ASSIGNMENTS |
Complete Workbook (click below)
|
TAKE IT FURTHER:
Read the Philosophy of Architecture presented by Frank Gehry & respond in writing about what you learned in a few sentences.
Click below:
https://plato.stanford.edu/entries/architecture/index.html?_branch_match_id=595612004093635423
Read the Philosophy of Architecture presented by Frank Gehry & respond in writing about what you learned in a few sentences.
Click below:
https://plato.stanford.edu/entries/architecture/index.html?_branch_match_id=595612004093635423
DESIGN PHILOSOPHY, PARTS 1 AND 2
TAKE IT FURTHER:
In this chapter, Frank recalls seeing a statue of a charioteer from 500 BC in Delphi. While studying this piece of art, he was deeply moved by the transference of humanity he felt radiating through the sculpture. Look at the Delphi Charioteer; then think of an artwork or building that had a similar effect on you. Draw it on a piece of paper, and turn your drawing in to me.
TAKE IT FURTHER:
In this chapter, Frank recalls seeing a statue of a charioteer from 500 BC in Delphi. While studying this piece of art, he was deeply moved by the transference of humanity he felt radiating through the sculpture. Look at the Delphi Charioteer; then think of an artwork or building that had a similar effect on you. Draw it on a piece of paper, and turn your drawing in to me.
FRANK’S INSPIRATION
TAKE IT FURTHER:
Identify five to six buildings that you absolutely love. Using the library, museums, online archives, and galleries, identify two pieces of art that you think could have inspired your selected buildings. Think of when the building was designed, and try to seek out works of art from the same time period. Share your images and notes with me in a Gmail.
TAKE IT FURTHER:
Identify five to six buildings that you absolutely love. Using the library, museums, online archives, and galleries, identify two pieces of art that you think could have inspired your selected buildings. Think of when the building was designed, and try to seek out works of art from the same time period. Share your images and notes with me in a Gmail.
Design Constraints & Capturing Movement
CHAPTER REVIEW
There are many rules that govern architecture, from the codes of the building department, to budget restrictions, to the desires of the client. However, there’s a lot of room for creativity outside of these mandates. You have 15% freedom to make your art. View your constraints as opportunities. Throughout your career, you will constantly have small victories and make small mistakes. You must keep moving ahead, learning from the mistakes, and building on the successes. There will be continual evaluating, re-evaluating, missed and seized opportunities, and bad and good advice. The people involved in projects are like pieces of a puzzle that you have to put together. At the end, everything should fit perfectly. In this class the freedom percentage is intentionally flipped. Here at WC you have 85% freedom to make your art. Take advantage of being free to create something really personal and cool that you may draw inspiration from in the future.
TAKE IT FURTHER
•Design a 4" or 5" cubed box, with or without hinges, on SketchUp or AutoCAD. Come up with an decorative image or pattern to add to one or more sides.
• Then, let's built it!
CHAPTER REVIEW
Expressing movement with inert materials is a tradition that goes back to the Greeks with the Elgin Marbles, continued through Baroque Italy with Bernini and others, and influences architects to this day—especially Frank. He has always been fascinated with the folds of dresses and costumes in portraits, and urges you to spend more time looking at the folds than the faces. Notice the objects you continually draw in your sketchbooks, as these things might lead to something great. In a lecture Frank gave, he told his listeners that the Greek temples they were emulating were anthropomorphic, and that if they wanted to look to the past, they should go back 300 million years to fish. Following that statement, Frank began drawing fish in his sketchbooks constantly, but never intended to build them. His sketches of buildings that resembled fish attracted a fashion house in Italy, and they invited him to make a fish sculpture for a fashion show in Rome. Frank considered the 35-foot-long wooden fish a piece of kitsch, but it opened up opportunities for him; later, the Walker Art Center displayed one of his lead and copper fish sculptures. This also inspired Frank to play with curved forms, which led to the exterior designs of the Guggenheim Museum Bilbao, as well as the Walt Disney Concert Hall. Frank sees the sense of movement in these buildings as a replacement for the dead-end of minimalism and decoration.
