        Hale, Zane : AssignmentsFifth Street Essay What is a street? What factors influence the personality and aura of a street such as Fifth Street? How do streets themselves influence society? And what can we as society do to create and set an idea within a street? In order to examine these questions, we must explore the goals and intentions of a street: the history, the future, the intended uses, the actual uses. Every street has a unique combination of history, goals, and uses, and in this, every street has a different and unique influence upon society. In the case of Fifth Street, the planners and developers affiliated with Georgia Tech and the commercial sector of Technology Square have faced and overcome many challenges in their pursuit of the progressive ideas and goals set out for the stretch of “street” from the Klaus Advanced Computing Building to the Biltmore Hotel at West Peachtree Street. I find that with a solid understanding of the history, one may find new perspective on the school and city that surround Fifth Street in order to better place its roots and to project its future. Throughout the twentieth-century, Georgia Tech has done nothing but progress. Through both World Wars, the Great Depression, the integration of women into the student body in 1952, bringing about Southern Polytechnic University in 1948 and Georgia State University in 1955, and a peaceful desegregation in 1961, Georgia Tech has maintained a steady rate of growth and retained a state of excellence and prestige in both academics and athletics. Whether it be in compliance or blatant opposition to events or circumstances, the progression of this school is a direct result of the society that was and is America and the in particular the society that was and is Atlanta. For example, in reaction to the powerful Civil Rights Movement in Atlanta in the 60’s and perhaps due to the lack of cooperation exhibited by our rival, the University of Georgia, Georgia Tech was able to peacefully desegregate and begin moving forward as school first and political puppet second. Also around this time, sparked by a rapid growth suburban population centered around city commerce, the expansion of the Interstate Highway System began to influence the demographics of Atlanta itself. The interstates begin to widen, and with this came a refining of division and connection. Atlanta is now defined by its quadrants, which are outlined by I-285 (perimeter), I-20 (East-West), and I-75/85 (North-South). With these new quadrants come new sectors and, as with all physical barriers, new separations in communities, economies, and eventually, cultures. At some point and with some purpose, it was decided that Interstate 75/85 should run directly between Georgia Tech and Spring Street. This decision, whether intentionally or not, created a west wall on campus, which cutoff the school from an up and coming sector of Midtown (Peachtree Street, Piedmont Avenue, and Ponce de Leon Avenue). On the other end of campus, an industrial revolution was flooding the east side of Atlanta with factories and warehouses and in effect creating a community of low-wealth, blue collar workers who’s well being was now sustained by a volatile and temperamental economy boldly stamped with an expiration date of “Jimmy Carter’s Presidency”. For some 40 years the campus of Georgia Tech would be more or less isolated from Midtown Atlanta except for three mild attempts to transverse the blemish of ten lanes of blaring horror that is the interstate. Fast-forward to the year 2000: President Wayne Clough reveals a current Master Plan and announces a $148 million project to expand and develop the area of 5th Street from the bridge to the Biltmore. The basic goal of the entire plan was to create a gateway to and from the campus and the city. The Fifth Street Project was entailed “a new building for the DuPree College of Management, Continuing and Executive Education Centers, the Economic Development Institute and interdisciplinary centers (such as the Center for Quality Growth and Regional Development), a hotel and conference center, a parking deck, a new Georgia Tech Bookstore and other amenities such as restaurants and light retail” (The Whistle). Also within the plans to cross the interstate-divide was a renovation of the Fifth Street Bridge. The bridge would be widened as to make room for some quarter-acre of green space including a lawn and garden. The complex development took two years, but since its completion in 2003, students, faculty, and urbanites alike have been getting there kicks by crossing the quiet bridge, meeting friends at Moe’s, and overall getting to know a revitalized Midtown all just a short walk from the main campus. Personally, I have found Fifth Street to be a unique experience here at Georgia Tech. My first visit to campus began at Tech Square where I parked my car and proceeded to walk across the bridge. I distinctly remember a feeling of overwhelming humility, yet curiosity soothed my insecurity as I began to wonder why this normal looking bridge had been modified to resemble a small quad outside of a library or classroom on campus. And as I stared down the street towards the Klaus Building, impressed by the broad size and stature of the modern façade and the deep features of the central staircase of the building, I read it all as I caveat: this campus is cutting edge, forward thinking, and well endowed – be it your purpose to aspire to these qualities. I believe that this effect was designed, and I am sure that I was not the first or only person to experience the Georgia Tech campus in this way. The curiosity that