ladies and gents -
if you would like to resubmit your work we would prefer if you make corrections to return your pieces ASAP - i suggested 6pm tonite on TUES however i think that might be rushing it too much - if you need extra time - we will be accepting resubmittals until your respective classes - ie: tomorrow we will take work for the monday classes & the same for TR we will accept tuesday work on thursday - the instructors will go over the resubmittals and make a final cut - print on 8.5x11 or 11x17 whichever you need NOT BIG PLOT!!
[ NOTE: to the students exhbiting - depending on your collage/diagram/creation we will want a final piece to be printed or submitted - get with your instructor to address the issue tomorrow and TR ]
the intent is to have class at hardtops for wahlberg's - 092 & 094 sections - meet at hardtops WED - we will be organizing the space and setting up for hanging - i will also need some of you on the crew for postcards to take care of that and pass them out once they are created ... i think this will be fun so please show up so we can get everything as ready as possible for friday - again i want to thank everyone for their effort and beautiful work - we were all very appreciative of your efforts!
Tuesday, February 27, 2007
Friday, February 23, 2007
FINAL PHASE 2D 2.23.2007
COLLAGE PIECE:
DUE outside office 505 @ 5:05pm*
[ box designated for files if no box exists at the time of drop off neatly pile outside the door ]
[ wahlberg's class - roll your prints up, keep them together, and rubber band them to make it easy for me please ]
LATE WORK OR NO WORK analog or digital will result in a 0 for the final part of this project NO LATE WORK : NO EXCUSES
*there may be a few amendments added to this during the day tomorrow per each instructor - Except Wahlberg he wrote this as you all have figured out and our classes stick to this please -
PRINT_
TURN IN (1 or more versions) 30" x 30" poster from printer HP4000 for size**
[ if you have trouble printing from illustrator make sure you turn on advanced>print as bitmap ]
[ these instructions are on the door of the lab - if you are losing lines, shapes, etc. make sure to do this for best print ]
TURN IN (1 or more versions) 11" x 17" layout from printer HP7750 for color
[ 7750 copy you will most likely scale in the print settings to match 30x30 ratio ]
write your name, section and baby's name on the back of your collage
** your instructor may have tailored this part of the printing to better suit your class [ wahlberg's class you know what to do i want both 30x30 + 11x17 please ]
DIGITAL FILE_
TURN IN THIS FILE AND ALL FILES FOR THIS PROJECT ON YOUR SERVER FOLDER IN THE CORRECT assignment FOLDER
[ look at schedule in templates folder if you are confused about what assignment we are on ]
NOTE 1: the four j's will be selecting pieces tomorrow night : you may look for the results on the blogspot
we will be selecting only the best projects based on the following criteria
page layout : object to page ratio : color selection : line weight : line type : usage of trans + mixed media : composition : depth : rule of thirds : proportions : clarity of concept : and everything else we stressed in the critiques this week :
LAUD 1: your effort, care, and time you spent in all of your projects will shine and be exquisite! we look forward to seeing your hard work and super duper deluxe, bad radical, extremely wickedly cool ideas and collage diagrams : we are excited to have this opportunity to view and select your work and allow you the chance to exhibit and share yourself and work with the public : our thanks to your efforts and talents
look forward to an arrangement of helping crews
printing . cutting . hang up . document . take down . post card . propaganda
DUE outside office 505 @ 5:05pm*
[ box designated for files if no box exists at the time of drop off neatly pile outside the door ]
[ wahlberg's class - roll your prints up, keep them together, and rubber band them to make it easy for me please ]
LATE WORK OR NO WORK analog or digital will result in a 0 for the final part of this project NO LATE WORK : NO EXCUSES
*there may be a few amendments added to this during the day tomorrow per each instructor - Except Wahlberg he wrote this as you all have figured out and our classes stick to this please -
PRINT_
TURN IN (1 or more versions) 30" x 30" poster from printer HP4000 for size**
[ if you have trouble printing from illustrator make sure you turn on advanced>print as bitmap ]
[ these instructions are on the door of the lab - if you are losing lines, shapes, etc. make sure to do this for best print ]
TURN IN (1 or more versions) 11" x 17" layout from printer HP7750 for color
[ 7750 copy you will most likely scale in the print settings to match 30x30 ratio ]
write your name, section and baby's name on the back of your collage
** your instructor may have tailored this part of the printing to better suit your class [ wahlberg's class you know what to do i want both 30x30 + 11x17 please ]
DIGITAL FILE_
TURN IN THIS FILE AND ALL FILES FOR THIS PROJECT ON YOUR SERVER FOLDER IN THE CORRECT assignment FOLDER
