jazzstudio05

Monday, May 2, 2005

Texas Tech architecture student Jeffrey Olgin, was awarded the formZ joint study program award of distinction for the architecture category at the 2005 ACADIA Conference in Savannah in October. Jeff's project, an Institute for Jazz Studies at Fort Adams Park, Site of the Newport Jazz Festival, Newport, Rhode Island was performed in Associate Professor Bennett Neiman's ARCH 3502 Architecture Studio IV, spring semester 2005.

publication of Olgin's project in the 2004-05 formz joint studies program report

professor neiman's formZ resume of past formZ award winners

gallery of Jeffrey Olgin form•Z award for his jazz studio project

Olgin project animation

musical instruments

musical instruments archive bass/clarinet/cut instruments/drums/flute/guitar/piano/sax/trombone/trumpet

musical instruments cut guitar/sax/trumpet/violin

Monday, April 4, 2005

studio resources

Wednesday, March 23, 2005

assignment 25 speculative plan blow up study

• plan blowup of significant region (should be similar area to sectional cut).
• water – land – fort.
• rework the scheme based on crits from mid-term and ideas raised on sectional discussion.
• articulate and use elements from musical tracings (the blowup detail drawings).

Prints: 24 x 36 kip2000

Files (submit to arch1 server: brn_3502)
03 25 05 plan blowup
03 11 05 mid-term; turn in files of above requirements

due date: Fri. Mar 25th beginning of studio

Take down projects from wall and put up key documents on studio walls
• 3 part sequence (trim to 12" x 36")
• musical tracing blowup (stacked)
• site collage
• site drawing
• program drawings (stacked)
• site relief

Monday, March 21, 2005

assignment 24 section collages

Make speculative collage sections.
generate five 11 x 17 sheets

See the presentation on section collage.

a. new musical grid common to all studies reciprocal plan and section.
b. earth/waters edge/fort.
c. find the most significant part of your scheme; formally and programmatically.

due date: Wed. Mar 23rd beginning of studio.

Wednesday, March 9, 2005

assignment 23 mid-term review requirements

Have the following items pinned up on the wall in room 711a and in studio 711:

relief model (24 x 36).
take frontal digital photos of model with sunlight or cast shadow lighting.
revised site tracing (24 x 36).
program diagrams (assignment 20; eight 11 x 17 sheets).
site collage III (assignment 19; 11 x 17 sheet).

files (submit to arch1 server: brn_3502)
03 11 05 mid-term; turn in files of above requirements

due date: Fri. Mar 11th please pin up in room 711a prior to the beginning of studio we will start right at 1pm

Pinup Order:
1:00 PM - 711a - Alford - Broadwell
1:25 PM - 711a - Martin - Olgin
1:50 PM - 711a - Peterson - Armstrong
2:15 PM - 711a - Mueller - Kahn
2:40 PM - 711 - Williams - Webb - Cox
3:15 PM - 711 - Poller - Bledsoe
3:40 PM - 711a - Cho - Barnett

Monday, March 7, 2005

assignment 22 site relief

Produce a relief as discussed in the studio presentation and crits.
Don’t think too much. Just build. Just start. Improvise and react to moves you have already made.
• print out templates from which to build.
• prepare the ground; incisions into the landscape; layers from water to land to fort.
• elements above ground; cut into the ground; projected from the ground.

size: approximately 24” x 36”
base is no thicker than 1”
highest element on model is 1/2” to 3/4” height.
can carve into the base.
should include musical grid lines and significant lines.
building and landscape are intertwined.
experiment with different texture qualities (bad paint job idea?).

Materials
blue foam; pink form; foam core, cardboard, museum board, wood.
model should be gesso painted white or shades of white.

See slides from a recent trip to Gehry Chicago Millennium Park

due dates
Wed. Mar 9th base and site completed (have materials present in studio to continue working)
Fri. Mar 11th relief model completed

On Wednesday, I will give a specific list of things to have for the review Friday.

