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Syllabus
Eric Anderson, ea@andrew.cmu.edu
Tom Merriman, merriman@andrew.cmu.edu
Generation
of Form is the name of this studio and the focus of our efforts
for this semester. The word “form” is used
in the usual sense, referring to all the visual qualities of a
three dimensional object: it’s size, proportion, massing
shape, surface qualities, detailing, etc. The word “generation” is
used to imply deliberate creative processes that operate with regard
to some principles. While these processes may sometimes be reasoned,
or intuitive, or playful, they should not be allowed to degenerate
into mere mechanical calculation at one extreme or chaotic doodling
at the other.
The broad ability
to generate form subsumes a process of understanding and applying
a range of narrower abilities.
This is process is
abstractly called “the design process.” It is one that
we ultimately take for granted, but which requires focused attention
while we are learning the details of its various phases. An overview
of the phases include:
A. Conceptualization – broadly
and creatively exploring ideas that respond to a stated problem
or given set
of parameters
B. Development/Clarification – selection of a concept(s)
and thoughtfully investigating its details, opportunities and merit
through the application of realistic constraints such as physical
geometry, and construction considerations
C. Description/Refinement – defining the overall and specific
details of the concept through techniques of drawing and/or modeling
D. Realization – the final expressed concept
Your instructors in this course will be working with you in this
studio to help you make progress in this complete range of skills
and to help you merge them into your personal ability to generate
competent, appropriate and beautiful form.
To succeed
in this studio, you will have to demonstrate sufficient progress
in both specific skills and in integrating
them toward
an overall process. It is also important to recognize that some
aspects of designing, which may be important in other contexts
such as – mechanical invention, production manufacturing
processes, human factors, marketing concerns, to name a few, will
be peripheral to this studio. Some of these additional aspects
will be addressed in your other courses, “Prototyping” and “How
People Work.” These courses have been coordinated with this
studio to present a holistic platform of instruction. Our concern
in this studio is the ”generation of form” which is
a part, or “plank” in this holistic approach.
For pedagogical purposes, this studio emphasizes three modes of
generating form: development of complex surfaces, construction
of geometric solids, and sculpting of plastic materials. These
approaches are not mutually exclusive, nor do they define the complete
range of approaches. Yet each is very useful, focusing on different
techniques and different elements. Further, each is commonly used
to generate form in different regions of the whole universe of
forms.
Development
of Complex Surfaces - Surface development employs
lofting, a drawing technique, which can describe curved surfaces
or flat planes. The elements it operates on are the points and
lines that we usually use to represent a surface drawing: edges,
intersections, cross sections, planes of symmetry, axes, etc. The
power we get from lofting is the ability to develop surfaces accurately,
to describe them in multiple views, and to transfer the descriptions
between 2D and 3D space. Surface development is one of the principal
techniques used to design boat hulls and automobile bodies.
Construction
of Geometric Solids – Construction
implies a technique, which is inherently structural and three-dimensional
(there are two dimensional versions). It employs orthographic drawing
and other techniques to operate on solid elements that have geometric
and structural properties: abstract cubes, cylinders, spheres,
etc. or very concrete bolts, beams, panels, or mechanical components.
The power we get from construction techniques is the ability to
describe how parts of a product will go together. Geometric construction,
as an example, is important to the design of furniture and exhibits.
Sculpting
of Plastic Materials – Sculpting
is also an inherently three dimensional technique, but not necessarily
structural (sculptural
techniques can also be applied to drawing). The element of sculpture
is its medium; the material being sculpted. And the qualities of
that material, its plasticity for instance, will determine the
forms that can be generated. The power we get from sculpting is
the ability to capture meaning, free from geometric or structural
constraints. Sculpting allows for important tactile qualities in
the design of shoes and tableware.
Drawing Standards and Requirements
This semester you will begin to develop your own voice in drawing
and drawing communication. You are encouraged to explore a range
of media that allow you to effectively communicate to the intended
audience. However in order to reduce the opportunity for chaos,
you will develop your work within the following 11” X 14” Tracing/translucent
format. This format was chosen because it is large enough for explorations
and small enough to be photo copied. In addition, a title area
is required on all work. This will be at the bottom right corner
of your page and contain the following information: Name, Date,
Project, Sheet 1 of ?.
Lastly, it is important and a requirement that you establish a
system of bounding your work before turning it in. Clips (not
those that easily slip off) or similar captures tend to work
well.
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