[ look at schedule in templates folder if you are confused about what assignment we are on ]
NOTE 1: the four j's will be selecting pieces tomorrow night : you may look for the results on the blogspot
we will be selecting only the best projects based on the following criteria
page layout : object to page ratio : color selection : line weight : line type : usage of trans + mixed media : composition : depth : rule of thirds : proportions : clarity of concept : and everything else we stressed in the critiques this week :
LAUD 1: your effort, care, and time you spent in all of your projects will shine and be exquisite! we look forward to seeing your hard work and super duper deluxe, bad radical, extremely wickedly cool ideas and collage diagrams : we are excited to have this opportunity to view and select your work and allow you the chance to exhibit and share yourself and work with the public : our thanks to your efforts and talents
look forward to an arrangement of helping crews
printing . cutting . hang up . document . take down . post card . propaganda
Friday, February 16, 2007
collage, collage, collage
okay, so now you have a collage that's due. so where and how should you begin?
it's simple, you have a lot of work to choose from. you have photos, research, traces, diagrams, catalogues, names, words and a lot of thoughts, opinions and some really very beautiful ideas that are just beginning to come forth from your work in this class.
all of this is your ammunition, and you may use it at your free will. some of you will choose to be a variable renegade vigilante and others a very precise sniper. what ever method you choose, you must hit the target, so be conscious of how and why you are doing things. remember, there is a second phase to this, so try something new and do not be afraid to mess up. but use caution in the fact that you will have a very short time for round two and the more developed this step ends up, the better off you will be when you compose your final.
here are your tips:
.01_flex your digital muscles.
remember, this is a computer course that is tying several digital programs and interfaces together into one project in hopes that you can find your best methods and strengths within how you work as a creator. we are reaching the end of the 2d phase. what have you learned about photoshop, illustrator, etc. show us just how good you can be. show us that you are expanding your knowledge-base of these programs. hint:: layers may be your best friend in the world on this assignment, but do not ignore your love for opacity, cut and paste, scale, trace and the ever-so-lovely goddess, line weight.
.02_use your silver bullet.
before jumping into this one look through your past work and identify the one thing that best sums up what you have found in your 2d exploration. this is the gem that to which everything else must cohesively relate. this is your brilliant whisper. this is your silver bullet.
.03_speak softly.
do not try and do too much in one collage. just because a lot is available, does not mean you must throw everything into one piece. remember, you are only going to have one final piece, so it had better be well done. simple brevity usually says it best.
.04_communication is the key.
who cares how good you are if you cannot convey what you are trying to do and say? the answer is no one. the reason is that you will not gain the attention long enough to even whisper your sweet 'everythings'. don't just make it pretty, make it pretty convincing. you have a lot here and after you narrow it down to that gem everything goes into explaining that gem and communicating its worth to its fullest extent.
.05_your the captain.
this 'ship' is under your charge and if it sinks it is only you we will blame. however, the work is done well, it's all you and you will get the glory. in this class, an assignment is an assignment, but the project is more important. higher than that even , are the computer programs you need to learn and then lies the student at the top of the pile. we want you to stick to what we ask for as much as possible, but in the end, if you have an alternative idea that you think will work better and you want to take that chance, go for it. not all classes will give you this freedom. here, we care that you keep up, do well, care about what you are doing and get to know these dang programs intimately they will make your good projects great if you learn them well.
and lastly,
.06_there is power in intention.
there's no accidents now. be decisive, make choices, guide your work and learn as you go. you have it within you to explore this process / project and expand your talents and tools in using computers as a strength, not an hindrance. show us that you know what's going on. take control mentally and erase all chances of mistakes and excuses.
good luck. good work. and enjoy this beautiful weekend.
due:: feb 19/20, 2007
it's simple, you have a lot of work to choose from. you have photos, research, traces, diagrams, catalogues, names, words and a lot of thoughts, opinions and some really very beautiful ideas that are just beginning to come forth from your work in this class.