Wednesday, March 2, 2005

assignment 21 site tracing

Produce a layered site drawing (5 layers in formZ draft). The Design elements are a combination of retraced elements and elements from previous tracings.
• reconfigured lines match the revised site collage proposal (heaviest line weight).
• site context drawing (thinnest line weight)
• 50 ft Fort Adams grid (thinnest line weight)
• manipulated musical grid (thinnest line weight)
• site generated significant reference lines (medium line weight)

Prints
site tracing drawing: 24 x 36 sheet (scale to fit); print from PDF or AutoCad; (use Kip or 1055cm Bond)

Files (submit to arch1 server: brn_3502)
03 07 05 site tracing; turn in formZ file and print file (autocad or PDF)

due: Mon, Mar 7th; beginning of studio

assignment 20 program diagrams

Reconsider your site collage in terms of the Jazz Institute Master Plan Program. Also apply ideas from Tschumi: line/points/surfaces.

As shown in today’s demonstration create a series of programmatic layer diagrams:

base drawing (general tracing; includes significant lines and site context).
campus (administration; dorms; lecture halls; rehearsal halls; rehearsal cells; jazz research library; jazz history archives).
tourist traps (jazz history museum; monk’s dream bookstore; markets and kiosks; refreshment bars).
performance (jazz concert hall; Lester leaps in nightclub/restaurant; outdoor amphitheater(s); Newport jazz festival site).
gardens (jazz sound garden; instrument garden; entry garden; water garden; edge garden; etc.).
plazas (playgrounds; body exercise; informal sports; skating; leftover surfaces).
transportation (parking; jazz boat dock; bus stop station; water taxi station).
lines (corridors, connectors, experiential paths).

Procedures:
• download the formZ site plan.
• in formZ or AutoCAD trace the general configurations of your site-collage study (include significant lines).
• composite this tracing into the photoshop site drawing at (150 pixels per inch).
• the size of the drawing frame is 16.5” x 10.2 inches.
• this composite drawing will be your base drawing for each program diagram.
• use black fill to mark the areas for each diagram.

Prints
11 x 17 sheets (scale to fit) for each diagram and the base drawing; print from 8150

Files (submit to arch1 server: brn_3502)
03 02 05 site tracing; turn in formZ file and photoshop file (PSD file) with layers

due dates
first set: Fri, Mar 4th; the beginning of studio (Assistant Professor Rex guest critic)
the new second set in response to criticisms: Mon Mar 7th; the beginning of the studio.

Monday, February 28, 2005

assignment 19 site collage III (revised)

Reconsider your best site collage (or combination of best ideas from site collages) in terms of the Jazz Institute Master Plan Program. Also apply ideas from Tschumi: line/points/surfaces.

Produce a final site collage
sheet 1: site and significant lines (no 50 ft grid)
sheet 2: underlying diagram indicating Jazz Park and Jazz Institute program locations
sheet 3: site; elements; significant lines; musical grid

download new site photo
download new site drawing

Note: manipulate photoshop in ways to enhance the reading of the collage.

Required articles:
The La Villette Park Competition by Bernard Tschumi in Princeton Journal: Landscape, 1985
Parc de la Villette Paris by Bernard Tschumi in Deconstruction, Omnibus Volume, 1989

Prints
11 x 17 sheet (scale to fit); print from 8150

Files (submit to arch1 server: brn_3502)
03 02 05 site collage; tiff or jpeg files

due: Wed, Mar 2nd; the beginning of the studio

Wednesday, February 23, 2005

assignment 18 site investigations

Part one: Research Groups
due: 5pm, Fri Feb 25th (end of studio time); submit findings to arch1 server need to be in the studio on Friday for the entire session working.

