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A Beginners Mind

PROCEEDINGS
21st National Conference
on the Beginning Design Student

Stephen Temple, editor

Conference held at the


College of Architecture
The University of Texas at San Antonio
24-26 February 2005

A Beginners Mind
PROCEEDINGS
21st National Conference
on the Beginning Design Student
Stephen Temple, editor
College of Architecture
The University of Texas at San Antonio
24-26 February 2005

Situating Beginnings
Questioning Representation
Alternative Educations
Abstractions and Conceptions
Developing Beginnings
Pedagogical Constructions
Primary Contexts
Informing Beginnings
Educational Pedagogies
Analog / Digital Beginnings
Curriculum and Continuity
Interdisciplinary Curricula
Beginnings
Design / Build
Cultural Pluralities
Contentions
Revisions
Projections

Offered through the Research Office for Novice Design


Education, LSU, College of Art and Design, School of
Architecture.
Copyright 2006 University of Texas San Antonio
/ individual articles produced and edited by the authors

Printed proceedings produced by Stephen Temple, Associate Professor, University of Texas San Antonio.

All rights reserved. No part of this book may be reproduced in any form or by any means without
written permission of the publisher.
Published by:
University of Texas San Antonio
College of Architecture
501 West Durango Blvd.
San Antonio TX 78207
210 458-3010
fax 210 458-3016

Library of Congress Cataloging-in-Publication Data


Temple, Stephen, editor
A Beginners Mind: Proceedings of the 21st National Conference on the Beginning Design Student /
edited and compiled by Stephen Temple
1. Architecture - Teaching 2. Architecture - Design 3. Design - Teaching

ISBN 0-615-13123-9

2-D Painting De-Construction and 3-D Sculptural Re-Construction


ELIZABETH LEWIS DOBSON, AIA, LEED AP
Florida A&M University School of Architecture
Reproducing Two Dimensional Visual Art in Various Media and Re-Constructing Three
Dimensional Interpretations into Sculptural Constructions
Whereas the culture of art interprets the visible world, architecture adds drama to this
with the elements of form, space and light. Design education is well served by crossing the
implied disciplinary boundaries of architectural pedagogy by incorporating more cultural
connections such as literature, art and music. The transitioning years of these eager minds
should saturate them with a broad knowledge of culture and a thirst for creative explorations
endowed with energy and mystery. Exposing this first year mentality of students to explorations
of big ideas and looking at projects, problems and concepts from many different angles and
points of view will expand their horizons and spark their interests. Both the creativity involved in
the abstract, and the concreteness of skills acquisition are necessary for this well rounded view.
The design student must begin an early exposure to the many skills and abilities needed
to succeed in todays design environment. The ability to visualize directly in three dimensions, to
construct well crafted models, the abilities of both technical and freehand drawings and being
literate in computer graphics are all lessons that cannot be covered too early, too often or too
thoroughly in ones design education.
Beginning students in architectural education often have erroneous preconceived ideas of
what they will be doing in their early studios. Many are nervous and apprehensive relative to their
own level of skills and competency within the studio culture. This perception applies to both two
and three dimensional works involved in the typical beginning studios. The difficulty of putting the
first creative mark on the paper, canvas or screen is a challenge for all of us. The first cut or
bend in the chipboard or the earliest carving of plaster or wood is often the hardest. Having a
concrete starting point from which abstract creativity can spring is often the solution for this
dilemma, much like answering a question one has been asked. Projects which foster a desire for
inquiry, self-development and competency are crucial to the students sense of self-confidence. A
positive psychological edge can be achieved when an opportunity for feel good satisfaction and
pleasure results from a project. This can renew a sense of inquiry, eagerness and selfconfidence.
Understanding the elements of two-dimensional design readies the student to develop a
visual understanding of three-dimensional spaces and forms. Transferring two-dimensional
planes and shapes into the depth and perspective of the third dimension is what we begin to
explore in this abstract and colorfully complex exercise. The process and design development
phases of this project consist of two dimensional analyses, media exploration and reproduction
and then three dimensional analyses, exploration, design development, media exploration, design
finalization and presentation.
The two-dimensional works of art by designers such as Lissitzky, Diebenkorn, MoholyNagy, Le Corbusier and Klee are often not known by the beginning student as well as those of the
more famous and commercialized Kandinsky or Picasso. These particular artists paintings reveal
concepts and elements relative to the design lessons to be explored such as: compositional
structure, dynamic relationships of form in space, simplified precise forms, visible elements of
drawing, symbolic importance of color and line, fascination with transparency and light, and an
exploration of the world of physics and geometry. Students are given a selection of works with

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PROCEEDINGS: 21st National Conference on the Beginning Design Student

San Antonio 2005

many possible interpretations relative to layering in spatial relationships. A knowledgeable


interpretation of the specific work expands as the student researches the artist and their works as
well as the political, social or economic factors of the time.