all of this is your ammunition, and you may use it at your free will. some of you will choose to be a variable renegade vigilante and others a very precise sniper. what ever method you choose, you must hit the target, so be conscious of how and why you are doing things. remember, there is a second phase to this, so try something new and do not be afraid to mess up. but use caution in the fact that you will have a very short time for round two and the more developed this step ends up, the better off you will be when you compose your final.
here are your tips:
.01_flex your digital muscles.
remember, this is a computer course that is tying several digital programs and interfaces together into one project in hopes that you can find your best methods and strengths within how you work as a creator. we are reaching the end of the 2d phase. what have you learned about photoshop, illustrator, etc. show us just how good you can be. show us that you are expanding your knowledge-base of these programs. hint:: layers may be your best friend in the world on this assignment, but do not ignore your love for opacity, cut and paste, scale, trace and the ever-so-lovely goddess, line weight.
.02_use your silver bullet.
before jumping into this one look through your past work and identify the one thing that best sums up what you have found in your 2d exploration. this is the gem that to which everything else must cohesively relate. this is your brilliant whisper. this is your silver bullet.
.03_speak softly.
do not try and do too much in one collage. just because a lot is available, does not mean you must throw everything into one piece. remember, you are only going to have one final piece, so it had better be well done. simple brevity usually says it best.
.04_communication is the key.
who cares how good you are if you cannot convey what you are trying to do and say? the answer is no one. the reason is that you will not gain the attention long enough to even whisper your sweet 'everythings'. don't just make it pretty, make it pretty convincing. you have a lot here and after you narrow it down to that gem everything goes into explaining that gem and communicating its worth to its fullest extent.
.05_your the captain.
this 'ship' is under your charge and if it sinks it is only you we will blame. however, the work is done well, it's all you and you will get the glory. in this class, an assignment is an assignment, but the project is more important. higher than that even , are the computer programs you need to learn and then lies the student at the top of the pile. we want you to stick to what we ask for as much as possible, but in the end, if you have an alternative idea that you think will work better and you want to take that chance, go for it. not all classes will give you this freedom. here, we care that you keep up, do well, care about what you are doing and get to know these dang programs intimately they will make your good projects great if you learn them well.
and lastly,
.06_there is power in intention.
there's no accidents now. be decisive, make choices, guide your work and learn as you go. you have it within you to explore this process / project and expand your talents and tools in using computers as a strength, not an hindrance. show us that you know what's going on. take control mentally and erase all chances of mistakes and excuses.
good luck. good work. and enjoy this beautiful weekend.
due:: feb 19/20, 2007
Tuesday, February 13, 2007
GRAFFITI NO PAPER
ladies and gents there is NO PAPER due for Nason and Wahlberg's classes
instead of writing: read through the article on wikipedia and take some notes
i would prefer to have an intelligent discussion about
CULTURE FIRST FRIDAY GRAFFITI AND
HOW TO USE THE COMPUTER AS A M E D I U M
a tool for design - i would like you all to consider what and how
expressions can be versed
(if you wrote the paper already you will be credited for doing so)
WORK ON YOUR FOLDERS SHOULD BE IMMACULATE
wahlberg's class print your catalog in a format we can pin up
i would like for everyone to see and learn from each other tomorrow
j dubz out -
http://en.wikipedia.org/wiki/Graffiti
instead of writing: read through the article on wikipedia and take some notes
i would prefer to have an intelligent discussion about
CULTURE FIRST FRIDAY GRAFFITI AND
HOW TO USE THE COMPUTER AS A M E D I U M
a tool for design - i would like you all to consider what and how
expressions can be versed
(if you wrote the paper already you will be credited for doing so)
WORK ON YOUR FOLDERS SHOULD BE IMMACULATE
wahlberg's class print your catalog in a format we can pin up
i would like for everyone to see and learn from each other tomorrow
j dubz out -
http://en.wikipedia.org/wiki/Graffiti
Saturday, February 10, 2007
the octopus project
Jakes Backroom
50th and Slide (next to 50th street caboose)
saturday 9pm doors open
show starts at 10pm
band line up:
the numerators
muchos backflips
the octopus project
bring your ticket stubs Mon or Tues and receive extra credit
hope we see you there it should be bad radical wicked
50th and Slide (next to 50th street caboose)
saturday 9pm doors open
show starts at 10pm
band line up:
the numerators
muchos backflips
the octopus project
bring your ticket stubs Mon or Tues and receive extra credit
hope we see you there it should be bad radical wicked
catalog template
the catalog template is availble on the server \\archlab\arch2354
it is a pdf example of a simple idea of catagorizing items in a matrix
it is expected that your catalogs resemble the organization method
it is a pdf example of a simple idea of catagorizing items in a matrix
it is expected that your catalogs resemble the organization method
Thursday, February 8, 2007
Catalogue
The classical Aristotelian view claims that categories are discrete entities characterized by a set of properties which are shared by their members. In analytic philosophy, these properties are assumed to establish the conditions which are both necessary and sufficient to capture meaning.
