTORIAL: V-ray [interface, material properties, settings], Photoshop [actions, manipulation, generating site/context, entourage] QUICK-FIRE: Photoshop Collage from Base Rendering [45 mins]

12 NOVEMBER:

TUTORIAL: V-ray [lights, material creation], Photoshop techniques [cont.] PIN-UP: In-process drawings: base renderings + Photoshop/layers on at least one drawing.

19 NOVEMBER:

Review + Discussion of In-Process drawings/techniques PIN-UP: In-Process drawings – 3 drawings.

ASSIGNMENT DUE: Sunday, 15 December following Final Reviews [submit digitally to Classes folder]


SPATIAL DRAWINGS Using a three-dimensional digital model of your current studio project, students will generate a sequence/set of [at a minimum] 3 spatial representations. These drawings should either narrate a spatial sequence through a project or clearly illustrate/ communicate different ideas inherent within a design project. You are required to experiment with different techniques of spatial representation [digital drawings, hybrid drawings, digital collage] and every drawing should rely on more than one tool of representation [sole reliance upon rendering plugins/software is NOT allowed]. Approach these drawings as layered representations, harnessing multiple types of digital tools for their strengths and supplement/compensate for their weaknesses with other modes of representation. We will develop these drawings over the course of 4 weeks; first by identifying views that illustrate the essential design ideas [screenshots or 2-d drawings], a conceptual collage that serves as a diagrammatic spatial/material representation and finally developing the selected views into information-rich drawings [material, scale, context] using rendering software and digital manipulation techniques.

87


#representation QUICKFIRE CHALLENGE The Quickfire originates from a recurring challenge on the popular TV show, Top Chef, in which chefs must create a dish within a narrow set of parameters in only 30 minutes. In an effort to encourage efficiency and speed in digital workflows, these short Quickfire’s challenge students to generate a type of drawing given a basic start point and a set of requirements in 30-40 minutes. Following this period, a pin-up of the results shows the successes and failures, and the process of generating drawings quickly allows students to develop shortcuts and gauge which parts of their design/working process need to be strengthened. QUICKFIRE 2 // NOVEMBER 05 // 40 mins: Using the base rendering provided [below], construct a spatial representation by collaging various materials, textures and images onto this rendering in Photoshop [using primarily layer masks + adjustments]. Situate this image by constructing a context using different materials and textures [found on the internet] to explain information about site, scale, materiality, light/shadow, etc. Drawings requirements: - Manipulate the base image [brightness contrast, Photoshop actions, exposure, levels, etc.] to communicate ideas about light/shadow, materiality, reflectivity. - Experiment with at least 2 types of field conditions and their intersection [ground/ water, manicured/wild, constructed/unconstructed, etc.] - Introduce scale, materiality + context.