Site Documentation Group
members: Louis Kahn and Jeffrey Olgin
mission: formz draft reconstruction of plan and section; splice into tracing of current site aerial photo and plan

Rhode Island History Group
members: Scott Armstrong and Amanda Broadwell
mission: origins of the Colony and State
20 slide (min) PowerPoint presentation of findings; upload to server

Newport Jazz Festival History Group
members: Grant Alford, Katy Martin and Justin Webb
mission: 50 year anniversary; founder; where was it; why fort Adams; who played, etc
20 slide (min) PowerPoint presentation of findings; upload to server

Newport RI Naval History Group
members: Katherine Peterson and Dillon Williams
mission: photos of Naval ships, boats, embankments
20 slide (min) PowerPoint presentation of findings; upload to server

Fort Adams History Group
members: Amy Cho and Kristin Mueller
mission: the origins; when; who built it; why there? why was this built? etc.
20 slide (min) PowerPoint presentation of findings; upload to server

Fort Adams HABS Photo Group
members: Chris Poller and Jacob Bledsoe
mission: download photos from HABS website;
20 slide (min) PowerPoint presentation of findings; upload to server

Fort Adams HABS Drawing Group
mission: Casey Barnett and Brett Cox
mission: download drawings from HABS website; upload drawings to our server

Part two: site collage studies (take 2)
• 5 new collage studies translated to site
• same criteria as in the first attempt; incorporate criticism received in pinup
• grid strategy; make up a reference system with significant lines that are used as an underlying strategy for each of the 5 studies.
• make sure you use your three-part sequence drawing (the strip) as the major driver for your proposals;
use other elements to enhance the collage

If you want some earlier feedback on your direction, send me an email on Friday or Saturday.

Prints: 11 x 17 sheet; print from photoshop (use 8150 LaserJet or inkjet equivalent)

Files (submit to arch1 server: brn_3502)
02 28 05 site studies

due: Feb 28th; the beginning of the studio

Monday, February 21, 2005

assignment 17 site collage studies

Five collage studies are translated to site. The program is generically a Jazz Institute. The architecture as is about both landscape and building. The institute has a concert hall; 4 rehearsal halls; practice cells; library; night club and gardens. Use any of your previous work to construct these collages. Look at your own principles in the analysis drawing, three-part sequence drawing, and significant joint drawings. The underlying grid of your musical structure should be reconciled with the Fort Adams grid. You can project orthogonal reference lines from the Fort structure as the third type of grid.

• download site grid aerial photo below; each square represents 50 ft.

• download the CU-Boulder collage below as a reference.

• download the Site Collage presentation.
• download the Newport Jazz Institute Site (Fort Adams) presentation.

prints: source cropping: 11 x 17 sheet; print from photoshop (use 8150 LaserJet or inkjet equivalent)

files (submit to arch1 server: brn_3502)
02 21 05 site collage studies

due: Wed. Feb 23rd; the beginning of the studio

common site map

neiman studio cu-boulder 1998

Wednesday, February 16, 2005

assignment 15-16 musical tracing (sixth and seventh takes)

Make another drawing
• continue process of jointure/conceptual detailing.
• might require yet another blowup in scale from the previous.
• think about A and B.

• continue to study examples:
• Neiman (also see below)
• Maruszczak and Shirdel

Prints

source cropping: 11 x 17 sheet; print from photoshop; scale to fit (use 8150 LaserJet)

drawing 24 x 36 sheet; print from PDF or AutoCad; (use Kip)

Files (submit to arch1 server: brn_3502)

02 18 05 musical tracing VI (formZ file and source cropping jpg or tif file)

due: Wed. Feb 18th; the beginning of the studio

Monday, February 14, 2005

assignment 14 musical tracing (fifth take)

Make a fourth drawing based on pinup discussions
• the drawing should fill a 24 x 36 inch frame.
• look at the examples on the Jazz web site.
• develop the drawing with more detail architecturally; this is no longer about just tracing outlined shapes.
• develop joints/articulation/consistency.
• develop space joint articulation.
• compositional elaboration; improvise architecturally;
• varying thicknesses of walls that take clues and cues from cut musical instruments.
• see things that are hidden; think of it as a magnifying glass or special type of x-ray machine or cat-scan.
• articulate grids and dash lines (or draw dashed lines that represent above head elements).