Fifth Street evoked brought upon me an urge to explore further into the campus: what more could be asked of the purpose of a supposed gateway into campus. Even if only the first time one looks down Fifth Street from amidst the bridge, he or she is remotely tingled by a sense of empowerment or interest, then this Street has accomplished one of its goals. In reflection on my first time in Technology Square, I remember a distinct sense of being in a major city, but at the same time, I was amazed by the cleanliness of the place. There seemed to be a purity in every square foot of freshly lain concrete, a balance amongst the traffic of pedestrians and vehicles. From the east side of the bridge, looking on toward Tech Square, I saw the glass wings of the buildings protruding from their red brick structures pointing skyward and inward to the street to cape an unknowing bystander from the rain or perhaps to portray a dance of sunlight on the white cement sidewalk below. I saw the European layout of cafés with the outdoor seating covered by umbrellas and surrounded by small fences, which were the only distinctions between the restaurant area and the free-range sidewalk. Scattered between the restaurants were several shops including clothing stores, a barbershop, and a nail salon, each with its in-season paraphernalia decorating the window front. The array dinging options from fast-food to Zagat rated cuisine was quite fascinating. In that, whether it be a quick bite with friends at a taco stand or formal lunch meeting in a business setting, this street seemed to accommodate any level of interest. Even more fascinating than the vast array of options in what to eat or spend money on was the fact that amidst it all, Fifth Street is really a school first. Though slightly hidden to the common passerby, many of the buildings along Fifth Street house state of the art classrooms which are all part of Georgia Tech’s efforts to expand the learning environment beyond its traditional campus and shift the business school in particular into a more urban setting. Throughout Fifth Street, there are hints of the Georgia Tech Campus: maps, signs, and logos all line the street directing students and faculty to classrooms and other facilities of learning. One of the main intentions that the developers had for Fifth Street is to create a smooth transition from the closed and bounded campus to an entire open end of city-scape. Perhaps this is to metaphorically stand for a the importance of keeping an open mind and allowing change to occur with the proper preparation and acceptance. This process of transitioning between the two sections campus is made possible by constants, controlled variables which allow the user of the space to experience security and familiarity throughout the user’s interaction. The constants of Fifth Street include road itself where traffic is controlled and bound, the wide sidewalks on either side of the street where pedestrians are free to roam about, the crosswalk signs and directors for both pedestrians and traffic in order to regulate the fragile relationship between pedestrian and vehicle, and the flow green aspects such as trees or lawn expansion, which are even instated in the bridge. All of these constants influence one another and the people who interact with them. This system of balancing the right proportions of each constant is quite delicate. For example, in order to create an extra lane of traffic, there must be a sacrifice of sidewalk space, which creates less area for pedestrians to walk. Thus increasing the chances of pedestrians having to walk on the road, which slows or stops traffic, which negates the point of having an extra lane in the first place. As students feel more comfortable in their environment, they will open up and become more willing to learn – I dare say which is the point of it all. The idea of Fifth Street is to bring our school into a new environment while allowing students to adapt even through a short walk across a bridge. But is this really what is happening? Is the “idea of Fifth Street” a reality? Overall, Fifth Street is a success. From my experience with Fifth Street and with Technology Square, I can honestly say that this urban transition and branching of the campus has been accomplished. I have attended Georgia State University, which prides itself as a campus and school implanted in Downtown Atlanta where it thrives in its pure urban setting. I have seen the successes and failures of the efforts in development within Georgia State’s campus, and I have seen the influences of the campus upon the surrounding city and visa versa. And with this experience, I feel that I have fairly judged the results of the Fifth Street urban outreach at Georgia Tech. As a whole, I think that the Georgia Tech campus is in a state of recovery from what must have been a long, dark winter known as the decades of 1970 and 1980. As a student, I see the Master Plan as a response statement of new direction with a perspective on necessities of the present campus as well as the necessities of future projections of growth and development. There are many would have, could have, should haves in the history of the Georgia Tech campus, but I feel that the Fifth Street Project and the plans for future development have already answered the hypothetical questions. I would have made Georgia Tech a more centralized campus decades ago, but given the current dispersion of many of its parts, the natural topography of the land, and the manmade barriers such as Interstate 75/85, I feel that an urban expansion is the answer to question “where next?” and that the