Find objects within your collage that may be separated and distinguished, this includes vector parts, scanned diagram pieces and selections from the initial image
With these separate objects find groups of parts, focus on systems, conditions, urbanism, infrastructure, critique, etc.
Place these objects in the matrix in their defined row and separated into columns. Each row of your matrix should be a category defined by yourself. Each column is a position for a separate part, number, or variant.
Due Feb. 12/13
According to the classical view, categories should be clearly defined, mutually exclusive and collectively exhaustive. This way, any entity of the given classification universe belongs unequivocally to one, and only one, of the proposed categories.
http://en.wikipedia.org/wiki/Categorization
At the moment the collage exists as an arbitrary overlay of separate diagrams that are each highlighting their own information found in the initial image. To make sense of these objects a catalogue will be used to streamline the thinking process and create a vocabulary of parts with which to work with.
Find objects within your collage that may be separated and distinguished, this includes vector parts, scanned diagram pieces and selections from the initial image
With these separate objects find groups of parts, focus on systems, conditions, urbanism, infrastructure, critique, etc.
Place these objects in the matrix in their defined row and separated into columns. Each row of your matrix should be a category defined by yourself. Each column is a position for a separate part, number, or variant.
Remember economy of means and be selective in your categories, do not place a single 1” vector line as a part if it is in a set of many 1” vector lines. Do not submit forty 1” vector lines as a part. Find a balance
*Find example matrix template on server folder.
Due Feb. 12/13
Monday, February 5, 2007
CRITIQUE
Gasche, Rodolphe. The Honor of Thinking: Critique, Theory, Philosophy. Palo Alto: Stanford University Press, 2007. p.109
“Critique comes from the Greek krinein which means: “to sort”, “to sort out” and thus to “lift out that special sort.” This contrast against others arises from an elevation to a new order. The sense of the word “critique” is so little negative that it means the most positive, the positing of what must be established in advance in all positing as what is determinative and decisive. Therefore, critique is a separation and lifting out of the special, the uncommon and, at the same time, decisive, therefore, and only in consequence, is it also a rejection of the commonplace and unsuitable.
name your baby : be inspired by your artist : tie it into the culture of west texas : the culture you perceive in this atmosphere : incorporate meaning : derive meaning : assign meaning : what is the connection of 'the depot' to the culture of art + architecture in lubbock : what are you saying with this : utilize your diagrams : utilize your photos : what did you capture : what captures you : what did you map and why :
we talked about the railroad, the grid, manifest, the sky, the sun, dust, the plains, agriculture, cotton, windy, stinky, university.....but more than just these exist for you to draw from
check out Max Hattler's video COLLISION http://www.maxhattler.com/collision/
DUE: 6 wednesday 2007 & 7 thursday 2007
post onto your folder on the server before class as a word document
“Critique comes from the Greek krinein which means: “to sort”, “to sort out” and thus to “lift out that special sort.” This contrast against others arises from an elevation to a new order. The sense of the word “critique” is so little negative that it means the most positive, the positing of what must be established in advance in all positing as what is determinative and decisive. Therefore, critique is a separation and lifting out of the special, the uncommon and, at the same time, decisive, therefore, and only in consequence, is it also a rejection of the commonplace and unsuitable.