Prints
source cropping: 11 x 17 sheet; print from photoshop; scale to fit (use 8150 LaserJet) drawing 24 x 36 sheet; print from PDF or AutoCad; (use Kip)

Files (submit to arch1 server: brn_3502)
02 16 05 musical tracing IV (formZ file and source cropping jpg or tif file)

due: Wed. Feb 16th; beginning of studio

Friday, February 11, 2005

assignment 13 musical tracing (fourth take)

Make a fourth drawing based on pinup discussions
• the drawing should fill a 24 x 36-inch frame.
• look at the examples on the Jazz website.
• develop the drawing with more detail architecturally; this is no longer about just tracing outlined shapes.
• develop joints/articulation/consistency.
• develop space joint articulation.
• compositional elaboration; improvise architecturally.
• varying thicknesses of walls that take clues and cues from cut musical instruments.
• see things that are hidden; think of it as a magnifying glass or special type of x-ray machine or cat-scan.
• articulate grids and dash lines (or draw dashed lines that represent above head elements).

Notes
• whether you use AutoCAD or formZ you still need to make every element a closed shape;
• closed shapes can overlap or layer upon other shapes.
• exporting the file from formZ to DWG
• the export retains layers and closed shapes but does not translate line weights.
• as long as you have closed shapes in AutoCad they will come in as closed shapes in formZ.
• you might have to save your AutoCAD files as a Release 14 or 2000 for it to be read by formZ.

Prints
source cropping: 11 x 17 sheet; print from photoshop; scale to fit (use 8150 LaserJet)
drawing 24 x 36 sheet; print from PDF or AutoCad; (use Kip)

Files (submit to arch1 server: brn_3502)
02 14 05 musical tracing III (formZ file and source cropping jpg or tif file)

due: Mon. Feb 14th; the beginning of the studio

Wednesday, February 9, 2005

assignment 12 musical tracing (third take)

Make a third drawing based on individual discussion. Continue to see and draw more detail opportunities.
Do not disrupt the underlying structure of the piece. Reduce the frame to zoom in and re-articulate events. Draw what is hidden. Think of it as a magnifying glass or special type of x-ray machine or cat-scan where you are revealing and seeing what is hidden from normal vision. Re-collage best parts from three-part sequence into the new frame. Also look at photos of actual instruments, cut instruments, and previous student examples to get a better understanding of how to detail the drawing.

formZ:
• the reading of the print may be helped if you select a light color for extension lines.
• every element needs to be a closed shape.
• closed shapes can overlap or layer upon other shapes.

prints (use HP 8150 laser or your own inkjet)
• musical tracing: 11 x 17 sheet; print from form•Z; scale to fit media.
• source cropping: 11 x 17 sheet; print from form*z; scale to fit.

files (submit to arch1 server: brn_3502)
02 11 05 musical tracing III (formZ file and source cropping jpg or tif file)

due: Fri. Feb 11th; beginning of studio

Monday, February 7, 2005

assignment 11 musical tracing (second take)

Make a second drawing based on pinup and formZ demo.
Continue to see and draw more detail opportunities.
Expand the frame if necessary to include more events.
Re-collage best parts from three-part sequence into the frame.
Same rules as before.

prints (use HP 8150 laser or your own inkjet)
musical tracing: 11 x 17 sheet; print from form•Z; scale to fit media.
source cropping: 11 x 17 sheet; print from form*z; scale to fit.

files (submit to arch1 server: brn_3502)
02 09 05 musical tracing II (formZ file and source cropping file)

due: Wed. Feb 9th; beginning of studio

Friday, February 4, 2005

assignment 10 musical tracing (first take)

As discussed in the studio, analyze the three-part sequence and discover a significant joint. Keep in mind places where A meets B in various ways. Using form•Z drafting tools, reinterpret all of the elements within the joint as a tracing. A literal tracing procedure translates the bit-mapped information into vectors. Include all extension lines. Every traced element must be a closed shape. You can use enclosure and Boolean operations (union, difference, B-split) to derive various shapes.

framing the significant joint:
• in photoshop set the rectangular marquee tool to 5.5” vertical by 4.25” horizontal.
• cut and paste the chosen cropped image from the three-part sequence into a new photoshop document; this is now your source for the tracing.
• save the source as a JPG or TIFF file.
• in form•Z create a new draft file.
• bring in the source as an underlay at 1/16” =1’ scale.
• begin tracing.
• use layers and different line colors to help construct the drawing.
• do not worry about line weights at this time.