Fifth Street Project is a brilliant execution of this process. Furthermore, I believe that the Fifth Street Project, as a whole, is more than a simple expansion in terms of numbers or physical architecture. What the Master Plan entails for Georgia Tech is far more than a means to increase our enrollment or endowment: it is by these things that we may grow in the first place. Instead, it is an expansion and development of a an idea that is Georgia Tech, that is learning – that we, as students, deserve to experience more, to have a chance to discover new environments, and to have the chance to influence our environment so that we might someday influence a circumstance in the likes of the idea of Fifth Street for the future students of this school. Architecture Lecture: 10.10.07 This lecture begins with a question of what is Architecture (with a capital A) and how is different from a normal building. We quickly learn that Architecture is the result of place in both the world and in time. Architecture is the description of a decision made by an architect who created a real thing and in making his decision, he reflected upon the consequences in culture, society, function, and the representations of each. After discussing the actions and responsibilities of an architect, we then learned the important point that form follows function. This idea is the staple of the College of Architecture’s design philosophy, in that it is the fundamental yet complex connection between the three majors of architecture, industrial design, and building construction. Next, we discussed the architecture as a career and the steps it takes to become a licensed architect. We also discussed the realities of such a demanding career: some will be quick to find success and perhaps fame, but most will endure a much more rigorous course involving much time and commitment in school and internships. Finally, we discussed the Architecture programs that Georgia Tech has to offer including a four-year undergrad degree, several master programs spanning many fields of design, a doctorate program, and study abroad options. Truly, architecture at Georgia Tech is beyond one-size-fits-all. Urban Design: The analysis and development of city settings in the past, present, and future to better prepare and develop cities and their environment for the functions and demands of growth and progression. Space: The void that is defined as either enclosed or uncontained. The way that we deal with space in both design and real-use directly connects us with that area. Ecological Literacy: The understanding and study of people within their surroundings. Speculation:
Building Construction: 10.15.07 Dr. Kangari, the Director of Building Construction at Georgia Tech, begins his lecture by introducing a connection between the two terms build and design. As he explains the relationship between these two fields, he quickly draws on more facets of the building and designing environments: regulatory agencies, owner, developer, design, building, and operation. He then shows how each of these fields are directly related and therefore variably affect each other. For example, the owner is connected to the regulatory agencies through the legal connections with the general contractors (building) and the codes which the architect or engineer must follow: if any of these variables are changed, each member of the cycle will feel its effects in time, cost, or quality of the product. Next, Dr. Kangari discusses the five main types of construction: residential (housing), commercial (offices, stores), institutional (hospitals, schools), industrial (factories, plants), and engineering facilities (roads, bridges, tunnels). All of these types also relate to the fields surrounding designing and building. He then discusses the hope for future integration of architecture, engineering, and construction and importance it plays in increasing the efficiency in the built environment in cost and time, improving the conditions for all stake-holders in a project. Finally, introduces the Building Construction Program at Georgia tech. He discusses the goals for the program and overviews the curriculum. He closes by discussing the career options and benefits of Building Construction and the interrelationships with both the architecture program and the industrial design program here at Tech. General Contractor: a person or company that undertakes a contract to provide materials or labor to perform a service or do a job with by managing subcontractors, time, cost, and the safety and health of the environment. Project Owner: The investor in a building project who accepts bids, controls the quality, and funds the project. Stakeholders: The owner, developer, investor, architects, engineers, contractors, and building operators and managers. These fields are connected as the group who has invested both time and money into a project. Speculation:
Industrial Design: 10.22.07 Professor Mullick begins his lecture on Industrial Design with some examples of generic definitions of the otherwise broad and ambiguous field of product design from the Industrial Design Society of America and the International Council of Societies of Industrial Designers. He also presents his personal definition of product design as “the design of manufactured things (not necessarily mass manufactured) that adds value, increases usability and simplifies life through improved human-product interaction.” He then breaks down product design into several larger categories: everyday objects, work objects, computational devices, medical devices, household items, computational objects, wearable objects, sensual objects, transportation, environments, interaction design, experience design. After discussing each and providing a few examples, Professor Mullick then discusses the career fields and their focuses. Just as the practices and studies within industrial design are extensive, the philosophy of industrial design incorporates the broad principles of problem solving, process driven creativity, manufacturing, environmental literacy, and is overall people centered. Finally, the Industrial Design Program in the College of Architecture is outlined and discussed. Professor Mullick tells of the prestige and the many credentials of the program including the outstanding staff and learning opportunities. He discusses the curriculum, which includes an excellent study abroad opportunity in Sweden, and closes with a presentation of previous year’s work throughout the undergraduate and graduate level design programs. Industrial Design: Design that incorporates both human interaction and manufacturing of products which are created for a human scale. Experience Design: Design focused on the sensation of human interaction with art such that a person can touch, feel, see, smell, or taste a product by the manner in which it is designed. Interaction Design: The design of outlines, plans, and other mapping systems which either overview or restrict the information being conveyed. For example, the map at a mall or a telephone booth. Speculation:
Library 101 Assignment Avery Index / EBSCOhost Bergeron, Angelle. "Special hurricane report [Hurricane Katrina]." Architectural Record, no. 194 (2006): 34,36. Lubell, Sam. "Louisiana Recovery Continues to Hit Snags." Architectural Record, no. 195 (2007): 42. Kennedy, Shawn. "Remaking New Orleans, without losing its past." Architectural Record, no. 195 (2007): 85-88, 226. Simoneaux, Rainier L.. "Seeking a sure footing [Louisiana Recovery and Rebuilding Conference]." Architecture, no. 94 (2005): 45. Suplee, Matt. "New Orleans gets affordable, greener housing." Architectural Record, no. 195 (2007): 40. GIL "Blueprint for Gulf Renewal: the Katrina Crisis and a Community Agenda for Action." Institute of Southern Studies Report, (2007): 40. Farber, Daniel A. Disasters and the Law: Katrina and Beyond. New York: Aspen Publisher, 2006. Giroux, Henry A. Stormy Weather: Katrina and the Politics of Disposability. Boulder: Paradigm Publishers, 2006. McCarthy, Kevin F., [et al.]. "The repopulation of New Orleans after Hurricane Katrina ." Technical Report, no. 17 (2006): 41. Galileo Allen, Troy D.. "Katrina: Race, Class, and Poverty." Journal of Black Studies, no. 37 (2005): 466-468. Barnes, Fred. "Post-Katrina Politics." The Weekly Standard, no. 11 (2006): 2,8. Chaney, Keidra. "What Lies Beneath: Katrina, Race, and the State of the Nation" Bitch Magazine: Feminist Response to Pop Culture. Oct. 2007, 78-79. Giroux, Henry A. "Reading Hurricane Katrina: Rave, Class, and the Biopolitics of Disposability." College Literature, no. 33 (2007): 171-196. Stateman, Alison. "Prediction: Examination of Hurricane Katrina's race and class implications will fade." Public Relations Tactics, no. 12 (2005): 28. ProQuest Block, Walter and. Rockwell, Llewellyn H. Jr. "Katrina and the Future of New Orleans." Telos, no. 139 (2007): 170. Campanella, Richard. “Analyzing New Orlean’s New Footprint.” Times-Picayune, August 29, 2007. Metro-Editorial Section. Freudenburg, William R., Robert Gramling, Shirley Laska, and Kai T. Erikson. "Katrina: Unlearned Lessons." World Watch, no. 20 (2007): 14-19. Golub, Robert M. "New Orleans, Katrina, and the Death and Life of Cities." JAMA, no. 298 (2007): 1062. LaRose, Greg. "Post-Katrina Climate Dampens Insurance Buisiness." New Orleans CityBuisness. 29 June 2007, 1. Lukensmeyer, Carolyn J. "Large-Scale Citizen Engagement and the Rebuilding of New Orleans: A Case Study." National Civic Review, no. 3 (2007): 3. Nguyen, Tram. "A Game of Monopoly." Current, no. 495 (2007): 26. Postal, Arthur D. "Hurricane Katrina Puts New Orleans Agency to the Ultimate Test." Nation Underwriter. P & C, no. 111 (2007): 20-23. Stehr, Steven D. "The Political Economy of Urban Disaster Assistance." Urban Affairs Review, no. 41 (2006): 492. Lexis Nexis Academic Bergeron, Angelle. "Environmental Compliance; Louisiana Contractors Get Bid Piece of Valero's ULSD Unit." Louisiana Contractor, no. 55 (2006): 31. Bradford, Michael. "Katrina lawsuits target oil companies, insurers." Business Insurance. 14 Nov. 2005, 4. Campo-Flores, Arian. "Katrina's Latest Damage." Newsweek. 13 March 2006, 24. Katz, Jonathan. "Eyeing Energy Savings;The Department of Energy hopes free audits will encourage manufacturers to implement savings measures." Industry Week. April 2006, 16. Parpis, Eleftheria. "New Orleans, Revisited." Adweek. 6 Aug. 2007, Feature. Sawyer, Tom. "New Orleans Disaster Blamed on Decades of Bad Decisions." Engineering News-Record, no. 258 (2007): 13. Sawyer, Tom. "Powerful New Tool Is Key To Reducing Risk; Scientific Inquiry into the Katrina Catastrophe Helps Create New Analysis Products." Engineering News-Record, no. 259 (2007): 10. Lecture 09.17.07 In his lecture, Craig Zimring discusses architecture, culture, and behavior by addressing the social ramifications of the obesity and health issues of America and the roll of architecture and environmental design within these issues. Overall, aside from genetic effects and personal life decisions, one of the strongest influences of an individual’s health is his or her environment. This consists of the natural surroundings such as a tree or hill as well as the man made structures such as a staircase or hospital