Interfacing Manual with Digital Media Academic Studio Examples

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1 12 Interfacing Manual with Digital Media Academic Studio Examples Design Poster by class, Studio Professor Andreas Luescher, 12-2 Bowling Green State University Thoughts on Interface by Professor Arpad Daniel Ronaszegi, 12-3 Savannah College of Art and Design Hill Upheaval: The Reweaving of Pittsburgh s Urban Fabric by 12-5 Heather Figley Wildman, Studio Professor Arpad Daniel Ronaszegi, Savannah College of Art and Design Responsible Gentrification by Michael Aziz, Studio Professor Arpad Daniel Ronaszegi, Savannah College of Art and Design 3-D Thinking in Design Sketching, Modeling, and Using the Computer by Professor William W. P. Chan, Morgan State University National Museum of Language by Eric Feiss, Studio Professor William W. P. Chan, Morgan State University Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved.

Graphic design exercise: Senior Design Poster (team class exercise) Media: Manual and digital collage techniques Architecture and Environmental Design Studies Bowling Green State University Courtesy

2 Graphic design exercise: Senior Design Poster (team class exercise) Media: Manual and digital collage techniques Architecture and Environmental Design Studies Bowling Green State University Courtesy of Professor Andreas Luescher, Ph.D. Project Description: The objective is to plan, design, and produce a poster announcing the Senior Design Studio presentation and exhibition. Project Summary: In this project fifteen students, all members of a Senior Design Studio, collaborated on the design and production of a single poster announcing a public exhibition of their work. Visually and conceptually the poster needed to function at two levels simultaneously: one as a catalogue of images of individual projects, and two as an evocation of the meta environment of the Senior Design Studio, which provided the context out of which the individual projects emerged. Methodology: Elements of poster design were introduced using interface examples combining manual and digital collage techniques. The planning, design, and production process included structural grids and regulating lines, font selection, picture processing, computer drawing, layout, finishing, print preparation, and final printing. Emphasis was placed on the interrelationship and integration of the various aspects of the graphic design process, with an eye for difficulties and solutions. Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved. 12-2

3 Thoughts on Interface by Professor Arpad Daniel Ronaszegi, Savannah College of Art and Design Manual and electronic media In the process of making architecture creating ideas, generating process and construction documents communication of thoughts and intents take on different forms. The designer communicates thoughts to himself or herself as the ideas are made visible, developed and tested; ideas are communicated between the members of the design and production team and to clients and public. The traditional modes of communication have been the sketch and use of various art media, models, and drafting. With the commencement of electronic methods, initially computers were used to a great degree as a replacement of manual methods, in particular for drafting and three-dimensional modeling. While digital technologies were essential enhancements to communication and production, the traditional modes allow an interaction between ideas and the human observer that digital technologies could not replace a physical model can be viewed in its wholeness and the observer can navigate without the mediation of technology. A painting or freehand drawing can convey the thoughts and emotions of the designer on a human level directly to the observers. That is, there is a direct interaction between humans: designer or professional and observer or user. The concept of interface allows the designer to choose electronic and manual media in varying degrees and to focus on the ultimate intent: to assist in the process of creating design ideas, material and technical solutions, and communicating ideas and solutions in effective ways. Some possibilities follow; these, as in the design process itself, can be as dynamic and openprocess as the electronic and traditional media interface. Exploring The computer can do repetitive or directed sequential steps effectively. In the design process, exploring can allow the designer to generate multiple architectural qualities forms, spaces, and so on and examine the potential of these to fulfill design expectations. Examples include Using mathematical sequences such as fractals or scenarios, and examining their potential to become urban or architectural spaces and forms. Fractals are the geometry of nature, which are non-euclidean forms of irregular shapes. They are somewhat like self-imitating forms and structures as these pieces are reduced in scale. Examining various relevant data such as site or urban conditions and using digital media to make them visible, possibly in new ways, to convey an idea toward the design. Generating multiple three-dimensional model solutions and examining them from multiple viewpoints. Examining and/or manipulating manually generated scanned drawings or photographed models in a particular computer software environment that allows the designer to examine possibilities for the design. This could also be the layered intersection of two or more drawings, ideas, etc. Layering Layering can be effective in different ways: Manually generated drawings and sketches can be further manipulated in digital format and more information can be added digitally for example, contextual information, people, environment, or abstract qualities that reflect the design intent. Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved. 12-3