name your baby : be inspired by your artist : tie it into the culture of west texas : the culture you perceive in this atmosphere : incorporate meaning : derive meaning : assign meaning : what is the connection of 'the depot' to the culture of art + architecture in lubbock : what are you saying with this : utilize your diagrams : utilize your photos : what did you capture : what captures you : what did you map and why :
we talked about the railroad, the grid, manifest, the sky, the sun, dust, the plains, agriculture, cotton, windy, stinky, university.....but more than just these exist for you to draw from
check out Max Hattler's video COLLISION http://www.maxhattler.com/collision/
DUE: 6 wednesday 2007 & 7 thursday 2007
post onto your folder on the server before class as a word document
Friday, February 2, 2007
first friday extra
frist friday activity : for some fun and credit
Take 3 pictures
one of an artist and you
one of the buildings
one of a piece of art that is intriguing to you
( ladies and gents be respectful and polite when taking photos )
hope to see you out and about
Take 3 pictures
one of an artist and you
one of the buildings
one of a piece of art that is intriguing to you
( ladies and gents be respectful and polite when taking photos )
hope to see you out and about
Tuesday, January 30, 2007
Wednesday + Thursday
5 vector diagrams with layers containing ::
live paint . pen . shapes . strokes . vector objects
live trace
raster original
1 master diagram with the 5 vector diagrams overlaid ::
the layers can be an order
in the background needs to be original photograph
so basically vectorize 5 hand drawn diagrams with ::
original raster layer
live trace
some type of live paint plus pens, objects etc.
Then overlay them together, locked layers work best, with the original photograph in the background.
Submit a .psd file or .ai file on the server for Wed + Thurs
Thursday, January 25, 2007
BLACK PLAN phase I part i
With one image from your initial 10 you will derive a series of diagrams by overlaying a trace layer over your image.
You are looking for as many things as possible to diagram::
What systems exist within your image?
What objects do you want to highlight?
What lines do you want to accentuate?
Are there examples of positive space?
Are there examples of negative space?
Diagram tensions that exist between objects.
Diagram relationships that exist between objects.
Pick up on items that aren't immediately apparent.
Use mix media (graphite, ink, paint, etc.)
Tell a story of this place, help us the viewer understand the image/place through layers of information.
From these 15 find the 5 best, scan those at high res. Then bring the diagrams to class and submit the scans onto the server.
You are looking for as many things as possible to diagram::
What systems exist within your image?
What objects do you want to highlight?
What lines do you want to accentuate?
Are there examples of positive space?
Are there examples of negative space?
Diagram tensions that exist between objects.
Diagram relationships that exist between objects.
Pick up on items that aren't immediately apparent.
Use mix media (graphite, ink, paint, etc.)
Tell a story of this place, help us the viewer understand the image/place through layers of information.
From these 15 find the 5 best, scan those at high res. Then bring the diagrams to class and submit the scans onto the server.
Wednesday, January 24, 2007
Wednesday + Thursday
For class this week you must bring trace paper, a drawing instrument, a cutting instrument, and pinning instruments
Wednesday, January 17, 2007
ASSIGNMENT II
research.find.immerse.look.
listen.watch.live.be.act
DUE: Wed_24th or Thurs_25th
report contains the following
hard data_ existing information regarding assigned designer
Circum Vitae.resume’.bio.
where is the headquarters?
who is the head designer, artist, producer etc.?
what awards, competitions entered or won?
where did the person/musician/artist receive education?
ideology.concepts.theories.manifestos
what do they do?
why do they do it?
where do they derive inspiration, goals, intentions?
examples of their work & cite it
sound clips.pictures.images.cover art.movie clips.short films.music video.writings.lyrics.writings.
soft data_ opinions, theories, conjecture of your own
HOW DOES THIS APPLY TO ARCHITECTURE? DOES IT? IF SO HOW? IF NOT HOW?
how can you apply this to your work
how can you apply this to tehonology
how can you use designer concepts for this project
how can you use this information to create space audibly, visually, graphically?
FOCUS ON
composition.proportion.structure.style.assemblage.associations.connections.joints.
phrasing.color.shape.scale.intensities.breadth.atmosphere.
do these case studies break away from your traditional notion of art, graphics, music, film?
is there a conformity, conservatism, traditionality, non conformity, dialect, vernacular, language, avante garde, contemporary overtones? what?
what is the story being told, conveyed, illustrated, performed, designed, captured, envisioned?