Fig.1. First year student Chin Caos 3-D interpretation of Laszlo Moholy-Nagy, A18

Fig.2. First year students 3-dimensional wood and Plexiglas interpretation of Wassily Kandinskys
Black Spot

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San Antonio 2005

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Students first analyze and study the basic design elements organized in the paintings,
such as line, direction, shape, size, texture, value and color. Then looking in more depth,
observations are made as to the aesthetic order or structure in the paintings. Principles such as
repetition, gradation, balance, unity, dominance, contrast and the relationships between these are
explored and questioned in each work by means of quick sketches. These sketches explore the
possibilities of spatial layers and relationships. The painting may be seen as a section through
space, an elevation, a plan, a rotational view or combinations thereof. Circles in two-dimensions
can become spheres, voids, cones or cylinders in three-dimensions. Lines become edges of
planes, voids, cracks in planes, hints of things behind planes, threading through planes, etc.
Shapes become positives or negatives, massaged organics or rigid geometric forms, mass or
void, convex or concave, floating, anchored, disappearing and reappearing behind other shapes.
The designing student brings new form and vitality to the work, all the while working on a
sequential abstraction of the painting with step by step simplification. (Figure 1)The process of
development must establish relationships for all the elements in the painting before being
designed into an elegant three-dimensional sculptural interpretation. The students are taking the
preserve pf asymmetrical balance of the abstract expressionist painters and making a conscious
intention of asymmetrical balance in three-dimensional form.
Simultaneous to analyzing the elements, structures and principles in the paintings, the
students create an exact two dimensional reproduction at a reduced scale of the original. First the
painting is divided in parts to explore the suitability of various media such as Prismacolors with
solvent, oil and acrylic paints, pastels, collage, charcoal, watercolor, etc. The visible energy and
combinations of colors, transparencies and textures are explored before the final reproduction is
started. These matted reproductions become a great source of pride for the students as they
master the different mediums used.
At this point three dimensional models begin to exist at the heart of the design thinking.
The elements, objects, areas and shapes identified are now explored as embryonic ideas of three
dimensional forms. The transition to working and thinking three dimensionally comes quickly as
numerous study models are used as unrestrained tools for engaging various aspects of the
design. These models convey an immediacy and excitement of working in a new design
dimension for the students. Numerous opportunities and spatial interpretations relative to layering
and intersections are re-constructed. Students build sequential exploratory models dissecting the
elements of design such as: forms, orders, organizations, textures, size relationships, colors,
directions, shapes and proportions. (Figure 2)
Media to be used in the final model such as Plexiglas, stained glass, metals, clays, wood
refine and resolve the connections and form and increase the build-ability of their concepts while
achieving constructional unity. These simple exercises are a way of expanding and imbedding the
students craft-making and architectural language skills. Once moving from 2-d to 3-D, the
deviations in positions are linked to the phenomena of gravity. The asymmetrical principle of
leverage is explored to create a sense of equilibrium. The immediate actions and reactions of
parts require interventions to restore balance. Horizontality, verticality and leverage are
fundamental factors which govern the balance of a composition.
These models are modified, refined and transformed into a new physical existence
bringing a new and exciting dimension to the design skill of the student.(Figure 3, Figure 4) The
important role of the physical model continues from the design process models to their
transformation and metamorphosis into the final elegant sculptural model. Final presentations
often are accompanied by the students choice of music or poetry which they feel echoes their
design concept.
The final three-dimensional sculptural Re-Construction becomes the students own
interpretive design and requires both elegance in design and craftsmanship while at the same
celebrating the timeless work and contributions of the original artist. (Figure 5, Figure 6)The

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freedom of imaginative creativity, the explorations of balance and order, consistent design
development, skills of craft and materials, transformations from 2-D shapes to limitless 3-D forms
are some of the many outcomes of this project. By far one of the most valuable lessons students
have gained is the value of consistent work, freedom of imagination and self-confidence which
increases with each design.

Fig. 3 Students Plexiglas, clay and wood interpretation of Red Spot II, 1921

Fig.4. Students clay, metal and foil 3-D of Composition, 1942, Le Corbusier

PROCEEDINGS: 21st National Conference on the Beginning Design Student

San Antonio 2005

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Fig.5. First year student Ken Everts 3-D bronze and stainless steel interpretation of Pablo
Picassos Head

Fig.6. William Santiagos 3-D interpretation of Wassily Kandinskys Yellow

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