4 A computer-generated model can be manually manipulated by adding colors and textures using conventional media or actual materials. This can then be scanned in again and further manipulated digitally by adding contextual information. Environmental and contextual information can be added digitally to images taken of a physical model. Actual materials can be attached as a layer to digitally generated images, both in electronic format when scanned materials are layered to image, or in real form glued in layered form on printed image. Information can be also layered using translucent sheets such as Plexiglas. For example: oo Various digitally generated analyses of a site like natural, climatic, social, and urban information each on a different layer, can be intersected to convey a oo design intent. The various layers of a design thought like light, spatial qualities, colors, and materials in spaces can be presented in layer format. Layering allows the separation of components essential to the design or communication of intent while presenting their relationship. Arrangement The arrangement of thoughts and information is critical to the clarity and effectiveness of a presentation. Images, design thoughts, and information can be easily interchanged between manual and electronic methods. Images generated by digital and traditional media can be arranged manually using boards. Boards may have depth, be layered, have crafted frames, and be of different materials paper, foam core, wood, painted plywood, Plexiglas, and so on. Text and additional information can be applied manually or using a printed format. Section or partial models and additional textures and material samples may also be added to create a three-dimensional and tangible quality for the presentation. Manually and digitally generated images can be arranged using computer software. In this case, further layers, text, and manipulation of the images and the overall board are also possible. Transposition Similar to arrangement, but with a focus on the presentation of a specific design thought or concept, manual and digital media can be transposed and intersected. Electronically generated images, text, or other information can be added and embedded into paintings, sculpted surfaces, or drawings that use any conventional media: oil, acrylic, watercolor, pastel, clay, plaster, and so on. Paintings, drawings, or actual materials and textures can be applied to digitally generated images. Information essential to understanding the design intent or a specific thought can be added digitally to scanned paintings, surfaces, or drawings. Examining the meaning and intent of the design idea, select manual and electronic media that have the ability and qualities to express these intents. That is, various media can be transposed and then intersected to represent a design idea. Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved. 12-4

5 Interfacing Manual and Digital Media Heather Figley Wildman, Graduate Thesis Studio Thesis topic: Hill Upheaval: The Reweaving of Pittsburgh s Urban Fabric Thesis advisor: Arpad Daniel Ronaszegi, Professor of Architecture Savannah College of Art and Design PROJECT DESCRIPTION AND PRESENTATION FORMATS ORGANIZATION This student project was a proposal for a specific area of inner urban Pittsburgh that was dissected by urban interventions of the 1950s. The design was an investigation of the context in both time and geography, proposing the combined use of transurbanism, prototype, and urban planning that led to the concept of Hill Upheaval. Boards were laid out to follow the sequence of research and consequent design development. Graphics were used to emphasize concepts and design intents and to connect the information between the boards. Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved. 12-5

Board 1 Historical and site data and description Colors and varied sizes of drawings were used to emphasize those aspects of the site that were critical to the concept

6 Board 1 Historical and site data and description Colors and varied sizes of drawings were used to emphasize those aspects of the site that were critical to the concept development. Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved. 12-6

Board 2 Concept analyses and development In this project statistical data related to historic and current demographics and physical site characteristics were intersected with information that was

7 Board 2 Concept analyses and development In this project statistical data related to historic and current demographics and physical site characteristics were intersected with information that was developed as part of the concept. Different hierarchies and directions were generated as dictated by the data. These data were translated to three-dimensional graphic information and used to analyze the dynamics of the site, examine the relevance of the concept, and inform the design process. Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved. 12-7

Board 3 Master plan design and site section The lines are conceptual, referring to the design concept detailed on the previous board. A key to the drawing is on the left side.