TIE THIS INTO ARCHITECTURE AND THE COMPUTER AS A DESIGN TOOL
cite all work http://citationmachine.net/
research options: buy.sell.loan.borrow.check out.no stealing.
interlibrary loan, movie store, your neighbor, the main library, the architecture library, websites, the internet, books, magazines
to hand in and put on your network folder
a 2 page written essay answering the questions for the assignment
page 1 is for hard data [ your research ]
page 2 for soft data [ your opinions and ideas ]
page 3 bibliography of cited work using son of citation machine in the MLA format
the layout of the finished product will be provided by your instructor.
this is to be completed to the highest quality possible regarding writing, language, format, composition, citation, and imagery, sound clips, movie clips
CAPTURING OPTIONS:
FILM : use http://www.techsmith.com/snagit.asp or an apple and use GRAB
AUDIO : burning or the album mp3.wav.m4a
GRAPHIC : scanning.the web(high res)
ARTIST LIST
| 90 | achambli | Edward hopper |
| 90 | rdorris | Jean Luc Goddard |
| 90 | jufalcon | http://www.hydro74.com/ |
| 90 | cgilmore | My Morning Jacket |
| 90 | cesgonza | Spoon |
| 90 | nejackso | Hot Chip |
| 90 | klawley | http://www.ateliervanlieshout.com |
| 90 | chrmarti | http://www.zenvironments.com/ |
| 90 | nmayor | Mark Romanek |
| 90 | minoe | Rachel Whiteread |
| 90 | weparks | Anton Corbijn |
| 90 | jposadas | 90 Degrees |
| 90 | jurice | Dave Nitsche |
| 90 | mesamuel | http://www.tronicstudio.com/ |
| 90 | sshah | Three Legged Legs (Los Angeles lets be friends) |
| 90 | ltippens | Laszlo Moholy-Nagy |
| 90 | ctranter | http://www.xenomorphic.co.uk/index.htm |
| 90 | juvillar | http://www.otradesign.com/ |
| 90 | gwaldren | http://www.keepdrafting.com |
| 91 | jbejaran | Sigur Ros |
| 91 | rberrone | http://www.obeygiant.com/main_new.php?page=articles&article=a58 |
| 91 | cocarrik | Graphic Havoc |
| 91 | econanan | GusGus (work of Stefan Arni & Siggi Kinski) |
| 91 | bepperso | Charles s. Anderson Design |
| 91 | greveret | Lightning Hopkins |
| 91 | rfuller | http://www.hoogerbrugge.com/ |
| 91 | egallego | Bloc Party |
| 91 | lauregar | Robert Rodriguez |
| 91 | kagorman | Woof Wan-Bau |
| 91 | ragutier | The Knife |
| 91 | anabhern | Townes Van Zandt |
| 91 | dalhowel | Animal Collective |
| 91 | ryjacobs | Aqueduct |
| 91 | gilopez | The Talking Heads |
| 91 | thstanle | Drew Lightfoot (one man wrecking machine) |
| 91 | asummerl | Quentin Tarantino |
| 91 | vzavala | Muse |
| 92 | daghili | http://www.designchapel.com/ |
| 92 | rbabb | Beck |
| 92 | fbarron | joseph kosinski |
| 92 | wibutler | Bjork |
| 92 | chcooley | Max Hatler (collision) |
| 92 | brhaas | The Beata Band |
| 92 | seakelle | Paul Klee |
| 92 | jolemast | Oliver Gondry |
| 92 | qmackay | Chris Cunningham |
| 92 | mmarcyni | Of Montreal |
| 92 | smcgown | http://www.banksy.co.uk/ |
| 92 | jmecklin | Bonnie Prince Billy |
| 92 | nomunoz | Josef Albers |
| 92 | komurphy | Wolf Parade |
| 92 | rolmstea | Ali Taylor (Puleng) |
| 92 | krinker | Gordon Matta Clarck |
| 92 | psands | Lewis, Saramaki and Lewis |
| 92 | kslavin | Chris Marker |
| 92 | setsteve | http://ni9e.com/ |
| 92 | juswebb | Tom Waits |
| 93 | lakins | ARK (sing for absolution) |
| 93 | tberdoza | Interpol |
| 93 | crydavis | Adam Bizanski (modern world) |
| 93 | dafaulk | http://www.pixelsurgeon.com/ |
| 93 | mgalarza | Man Man |
| 93 | cangomez | http://www.555design.org/ |
| 93 | eguaderr | http://www.fatoe.com/ |
| 93 | lkunz | LCD Soundsystem |