room, both with which the individual will inevitably interact. So, it is with these understandings that it can be said that one of the responsibilities of modern architects is a regulation of health related interaction with the buildings and cities they design. The issues of obesity, heart desease, and diabtestes, apart from those cases related to genetic causes, have been linked to an epidemic of lack of physical activity in the day-to-day lives of individuals. Studies show, that a structure as simple as a staircase in an office building or the amount of natural light within a healthcare center can influence the health of a society as a whole. Within the design discipline, it is crucial to consider the involvement of people within the environment being designed, and with this consideration along with the health issues of society, designing for activity-friendly spaces and environments is a step towards improving society as a whole. Incidental Physical Activity: Physical activity is any activity that exercises or uses the physical human body. Incidental physical activity occurs when an individual endures physical activity without the intention or conscious purpose of involving physical activity within another activity. For example: gardening, painting, and shopping. Intentional Physical Activity: The physical activity involved during an activity set out with the purpose of involving Physical Activity. For example: jogging, swimming, and yoga. Environmental Factors: Elements of a space that influence interaction with that space or objects within it. The main factors that affect the use of a space are comfort, safety, aesthetics, availability, convenience, and legibility. Speculation:
Lecture 09.19.07 Ruth Dusseault begins her lecture on Atlantic Station with a short video of the demolition process and then opens with a discussion of utopian constructs and industry and their affects on society. She explains how it feels to be an observer of such amazing development, and how the features of environment, culture, scale, price, and politics can all influence the outcome of project. The most fascinating aspect of Atlantic Station to her seemed to be the fact the designers and contractors took the features listed above of one group of people and one place and somehow transformed them to a completely new and different notion. They started by erasing the slate (demolition) and over the course of starting from scratch, they came full circle and began enveloping that which they erased into that which they were creating: the smoke stack, the architectural features of the old steel buildings. She is fascinated by the scale of this type of development, and discussed the challenges of capturing in photography how the changes affected much more than a large chunk of land, they affected an entire subsection of a city and eventually a city as a whole. Atlantic Station stands today as a proud and strong example of modernism and the assimilation of the industrial age with today’s culture, preserving the forward motion of modern development as well as the historical context and value of what these developments build upon. Utopian Constructs: the creation or development of a city when the process begins from scratch or no previous notions of history in culture, economics, or politics and proceeds with a fully conceived notion of each. Every detail is novel in relation to the past. Example: Corbusier’s Radiant City, and Walt Disney’s Epcot City. Modernity: relating to the present of recent times as opposed to the remote past, using up-to-date culture, technology, and status to influence the ideas of a conception. Neo-Classical: a style in architecture that began in the 18th century as revivalism of especially ancient Greek architecture. Speculation:
Lecture 09.26.07 In his lecture entitled “ How to Look at Palladio,” Sonit Bafna introduces and explores the basic characteristics of Andrea Palladio and his work in architecture as well as his effect on architecture as whole. He begins by showing several slides of homes designed and built in and around Venice, Italy. He explains the significance of each home in relation to when it was designed and built in Palladio’s career. Throughout his career, Palladio made many great advances for architecture. He wrote The Four Books of Architecture in which he included his mathematical theories for the relationships of proportions and geometric shapes within the design of his villas. Palladio was one of the first architects to connect the façade of a building with the floor plan with symmetry and proportion, as to lock the design in place and allow very little variation. This along with his revolutionary three part design (usually two a larger central portion dividing two symmetrical smaller side units) and the floor-plans that were so systematic and structured led to many theories circulating around Palladio’s work and how he developed his own styles and architectural methods. La Rotanda: The Villa Almerico-Capra in Vicenza, Italy was designed by Palladio in the mid-15th century. It is a symmetrical square-cross building with a circular rontanda in the center which is capped with a dome at the top center of the edifice. The Four Books of Archtecture: A four volume book written by Andrea Palladio as a concentration on his design and architectural theory. These books are used to define a style of architecture known as Palladian architecture. Palladian Architecture: The style of architecture in the 17th Century that is defined by Andrea Palladio’s work. Some common references of terms are Palladian windows and the Rotunda. Palladianism made especially popular in America by Thomas Jefferson in Monticello and the University of Virginia and James Hoban in the design of the White House. Palladianism declined in the late 1700’s with coming of neoclassicism, a Greek revivalism. Speculation:
Lecture 1: Disability Research Part 1: This lecture focuses on the research of the affects of disabilities and how design and engineering can help those who are affected. Initially, the speaker begins with the definition of a disability: a physical or mental impairment that limits a major life function such as communication, ambulation, self-care, etc. These impairments affect more than their primary subject; society as whole reflects the hardships of the disabled in the way we teach, learn and present solutions. These solutions are a result of Assistive technology and the aim of Universal Design appeal. Anything that improves a functional capability is assistive technology. Within this technology lies a philosophy of universal design, which overlaps the day-to-day living of the disabled with the day-to-day living of the fully functional. Products are designed to aid the disabled, but they eventually win over the market as they are usable products independent of an ability of disability. To provide for the cause of improving the lives of the disabled, the Center for Assistive Technology and Environmental Access commissions research and development in design and engineering as well the socioeconomic affects of the results. The significance of this institution in design is that each level of design (large scale or small scale) does impact the functionality of the product, whether it be a wheelchair or the wheelchair ramp outside of an office building. Incorporating the disabled sector of the population into a universal society is the responsibility of those who design, build and assess the world in which we live. Part 2: Environmental Access: The overall functionality of a space relative to people who are using it. For example: wheelchair ramps, barrier and terrace free environments. Barrier-Free Education: The integration of technology with education to provide a means for anyone of any level of ability to use and understand the information presented. Anthropometry: The scientific study of the measurements and proportions of the human body. This affects design, especially industrial design, as it provides a scientific approach to ergonomics. Part 3: Speculation: Where does funding for disability research come from? What is the most prevalent disability that this type of research encounters? Is there any international effort to create more accessible environments? Economically, how does the product design affect the industry and what are the affects of the partnership between the two? Lecture 2: The Construction Industry Part 1: The focus this lecture the integration and accumulation of the construction industry. The Lecture is divided into key factors of industry: the modern industry, the history of the industry, characteristics of the industry, the integration if the industry. The construction industry today is the worlds second largest industry as it covers the sectors of residential, commercial, industrial, and civil infrastructures. The characteristics of the modern industry include fragmentation, little vertical integration within the economics of the industry, minimal research and development, separation of design from construction and minimal recourse to the financial market. The modern industry began its development during the Medieval Ecclesiastical Boom in 1150 to 1350 AD. This development saw characteristics such as contraction by separate trades, design by trade contractors, and craft guild establishment. During the Industrial Revolution (1750-1900) the characteristics took on a more modern resemblance such as the emergence of general contracting, competitive bidding and design finalized before construction. The final topic was integration of the construction industry. The three main factors of integration include the general contractor, the owner, and the designer. Vendors and agents are the connection between these main areas. The integration of the industry, while limited by profession and trade organization, increasing levels of specialization and technology, has improved the overall value, speed, quality, sustainability, and availability of construction today. Part 2: Fragmentation: The break down of the integration of many professions and disciplines into one industry. Technocrat: One who advocates the government or control of an industry by technical experts. Specialization: The narrowing of procedure and curriculum of an industry into more specific fields of study as to increase the intensity within each area by concentrating on smaller parts of a whole. Part 3: Speculation: What are the factors that limit the research and development within the industry? How does legislation and policy affect the industry? Is there a growing trend of international relations in this industry or is becoming a isolationism movement? Who or what regulates the policies of this industry? Lecture 3: Graphic Information Systems Part 1: The concentration of lecture was Graphic Information Systems. The speaker began by defining GIS as a system of hardware and software that links mapped objects to give them information about their attributes and to make that information retrievable and able to be edited. These systems are a result of the converging technology in remote sensing, GPS, wireless, and the internet. This technology is especially significant to urban planning and development. GIS can assist this field by providing a