Lecture_03: Why diagramming?

Transcription

1 UMN- College of Design School of Architecture Arch 2281: DFII Instructors: Andrea Johnson Adam Jarvi Lecture_03: Why diagramming?

2 First, A FOUR MINUTE STORY

3 what is a diagram? 1. A figure composed of lines, serving to illustrate a definition or statement, or to aid in the proof of a proposition. 2. An illustrative figure which, without representing the exact appearance of an object, gives an outline or general scheme of it, so as to exhibit the shape and relations of its various parts. 3. A set of lines, marks, or tracings which represent symbolically the course or results of any action or process, or the variations which characterize it; e.g. the intensity of action or quality, the rise and fall of temperature or pressure, of the death-rate, rate of emigration, rate of exchange, the derivation and mutual relation of languages, etc. -Oxford English Dictionary

4 What is a diagram? In general, diagrams are best known and understood as visual tools used for the compression of information A diagram is not a blueprint. It is not the working drawing of an actual construction, recognizable in all its details and with a proper scale The diagram is not a metaphor or paradigm, but an abstract machine that is both content and expression and is instrumental in the production of new objects or situations. --Excerpts from Diagrams, in Move by Ben van Berkel and Caroline Bos

5 Portrait Face diagrams: the caricatures of the drawing world

6 Portrait, sort of diagrams: the caricatures of the drawing world

7 1. Animation means to invoke life, not imitate it 2. Animation is not the art of drawings that move, but the art of movements that are drawn. 3. Character always comes first, before the physical representation. 4. If you start with character, you probably will end up with good drawings. If you start with drawings, you will almost certainly end up with limited characters for identity, you do not draw differently, you think differently. 5. Our characters are based on individual personalities, their anatomy abstracted only in the most general way from their prototypes rabbits, ducks, cats, canaries, etc What they looked like grew in each case from our discovery of who they were. 6. Its not what or where a character is, nor the circumstances under which they find themselves that determines who they are. It is only how in a unique way they respond to that environment and those circumstances which identify them as an individual Chuck Jones, Chuck Amuck as quoted in (M. Rakatansky, ANY 23, pp52)

8 The primary utility of the diagram is as an abstract means of thinking about organization. The variables in an organizational diagram include both formal and programmatic configurations: space and event, force and resistance, density, distribution and direction. -Stan Allen, ANY 23: Diagram Work

9 Notation

10 Francis Ching, Point to line to plane to volume

11 Francis Ching, Circulation diagram

12 Thomas Thiis-Evensen, Diagrams from Archetypes in Architecture

13 Francis Ching, Diagrams from Form, Space and Order

14 Pythagorean Theorem: C.V. Durell, Elementary Geometry, 1936 Pythagorean Theorem: W. Pickering, 1847

15 Pattern

16

17 1. RELATIONAL DIAGRAMS Represent relational connections in time-space scenarios. They INFORM. 2. ANALYTICAL DIAGRAMS Illustrate existing entities, spaces or systems. They REVEAL. 3. INSTRUCTIONAL DIAGRAMS Instrumental in the production of new objects and situations. They INSTRUCT.

18 1. RELATIONAL DIAGRAMS Represent relational connections in time-space scenarios. They INFORM.

19

20

21 Napoleonic military march from Paris to Moscow and return with geographical, time and climatic information

22 Diller Scofidio Renfro Disorder in a Dining Table

23 Edward Tufte

24 Bernard Tschumi The Manhattan Transcripts

25 2. ANALYTICAL DIAGRAMS Illustrate existing entities, spaces or systems. They REVEAL.

26 Social organization of Aboriginal camp

27 Le Corbusier: Villa Savoye, Poissy, France, Diagrams by Francis Ching

28

29

30 3. INSTRUCTIONAL DIAGRAMS Instrumental in the production of new objects and situations. They INSTRUCT.

31

32 How To - Book binding

33 Francis Ching, Instructional diagram for a paper airplane Proper folds for an American and Danish flag

34

35

36 a diagram is a representation in reverse in the end, the object is always a representation, not of itself but of the diagrams, the outlines, the motives, the ideas the ideas of certain arrangements and relations. -Mark Rakatansky, ANY 23: Diagram Work

37 In The Fold, 2007 Design for an open-ended play piece Designers: John Comazzi, Assistant Professor of Architecture Adam Jarvi, Graduate Research Assistant pliable, playable terrains supports active learning for children ages 3-5 open to interpretation through imagination and manipulation.

38 3 designs ( MEW, Zig-Zag and Spiral ) each of which allows for multiple arrangements and configurations encourages active participation in the transformation of one s surroundings.

39 developing language skills prepositions (under, over, through, between, in, above, etc.) verbs (bend, roll, twist, lift, pull, fold, crimp, tuck, etc.)

40 In The Fold: process photos

41 The Saarinen Legacy: Photographs by Balthazar Korab Curators: John Comazzi, Balthazar Korab and Christian Korab Designers and fabricators: John Comazzi and Adam Jarvi Minneapolis Central Public Library October 6 th through November 29th

42

43

44

45

46

47

48

49

50 MVRDV, Double House, Utrecht

51 roof terrace house 1 garage + roof terrace house 2 includes garden access and roof access for both too little roof access for 2 too little garden access for 1 More garden access for 1 but no roof access for 1 roof access for 2 and small garden access for 2 wider views to the park for 1 MVRDV, Double House,

52 MVRDV, Double House,

53 MVRDV, Double House,

54 MVRDV, Double House,

55 OMA: Netherlands Embassy, Berlin, Germany, 2003