| 93 | lormarti | Olafur Eliasson |
| 93 | jmedina | Mogwai |
| 93 | nmoeller | Stan Getz |
| 93 | kylrober | Zeitguised (Dancing About Architecture) |
| 93 | jrooker | http://www.artcoup.com/movie.html |
| 93 | hsena | http://www.superdeux.com/old/oldindex.html |
| 93 | mashanno | Wes Anderson |
| 93 | jshim | Richard Linklater |
| 93 | mariosil | http://www.kindalikethat.com |
| 93 | ktomdale | Todd Macfarlane |
| 93 | mvipond | Frank Quitely |
| 94 | stalliso | Grandaddy |
| 94 | safarmer | The Roots |
| 94 | rbrockma | Yeah Yeah Yeahs |
| 94 | markbuch | http://www.celiacalle.com/ |
| 94 | mcard | Sol LeWitt |
| 94 | cocarthe | Marc Beurteaux (robota) |
| 94 | bcohen | Mathew Barney |
| 94 | sdanley | Ladytron |
| 94 | joengelh | Sufan Stevens |
| 94 | shanlon | dean di simone |
| 94 | amahughe | Saiman Chow |
| 94 | blatson | Valery Tumbayev |
| 94 | alelopez | NAKD (box) |
| 94 | mnepsund | http://www.hidefmedia.net/projects.html |
| 94 | alapowel | Boards of Canada |
| 94 | jakreed | Frank Miller |
| 94 | toscott | Spike Jonze |
| 94 | brandsmi | Michel Gondry |
| 94 | rathomps | 90 Degrees |
| 94 | eumanzor | Octopus Project |
| 95 | vearella | http://www.ths.nu/ |
| 95 | chdavis | http://www.dougchiang.com/ |
| 95 | jafanche | http://www.duskyward.com/# |
| 95 | lfingerh | Broken Social Scene |
| 95 | bjacobse | http://www.electricheat.org/ |
| 95 | smonahan | http://www.deltainc.nl/ |
| 95 | troatman | Julio Le Parc |
| 95 | jopace | Danger Mouse |
| 95 | lrutherf | Stephane Sednaoui |
| 95 | josimons | http://www.artbyfeng.com |
| 95 | cwester | Eva Hesse |
Wednesday, January 10, 2007
THE BLACK PLAN PROJECT :: jaded
ASSIGNMENT 1: FRIDAY DOCUMENTATION
B: 1,3,5
C: 1,2,4
D: 1,2,5
E: 2,3,4
F: 3,4,5
G: 2,4,5
::Objective:
Through photo documentation, derive an attitude that the assigned building conveys with focus on edge condition, urbanism, systems, joints and density. Discover an intelligent method of connecting urban paths between the first Friday galleries and their routes.The cultural integrity of the art walk
::Assignment:
ROUTE (the group) How do gallery spaces have a connection in respect to an abandoned urban condition? Develop a way to represent the route that links the assigned buildings within the group. Keep in mind that the route does not have to be the most efficient nor practical method of connection. DOCUMENT IN THE 2D DIGITAL OR ANALOG 1 map per group.
BUILDING CONDITIONS (the individual) Develop a virtual cornucopial array of your specified building. Take an ample amount (LOTS!) of digital photos that respond to the buildings experience and its exterior attitude. Filter the compilation of images down to 10 best.Print each of the 10 color images on a 3”X5” note card or cardstock.Provide a description on back of each:
Building name
Street address
Photographer name (that should be you!)
Date taken
Short meaningful description of image
Submit best 10 images on server under your student folder.
::Building LISTS:
1 Art depot 1717 Texas
2 Hard Tops 2228 Buddy Holly
3 Underwood Center of the Arts 511 Ave. K 
4 Icehouse behind the Underwood Center on 5th st. 
5 Underwood Supplement between the Underwood Center and the Icehouse
::Group SETS:
A: 1,2,3
B: 1,3,5
C: 1,2,4
D: 1,2,5
E: 2,3,4
F: 3,4,5
G: 2,4,5
::Due date:
Wednesday 17th or Thursday 18th (depending upon your section-day)
*files must be submitted before class begins and have your catalog at beginning of class printed out
*NO LATE WORK WILL BE ACCEPTED
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