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One of the morphosis explored the concept of 'betweenness' (figures 3,4, & 5) referring specifically to the relationshir of artist, subject and viewer (audience). The key element of transformation was the plane of the canvas as mirror or lens. The final stage presents an understanding of the painting that challenges the initial reading of the work, thus suggesting that first encounters need to be carefully evaluated and perhaps discarded. In addition, students realized the active nature of making and the participatory role of the audience.

Figure 3 One of the morphosis explored the concept of 'betweenness' (figures 3,4, & 5) referring specifically to the relationshir of artist, subject and viewer (audience). The key element of transformation was the plane of the canvas as mirror or lens. The final stage presents an understanding of the painting that challenges the initial reading of the work, thus suggesting that first encounters need to be carefully evaluated and perhaps discarded. In addition, students realized the active nature of making and the participatory role of the audience.

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The design problem required the students to move from an assigned painting to architecture by using the intentional act of interpretation (i.e., 'reading') as their design engine. This methodology clearly implied a metaphoric leap that demanded students to engage in both abstraction and analysis, and had to be manifested through appropriate media and graphic representations. Of essential importance was that the bridging process had to be captured in a series of ‘frozen moments' (or 'morphings’) that effectively revealed the critical/design stages of their investigation. The process could be documented in any media varying from pastels, to collage, to electronic simulations. The only limitation for the students was to present their work in a 2D format so that (1) they experienced the same planar limitation as the artists; and (2) they were forced to clarify their architectural insight, given the necessary translation mediating between 3D architecture and the 2D field of representation. Finally, we teamed up students in groups of 4 or 5 people to guarantee a diversity of interpretations (and hence generate a true debate of ideas) as well as to have enough critical mass to respond to ambitious quality and quantity production. interpretive leap distanced them from their departure point (figure 1 8 Truly, we were not interested in where the students landed after jumping, but in their flight.
The design problem required the students to move from an assigned painting to architecture by using the intentional act of interpretation (i.e., 'reading') as their design engine. This methodology clearly implied a metaphoric leap that demanded students to engage in both abstraction and analysis, and had to be manifested through appropriate media and graphic representations. Of essential importance was that the bridging process had to be captured in a series of ‘frozen moments' (or 'morphings’) that effectively revealed the critical/design stages of their investigation. The process could be documented in any media varying from pastels, to collage, to electronic simulations. The only limitation for the students was to present their work in a 2D format so that (1) they experienced the same planar limitation as the artists; and (2) they were forced to clarify their architectural insight, given the necessary translation mediating between 3D architecture and the 2D field of representation. Finally, we teamed up students in groups of 4 or 5 people to guarantee a diversity of interpretations (and hence generate a true debate of ideas) as well as to have enough critical mass to respond to ambitious quality and quantity production. interpretive leap distanced them from their departure point (figure 1 8 Truly, we were not interested in where the students landed after jumping, but in their flight.
A second group of students investigated the axis that the canvas denies (depth) by first using the screen (i.e., canvas) to establish a before and an after and then escorting the audience beyond the plane of the canvas into a suggestion of architectural space. Light and darkness were carefully studied and re-interpreted. Students learned how to use their intuitive curiosity as an engine to move to a different world. Architecture is presented not as a destination but as a conduit to continue their interpretive journey.
A second group of students investigated the axis that the canvas denies (depth) by first using the screen (i.e., canvas) to establish a before and an after and then escorting the audience beyond the plane of the canvas into a suggestion of architectural space. Light and darkness were carefully studied and re-interpreted. Students learned how to use their intuitive curiosity as an engine to move to a different world. Architecture is presented not as a destination but as a conduit to continue their interpretive journey.
FIGURES 7 through 9 here (process) The students translated Bacon's shapes into an architectural syntax utilizing orthographic conventions (plan, section and elevation) to guide and push their interpretation (figures 7 & 8). The morphing goes from an objective 3D analysis of the painting (i.e., depiction as explanation) to a totally new architectural composition (i.e., depiction as interpretation) (figure 9). The catalyst of this process was the students' decision to take ownership of the painting by establishing their own rules that were inspired by Bacon's conceptual agenda.
FIGURES 7 through 9 here (process) The students translated Bacon's shapes into an architectural syntax utilizing orthographic conventions (plan, section and elevation) to guide and push their interpretation (figures 7 & 8). The morphing goes from an objective 3D analysis of the painting (i.e., depiction as explanation) to a totally new architectural composition (i.e., depiction as interpretation) (figure 9). The catalyst of this process was the students' decision to take ownership of the painting by establishing their own rules that were inspired by Bacon's conceptual agenda.
In an effort to address this, the students' morphology generates a series of parallel associations between Giotto's and today's socio-political worlds. Every symbol in the painting finds its contemporary counterpart (figures 11 through 16). Attaining consensus on the appropriate selection provoked heated discussions and awoke the whole studio to the politics of architecture, an issue that is often lost in design studios. Silver over Black, White, Yellow, & Red
In an effort to address this, the students' morphology generates a series of parallel associations between Giotto's and today's socio-political worlds. Every symbol in the painting finds its contemporary counterpart (figures 11 through 16). Attaining consensus on the appropriate selection provoked heated discussions and awoke the whole studio to the politics of architecture, an issue that is often lost in design studios. Silver over Black, White, Yellow, & Red
The two projects produced in the studio incorporated Pollock's blatant methodology within their presentation. Their different outcomes were a direct result of the choices of media each team made: digital vs. graphic/physical media. Whereas the electronic production focused on the temporal unfolding of the making (i.e., a simulation of the painting process), the physical production looked at the simultaneous presence of the result (i.e., synchronic). Whereas the former was interested on the occupy able qualities of the layered space (figures 18 through 21), the later paid attention to the formal qualities of the layer itself. In other words, the digital work dealt with the experiential and the physical dealt with the conceptual aspects of the work
The two projects produced in the studio incorporated Pollock's blatant methodology within their presentation. Their different outcomes were a direct result of the choices of media each team made: digital vs. graphic/physical media. Whereas the electronic production focused on the temporal unfolding of the making (i.e., a simulation of the painting process), the physical production looked at the simultaneous presence of the result (i.e., synchronic). Whereas the former was interested on the occupy able qualities of the layered space (figures 18 through 21), the later paid attention to the formal qualities of the layer itself. In other words, the digital work dealt with the experiential and the physical dealt with the conceptual aspects of the work
understand the artist's methodology of making (which is factually stated in the title of the work). This meant to explore the nature, sequence and potential roles of the different layers.
understand the artist's methodology of making (which is factually stated in the title of the work). This meant to explore the nature, sequence and potential roles of the different layers.
time; (2) the necessary act of abstrac- tion required to construct and /oractu- alize the pictorial space; and thus (3) how architectural and art depictions are universes of discourse within which certain messages may be selectively conveyed (the medium is the message).
time; (2) the necessary act of abstrac- tion required to construct and /oractu- alize the pictorial space; and thus (3) how architectural and art depictions are universes of discourse within which certain messages may be selectively conveyed (the medium is the message).
Four interpretative approaches can be cited:
Four interpretative approaches can be cited:
Related topics:
Architectural EducationDesign Process (Architecture)Design pedagogyArt and Design PedagogyArchitectural Design PedagogyArt and ArchitectureArchitectural Design EducationArchitectural Pedagogy
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