Professional Documents
Culture Documents
PROCEEDINGS
21st National Conference
on the Beginning Design Student
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
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
ISBN 0-615-13123-9
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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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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
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Fig.5. First year student Ken Everts 3-D bronze and stainless steel interpretation of Pablo
Picassos Head
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