M. WATSON

K. WEST

89


E. BARR


W. MUNFORD

Z. CHENG

L. WILLWERTH

91


VALDER

MIES VAN DER ROHE

MIES VAN DER ROHE

MIES VAN DE

TRANSMISSION // MEMORIAL

CONFRONTATION // MEDIATION

HUMAN INHABITATION

N IO

TRANSMISSION

COMMUNICATION

EAT SLEEP EXERCISE

SECURE ENTRY // DEPARTURE

BY AIR

INHABITATION : DWE LLIN G/ /C ON SU MP T

COMMUNICATION TOWER

N IO

FLOATING INFRASTRUCTURE GE NE RA T

CONFRONTATIO

N

BY SEA

JAGENFELT MILTON

CARMODY GROARKE

HOBGOOD

MANSILLA TUNON

MANSILLA

CARMODY GROARKE

HO

HOBGOOD


ER ROHE

KOOLHAAS

KOOLHAAS

REX

A TUNON

KOOLHAAS

REX

FIELD OPERATIONS

OBGOOD

HOBGOOD

NO RULES JUST ARCHITECTURE

TONIC

#representation LECTURES

93


workflows #representation 29 October - 3D Modeling + Podium + Photoshop 01. RHINO + SKETCHUP MODELING - Rhino to Sketchup [.3dm], model conversion. - Styles / File setup - Basic Drawing Tools - Solids, extrusion, subtraction, - Erase - Groups - Layers - Components - Copy/array / Scale - Shadows - Materials [New/Edit materials] - Material attitudes + rendering - Scenes / Camera / Views - 2D export [Rhino] - Add material to model / Material mapping 02. PODIUM RENDERING PLUGIN [SKETCHUP] - Basic interface - Output / Export - Environment [pre-settings] - Material manipulation – reflectivity + bump - Artificial Lights + Lighting 03. PHOTOSHOP PROCESSING OF BASE RENDER - Collage [Photoshop basics] - Import Image - Overlay 2-D export [multiply command] - Construc ground/context/sky + Multiple images to one texture [review] - Material Application to white render + Manipulation + Multiply - Layer masks + Adjustment Layers - Tools – burn + dodge - 2-D base + collage creation [distortion + diagramming]


workflows #representation 05 + 12 November - V-Ray + Photoshop Manipuation 01. VRAY RENDERING PLUGIN - SKETCHUP + RHINO - Interface - Output / Export Size + Types - Environment: Shadows, Scenes, Camera - Material mapping – New materials, material properties, reflectivity, bump, translucency, preview - Main interface – bump map, emphasize joint + shadow. - Reflectivity: add reflective layer, change value, preview, change material setting to AColor, preview - Control Transparency in model space - Lights + Artificial Lighting: - Omni lights, rectangular/face lights [directional], settings, scale [physica] + scale [power] - GI must ALWAYS BE ON - Indirect Illumination – change contrast and saturation - Camera – Shutter speed [lower = more exposed, stick with 200], type [spherical] - Export/render – test size, final size - PNG + Alpha – photoshop export and manipulation 02. PHOTOSHOP MANIPULATION OF RENDERING - Selection Save + Recall - Motion blurs [Entourage] - Gausian blurs [Entourage] - Add + Subtract Noise [Entourage] - Clone Stamp Tool to Patch - Lens Flares + Screen Layers - Multiply Command - Sketches - how to import sketches with only lines [Alpha channels + Selection of Color Range] - Photomerge - Scale Figures // Entourage review [posterize, threshold, reflections, shadows, distortions] - Text clipping mask - Gradient tool - Haze

#representation TUTORIALS


#representation PROJECT DELIVERABLES All files should be submitted digitally to the Classes folder by Friday, November 22, 2013 at 5pm. All files should be submitted to: Classes: SARC 5555-014 // #representation // SUBMISSION // [Student Last Name] Please use the folder structure provided [copy, past + submit appropriately]. Late submission or files that do not adhere to the appropriate submission requirements [file size, nomenclature, etc.] will result in a grade deduction. Consult syllabus for grading rubric.

Spatial Drawings •

Submit all three [3] final digital drawings as either PDF or JPEG file formats in the FINAL folder as STUDENT LAST NAME_DRAWING [XX]. File should be less than 5MB.

Submit all Photoshop files to the WORKING FILES folder as STUDENT LAST NAME_ DRAWING [XX]. Files will be evaluated on layer management/organization, use of layer adjustments and clipping masks, use of multiple sources/images to generate context and experimentation with various Photoshop techniques.

Not required, but suggested: Submit any base renderings generated from rendering plugins to the WORKING FILES folder as STUDENT LAST NAME_BASE [XX].

Drawings will be evaluated on clarity of ideas + graphics; techniques of generating/constructing context, site, materiality, tectonics and scale; development and control of a language of spatial drawings; integration of multiple techniques, software and sources in generating drawings; and overall organization, clarity and efficiency in process of working. *Students who are using a current studio project as the material for this project may submit in-process/ well-developed files and drawings by November 22 but are expected to submit final drawings [used for Final Reviews] at the end of the semester following Final Reviews.

#representation DELIVERABLES


I. CARR

STUDIO FORD

99


E. BARR

STUDIO FORD

101


E. BARR

STUDIO FORD

103


W. MUNFORD STUDIO LI

105


Z. CHENG

STUDIO FORD

107


Z. CHENG 109 STUDIO FORD


G. SNOW111 STUDIO FORD


E. O’ BRIEN STUDIO FORD

113


H. LIU

STUDIO BARGMANN

115


R. RONG


A. FORD

STUDIO JOVER

117


K. WEST

119


M. WATSON

STUDIO SOMERS/WALDMAN

121


M. WATSON

STUDIO SOMERS/WALDMAN


123


Workflows  

The primart goal of workflows is to introduce students to the various digital communication tools available to designers as well as their ro...

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