musical tracings
architectonic detailing
cut musical instruments

prints (use HP 8150 laser or your own inkjet)
• musical tracing: 11 x 17 sheet; print from form•Z; scale to fit media.
• source cropping: 11 x 17 sheet; print from form•Z; scale to fit.

files (submit to arch1 server: brn_3502)
02 04 05 three-part sequence
02 07 05 musical tracing (formZ file and source cropping file)

due: Mon. Feb 7th; the beginning of the studio

Wednesday, February 2, 2005

assignment 09 three-part sequence

Choose the best previous musical structure studies. Repeat as a three-frame linear collage according to ideas discussed in today’s studio pinup. As before, the study must reinforce, interact, and have a conversation with the underlying articulated diagram. Work on repetition with variation and resolve the linkages between the three frames.

format: image size is 25.5” length by 5.5” height centered on 24” x 36” sheet; use Kip or 1055 printer (see sample on the web; print out of photoshop).
media: rasterize your articulated diagram in photoshop; using layers build your collage.
resolution: 150 – 200 ppi grayscale (might be higher for inkjet; test it) download test fill.
file format: submit a flattened JPG file copy (10 Quality setting); do not submit PSD format files.

download drawing format sample

Monday, January 31, 2005

assignment 08 musical structures take 2

Construct four studies as variations on a theme applied to your articulated diagram. As before, the studies must reinforce, interact, and have a conversation with the underlying articulated diagram. See the presentation: collage variation on a theme.

Think carefully about what I said in the pinup.

• borrow the best parts from previous studies
• combine the best ideas as a theme and variation
• simplify
• start to narrow down the choices of diagrams or photos used
• start to limit the vocabulary to only the best crystals/nuggets
• consider breaking apart and reconfiguring best crystals
• a few of you might need to continue inventing “new” instruments/mechanisms/crystals/nuggets/parts.

format: 11 x 17 sheet (use HP 8150 laser or your own inkjet)
media: rasterize your articulated diagram in photoshop; using layers build your collage.
resolution: 150 – 200 ppi grayscale (might be higher for inkjet; test it) download test file

Other thoughts:
• repetition and variation
• contrast (dark vs. Light)
• plug-in parts (avoid using whole instruments)
• interlocking and ironic combinations
• proportioning
• using perspective vs. orthogonalized
• establish a system for how you deal with solid and voided

Friday, January 28, 2005

Assignment 07 musical structures take 1

Today:
Pinup assignment 06: invent musical instruments
Discuss musical instrument research
Any musical instruments brought in?

Assignment 07: musical structures (take one)
due: Mon 01/31/05 beginning of studio

Construct 8 collage studies applied to your articulated diagram.
Must reinforce, interact, and have a conversation with the underlying articulated diagram.
Continue to invent “new” instruments/mechanisms/crystals/nuggets/parts.
Can use some of the previous instrument studies to start.
Use diagrams, photos from any of the musical instruments archive.

format: 11 x 17 sheet (use HP 8150 laser or your own inkjet)
media: rasterize your articulated diagram in photoshop; using layers build your collage.
resolution: 150 – 200 ppi grayscale (might be higher for inkjet; test it) download test file

Other thoughts:
repetition and variation
contrast (dark vs. Light)
plug-in parts (avoid using whole instruments)
interlocking and ironic combinations
proportioning
using perspective vs. orthogonalized

Reading/reference: Collage Making by Ben Nicholson
Nicholson’s, Appliance House is on reserve in the library.

Submit files to arch1 server: brn_3502
01 24 05 revised articulated
01 26 05 instrument collages
01 28 05 final articulated diagram
01 28 05 instrument collages 2
01 31 05 musical structures I

Monday, January 24, 2005

assignment 06 invent musical instruments

01:00–2:45 status of uploads; project files; musical instrument scans; pinup of articulated diagram take 2

The following students should work on revising their articulated diagram by Wednesday. Have a new printout 22 x 17 Kip or 1055 bond.
-Brett Cox
-Cameron Madison
-Christopher Poller
-Justin Webb
-Dillon Williams

The rest of you can concentrate on the new assignment. You can have your revised articulated diagram printed for Friday.