TAKE IT FURTHER
• Learn about the Elgin Marbles, also known as the Parthenon Marbles.
• Learn about the history and formal elements of Gian Lorenzo Bernini’s sculpture The Ecstasy of Santa Teresa. Notice Bernini’s attention to the folds of the fabrics that drape the figures, as well as the statue’s expression of movement.
• Take a look at Hiroshige’s woodblock print series Uo-zukushi (A Shoal of Fishes).
• Read Michelangelo Drawings: Closer to the Master by Hugo Chapman.
• Then, respond in writing to my Gmail with a few sentences about the Frank Gehry videos
• Also, respond in writing about the above TAKE IT FURTHER investigations.
There are many rules that govern architecture, from the codes of the building department, to budget restrictions, to the desires of the client. However, there’s a lot of room for creativity outside of these mandates. You have 15% freedom to make your art. View your constraints as opportunities. Throughout your career, you will constantly have small victories and make small mistakes. You must keep moving ahead, learning from the mistakes, and building on the successes. There will be continual evaluating, re-evaluating, missed and seized opportunities, and bad and good advice. The people involved in projects are like pieces of a puzzle that you have to put together. At the end, everything should fit perfectly. In this class the freedom percentage is intentionally flipped. Here at WC you have 85% freedom to make your art. Take advantage of being free to create something really personal and cool that you may draw inspiration from in the future.
TAKE IT FURTHER
•Design a 4" or 5" cubed box, with or without hinges, on SketchUp or AutoCAD. Come up with an decorative image or pattern to add to one or more sides.
• Then, let's built it!
CHAPTER REVIEW
Expressing movement with inert materials is a tradition that goes back to the Greeks with the Elgin Marbles, continued through Baroque Italy with Bernini and others, and influences architects to this day—especially Frank. He has always been fascinated with the folds of dresses and costumes in portraits, and urges you to spend more time looking at the folds than the faces. Notice the objects you continually draw in your sketchbooks, as these things might lead to something great. In a lecture Frank gave, he told his listeners that the Greek temples they were emulating were anthropomorphic, and that if they wanted to look to the past, they should go back 300 million years to fish. Following that statement, Frank began drawing fish in his sketchbooks constantly, but never intended to build them. His sketches of buildings that resembled fish attracted a fashion house in Italy, and they invited him to make a fish sculpture for a fashion show in Rome. Frank considered the 35-foot-long wooden fish a piece of kitsch, but it opened up opportunities for him; later, the Walker Art Center displayed one of his lead and copper fish sculptures. This also inspired Frank to play with curved forms, which led to the exterior designs of the Guggenheim Museum Bilbao, as well as the Walt Disney Concert Hall. Frank sees the sense of movement in these buildings as a replacement for the dead-end of minimalism and decoration.
TAKE IT FURTHER
• Learn about the Elgin Marbles, also known as the Parthenon Marbles.
• Learn about the history and formal elements of Gian Lorenzo Bernini’s sculpture The Ecstasy of Santa Teresa. Notice Bernini’s attention to the folds of the fabrics that drape the figures, as well as the statue’s expression of movement.
• Take a look at Hiroshige’s woodblock print series Uo-zukushi (A Shoal of Fishes).
• Read Michelangelo Drawings: Closer to the Master by Hugo Chapman.
• Then, respond in writing to my Gmail with a few sentences about the Frank Gehry videos
• Also, respond in writing about the above TAKE IT FURTHER investigations.
Creating with your Client |
How & what information does Frank Gehry recommend collecting from the client? How can this help develop a personalized and custom design that meets the client's style and suits their needs.
- See Barkitecture 2018 to see how we did this.
- Respond in writing to my Gmail with the questions that should be asked to collect this data?
MATERIALS AND PROTOTYPING |
See Workbook and click on the links to explore new materials for building like Carbon fiber, plastics, wood, etc.
- Choose a material to explore and Gmail me a few sentences or more about the discoveries that stood out to you.
- "Rethink wood" link doesn't work, therefore try one of these:
- https://www.architectmagazine.com/firms/rethink-wood
- https://www.thinkwood.com/