8 Board 3 Master plan design and site section The lines are conceptual, referring to the design concept detailed on the previous board. A key to the drawing is on the left side. The main plan analyses of the existing and proposed site are shown below for comparison to reinforce the design intent. Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved. 12-8

Board 4 Perspective: human-scaled views and isometric diagrams Views were chosen based on the directions that were developed during the conceptual design and shown on the concept board.

9 Board 4 Perspective: human-scaled views and isometric diagrams Views were chosen based on the directions that were developed during the conceptual design and shown on the concept board. The diagrams and text on the left side of each perspective view show this relationship. [Architecture student s statement] Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved. 12-9

10 Student project by Michael Aziz: Responsible Gentrification Washington, D.C. Courtesy of studio professor: Arpad Daniel Ronaszegi Savannah College of Art and Design PROJECT DESCRIPTION AND PRESENTATION FORMATS ORGANIZATION Embracing Gentrification (reshaping a neighborhood and preserving a community) proposed a comprehensive master plan for Columbia Heights, a Washington, D.C., neighborhood currently undergoing gentrification. The thesis was primarily concerned with encouraging the responsible gentrification of the community. A holistic approach required that development concerns be addressed from both a purely sociological and an urban design level. The resulting master plan focused on encouraging four major elements of responsible gentrification: (1) increased economic opportunities for all residents; (2) increased educational opportunities for all residents; (3) a positive sense of identity that emphasized the diversity of the newly integrated community; and (4) a positive social interaction between all community members. The presentation board was composed in Adobe Illustrator CS by linking multiple files into three mother drawings. The great majority of the graphics were created by exporting EPS drawing files from AutoCAD 2005 into Adobe Illustrator CS. The line drawings were then rendered using various gradients and Adobe Photoshop CS artwork. Perspectives were composed in two ways: Some were a combination of basic Autodesk Viz renderings, Adobe Illustrator CS gradients, and Adobe Photoshop CS artwork; others were composed of scanned freehand drawings supplemented with Adobe Illustrator CS gradients and artwork from Photoshop. [Architecture student s statement] Presentation/Aziz Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved

11 3-D THINKING IN DESIGN SKETCHING, MODELING, AND USING THE COMPUTER by Professor William W. P. Chan, Morgan State University There are elements of painting and sculpture in architecture. However, unlike painting and sculpture, the utilitarian and social nature of architecture allows one to inhabit and experience the spaces and forms. Natural light enhances one s experience of architecture as one moves in and out of the structure. Architectural design involves planning, hypothesizing/testing, and forecasting before building the final design. The history of architecture records the finest examples of such undertakings. In western civilization, as early as Vitruvius in the first century bce, designers had already begun to express architecture in drawings. During the Renaissance, the use of models was prevalent in design and presentation. In the design of the St. Peter s Dome, Michelangelo presented a 16-foot-high wooden model for Pope Paul III s approval. Accurate drawings as a tool were methodically employed by the Mannerist architect Raphael, in his design of the Villa Madama. His tool relied on the simultaneity of using plans, sections, and elevations to design. Centuries later, Eero Saarinen was legendary in his use of models to design; drawings were diligently employed. Being a twentieth-century architect, Saarinen s attitude is consistent with the modernist s desire to be scientific in making architectural forms. Designing with physical models and drawings takes time and patience in the many iterations of conceptualizing, constructing, drawing, and studying. This successive approximation in design usually begins with diagrammatic concept sketches. Over time, more detailed aspects of the project are investigated. The invention and availability of computer drawing and digital modeling brought in many software options. It increases the speed of the process by pressing the keyboard and moving the mouse as images materialize on the computer monitor. In the beginning, inventing forms is an intuitive process that relies on the hand, eye, and brain interaction and that produces ideas on paper. As computer programs often require inputting exact dimensions early on while suppressing intuition, it is possible that using computers early might constrain creativity. Therefore, choosing software that supports intuition is critical in achieving an early efficient formal creation. In my studio, we found the software IronCAD meets these criteria. It is a 3-D/2-D modeling (BIM) software used in industrial design. It is intuitive and easy to learn and can be extremely precise. It is widely used in the design and manufacturing of machinery in the auto and high-tech industries. My students used it to conceptualize a design with digital components of walls and slabs very much like constructing a study model. Therefore, after a student learns to draw and build physical models in the first semester, introduction to IronCAD prior to the second semester is an extension and continuation of that hand-eye-brain coordination. The entire model or parts (rectilinear or organic forms) of the model can be created, manipulated, and modified on the computer screen in real time. The model can be electronically glued or unglued by moving the mouse. Because it is digital and non-euclidean, the forms and planes that are impossible to conceive before in physical model-making are now possible to visualize on the screen. Hence, the design sensibilities of the students have greatly expanded. By adding or subtracting details and introducing colors, textures, and materiality, a conceptual model could evolve into a very detailed object in a fraction of the time it takes to build a physical model. This efficient model-building in real time almost synchronizes with the speed it takes the mind to create shapes. Periodically, one can print views of the design. After sketching over the prints on tracing paper, one could resume the digital design process. For those students who design with IronCAD, this kind of computer-hand interaction in design drawing considerably shortens the learning curve. [Studio professor s statement] Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved

12 The following design-drawing project was executed at Morgan State University. Student Eric Feiss did a nice presentation for the Museum of Language building. See his detailed discussion of his design drawing approach, which included sketches (Figures 1 and 2), rough model studies (Figures 3 to 8), and a charcoal sketch (Figure 9). Feiss design drawings and models are supplemented with an excellent animated walk-through with background music. Contrast Feiss animated walk-through with the animated walk-through produced by student Kuk Hee Han for architect Santiago Calatrava s Milwaukee Art Museum. This project was completed for Professor Saleh Uddin s 3D Architectural Animation and Multimedia class at Southern Polytechnic State University (Georgia). Design Method for the National Museum of Language The National Museum of Language was my thesis project while studying at Morgan State University. An organization in College Park, Maryland, called the National Museum of Language, contacted me with the idea of designing an interim building for exhibits, storage, conservation, research, and administration. They had a site in mind, as well as a budget. The rest was an unknown. Through a series of meetings, culminating with the presentation of the design at their annual meeting, the officials and members of the group became very excited about the prospect of having such a dynamic and unique building. The design was developed using a combination of hand and computer methods, as described in the following paragraphs. Both methods were essential to creating and communicating a cohesive and understandable design. I started by working strictly with sketches. My first sketch was a simple composition of two separate compound curves. The plan was generated from the relationship of the curves to each other. Where they were close, a corridor was created. Where they were farther apart, gallery or storage space was created (Fig. 1). I also did a series of sketches to help define the program and use of each space (Fig. 2). Following the initial concept I did a series of study models (Figs. 3 through 8) and charcoal sketches (Fig. 9) to get a better impression of the building in three dimensions. As expressive as the plan sketch was, it did not communicate the character of building in elevation and section. Rather than do a number of orthographic sketches that is, section and elevation I was able to learn more by working with models and three-dimensional sketches. Once a firm concept was in place, I felt comfortable building a computer model and using this model to study interior and exterior views, lighting, form, and spatial relationships (Figs. 10 through 19). I was also able to consider materials and construction in a more realistic manner. I created the animation solely as a means of communicating the design; however, I was surprised at how much it helped me as a design tool. The animation allowed me to study the perception of the form in different lighting and with different materials. I could experiment with the design by altering the height or walls, shape of the roof, or transparency of the glass and very quickly learn how the changes affected the underlying concept. The computer allowed me to explore many variations and ideas in a way that would have been prohibitive with a physical model, and impossible with 2-D drawings. However, the hand method was invaluable in developing and exploring early ideas. [Architecture student s statement] Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition published by John Wiley & Sons, Inc by John Wiley & Sons, Inc. All rights reserved

Figure 1 Figure 2 Architectural Drawing: A

Edition published by John Wiley & Sons, Inc.

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Figure 5 Architectural Drawing: A Visual Compendium of Types and Methods, 4th Edition

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Art Department Courses

Art Department Courses 9th grade offerings Intro. to Art (2-dimentional) Sculpture Drawing I 10th-12th grade offerings Intro to Art Sculpture Drawing I Drawing II Drawing III Ceramics I Ceramics II Ceramics