Optional reprint/revisions:
-Scott Amstrong
-Grant Alford
-Katy Martin

03:00–4:00 Watch Coltrane video

04:00–04:50 Assignment 6: invent musical instruments

Seen as collage crystals, nuggets, inventive combinations.

Pick parts from any instrument.

format: 8.5 x 11 sheets; 5 sheets; at least one nugget/crystal/invent instrument per sheet.

Presentation: mapping movement instruments

Friday, January 21, 2005

assignment 05 articulated diagram and research continued

assigned: 1/21/05
due: Monday 1/24/05 beginning of studio

part one: articulated diagram (continued)
refine one articulated diagram drawing same format as prior 22 x 17 sheet diagram centered on sheet
line weight and line type refinements

part two: Research musical instruments (continued)
research documentation musical instruments
more research include bibliography sheet with book sources/author/book title/page number scanning images digital camera images post images to server site

scanning specifications (scanned from books)
photos: 150-200ppi with descreening
drawings: 300ppi
clean scans - minimize grey background

turn in files to server to correct folder (folder with your name and dated folders):
01 14 05 listen observ (listening and observation written analysis and graphic support)
01 19 05 mapping (turn in the diagrams that you worked on)
01 21 05 articulated diagram (articulated diagram 2 drawings)
musical instruments (folder within your group)

assignment 04 musical instruments

assigned: 1/19/05
due: Friday 1/21/05 beginning of studio

Research musical instruments

Why musical instruments?
-They function
-Incredible machines
-Spaces that produce sound
-Real materials
-Involve human interaction to work

musical instrument research categories:
1. trumpet/ cornet/ trombone/ horns group (Justin + Louis)
2. alto/ tenor saxophone group (Katherine + Dillon)
3. clarinet & flute (Jake + Amanda)
3. piano group (Grant + Katy + Scott)
4. guitar group (Casey + Brett)
5. bass group (Kristin + Amy)
6. drums group (Jeff + Cameron + Chris)

Areas of concentration
need substantial examples of research
need to be serious about this; dig; not just the web; go to library
not just photos on velvet; looking for drawings and images

history and theory of the instrument
technical: diagrams that show how it works
physics of sound related to your instrument
charts and graphs
construction drawings
construction techniques
construction photos
photos of instruments
photos of instrument details
check with manufacturers (avoid manufacturer brochures)

bring in the books you found marked
print any web information you find

Finding actual instruments:
find damaged or abandoned whole instruments or parts of instruments.
can we cut it up? if possible we are going to cut and dismantle instruments
can we Xray it?
or can we find instruments to photograph; campus sources
report back with findings

Wednesday, January 19, 2005

assignment 03 articulated diagram

assigned: 1/19/05
due: Friday 1/21/05 beginning of studio

Think of it as take 2 or as a re-presentation of mapping.

Individual work: each student picks two diagrams to reconstruct as a refined take of the original diagrams.
Make changes and refinements based on today's pinup. Find ways to simplify and work with the most essential ideas of the diagram.

Blow up each chosen mapping diagram 200%
Format: 16.5" x 9.75 (cut off 1/4" on each end as discussed in class)
Each AABA zone = 3"
Before and after zones =1.5"
In-between zones .25"
Sheet size: 22 x 17 (use Kip printer)

The given underlying grid of the chorus is used as a guide (but the lines drop out).
Each element has a gap.
Chorus specific grid lines (minimum line weight).
Generate extension lines for every analytical element (medium line weight).
Solid elements get solid line extensions.
Voided elements get dash (1/16”) line extensions.

Resolve dashed vs. solid line conflicts.
Elements themselves: (heavy line weight and filled solid black).
NO HATCHING.

Download PDF of 11 x 17 diagram format

Wednesday, January 12, 2005

course introduction

course syllabus
listening and observation analysis