Columbia University: Graduate School of Architecture, Planning & Preservation Drawing and Representation II Coordinators: Babak Bryan &

Michael Young Instructors: Kutan Ayata, Frank Gesualdi, Jennifer Leung, John Morrison, Bryan Young

Spring 2012

TAs: Kyle Hovenkotter, Emily E. Jones, Dan Taeyoung Lee, Bo Liu, Eliza Montgomery, Owen Nichols, Luis Felipe Paris

Drawing Project 1: The Hybrid Drawing Architectural representation is a constructed mediation. It allows notations of radically different kinds to combine in the space of the page. These notations range from the symbolic to the literal, the designative to the embodied, and the conceptual to the aesthetic. This exercise asks each student to make a conceptual and aesthetic argument through the combination of multiple modes of representation. The starting point will be the digital models from ADR1. These should be treated as found objects, implying that the investigation that each student puts forward may be radically different from the original architects desires. Each week will present a different topic to be addressed, with two weeks before the review to combine the issues toward a critical stance through representation. The topics are open questions that relate to the transition of mediation from a manual to a digital means. Week 1 The Cut Draw the most important section for understanding your building. Draw the least important section for understanding your building. Inter-relate these through a plan drawing. All three drawings will be on a single sheet drawn at a scale of your choosing. There is no neutral way to draw a plan and section. How you choose to represent the cut portions of the building, the depth beyond the cut, and the projected elevation surfaces are all aesthetic decisions. Where you cut the building and how the drawings relate begins a conceptual argument. These cuts traditionally preceded the model as inter-related orthographic projections. But in the drawing/model fusion presented by digital software, the 2d representation is often extracted from the digital model. How can this be exploited, critiqued?

Week 2 Scale Shifts Bring multiple scales of representation into a single drawing. The minimum shift is through three different scales. When drawing manually, the scale at which you draw is crucial, requiring much more information for a detail than for a site plan. These scale shifts also bring a level of abstraction to the drawing that allows design ideas to shift between scales in the process of drawing. Since the digital model is one to one, the way that scale and information is processed enters into a different post-production of the space of the paper. How can this be exploited, critiqued? Week 3 Motion, Depth and Narrative Create a sequence of movements in relation to your building. These drawings could be understood as a narrative of perspective vignettes that inhabits a promenade through the building. These drawings could be an exploded axonometric that articulate the buildings tectonic, programmatic, or spatial assembly as a sequential procedure. These drawings could be diagrammatic and notational seeking to map the motions of bodies or vision through space. In a manual drawing, the graphic language that expresses movement (both experiential sensations and procedural notations) is captured in the material trace of the drawing as a residue of the design process. The digital model opens an expansive array of movements, both as a simulated camera panning, zooming, and moving around a design, and in the real time variations that can be performed on the surface geometry itself. What is absent in a digital model is the indexical trace of these actions. How can this be exploited, critiqued? Week 4 & 5 The Hybrid Drawing Combine the experiments above into a new hybrid representation of your creation. You are responsible for the conceptual and aesthetic argument that is put forward through the representations.

Schedule of Topics Drawing Project 1 The Hybrid Drawing 01.17.12 Project 1 01.24.12 Project 1 01.31.12 Project 1 02.07.12 Project 1 02.14.12 Project 1 02.21.12 Project 1 Projection, Section & Descriptive Geometry M. Young Individual Sections - Project 1 Introduction Perspective & the Axonometric B. Bryan Pin up Interrelated Cuts Diagrams & Notations - B. Bryan Pin up Scale Shifts No Lecture Pin up Motion, Depth and Narrative No Lecture Pin up Hybrid Drawing No Lecture Review Hybrid Drawing

Required Readings:
Evans, Robin Translations from Drawing to Building in Translations from Drawing to Building and Other Essays. Architectural Association Publications, 1997, pp. 195-232. Latour, Bruno Visualization & Cognition: Drawing Things Together from www.bruno.latour.fr