basis for research from the beginning of a design or plan through the development and sustainability of the resulting project. GIS can link information such as the landscape to power grids and eventually streets and other developments. Overall, this technology is the is a strong hold in the future of planning and developing the bigger and more intricate cities. Part 2: Attribute Data Base: The collection point of all data that has been acquired using GIS relating to a certain object. i.e. size, address, elevation, etc. Remote Sensing: A method of acquiring date on a certain area from a satellite or other means using infrared technology. Automated Data Acquisition: Information that is downloaded in real time in programmed increments without human interaction. i.e. satellite images for weather. Part 3: Speculation: What are affects of GIS across the integration of the technology industry and the design industry? What types of disciplines fall into the overall development of GIS? What affects does GIS have on the overall cost of a project? Is it a Cheaper method or a more expensive method? Is there technology that is more automatic or more in depth than GIS? Lecture 1: Classical Architecture This lecture focuses on the traditions and survival of the one of the oldest styles in architecture: classical architecture. This is accomplished by displaying many well-conceived examples of classical architecture within several fields and across several economic levels of architecture: high and low end residential, commercial, and recreational. Proper proportions are one concept that is strongly enforced as the standard of balanced design and criteria of classical architecture. Also, the adaptation of classical design into modern materials and construction processes as to employ efficiency in cost, time and overall esteem of the project. Classicism: The following of ancient Greek or Roman principles and style in art and literature, generally associated with harmony, restraint, and adherence to recognized standards of form and craftsmanship, esp. from the Renaissance to the 18th century. New Urbanism: The modern development in materials and construction in the design of a city structure that reflects the character and culture of the specific city while embracing the heritage and history of the classicism and relevance there of.Defined in the Oxford American Dictionary Speculation:
Lecture 2: Solar Decathlon This lecture is a focus on an architectural competition which challenges teams to design and construct a full scale working edifice that is self sustaining and functional as a living space. These conditions are defined by terms such as sustainability, livability, functionality, structural integrity, and constructability. The essence of the team work crosses all disciplines of design, as architects and designers work hand-and-hand with engineers and building constructors to explore and design in the field of green architecture while competing under the terms of a competition. Green Design: design oriented around sustainability and the efficiency of a system within its environment; inspiration through nature for nature; environmentally friendly in all aspects of design, construction, and functionality. Grey Water: The wastewater produced by everyday tasks in a domestic setting; the sewage produced by a household in the process of bathing, laundry, dishwashing, etc. Speculation:
Lecture 3: Digital Design and Manufacturing The focus of this lecture falls upon the bridging of design with manufacturing created by the growing technology that provides efficiency in resources and design tasks. This focus is shown through a series of examples of recent design projects and the processes there of: the translation between a hand-drawn design and a computer (CADCAM) and the transitions between digital design and the computers that manufacture the projects. The key terms are digital design, fabrication, modular design, manufacturing, and resource efficiency in products and byproducts. Parametrics: Design with a set form and unit system used in computer design to manipulate multiple dimensions with relation to two or more variables: i.e. as height increases, width decreases while depth stays the same. CADCAM: Abbreviation for Computer-Aided Design and Computer-Aided Manufacturing. CAD: the process of design using computer programming and digital representation. CAM: the process of manufacturing using computer-guided robotics which respond to programs and perform specific tasks according to their command. Speculation:
We are surrounded. Surrounded by a world full of objects, artifacts, structures, edifices, art – completely and utterly enveloped. These conditions and developments are gifts from both nature and man, and it is, therefore, a formal responsibility of man to explore, observe, discover, and analyze their circumstance. Description 1 I begin my analysis with an installation found on the outside of the Architecture West building. Alarming in stature yet elegant in form, to a normal passerby, this object might arouse a sense of invasion. By this I mean that, at first glance, the installation on the street-face outer side of the building left me questioning why, how, what? The latter of the three questions was my primary objective, as I desired resolution as to whether to evade the strange beast or confront it with further curiosity. What is it? To answer this, I found myself stepping back (almost naturally) to admire the scale. Some twenty-odd feet tall and easily a few hundred feet long, the supine giant was dwarfed only by the sheer magnitude of its surrounding concrete pillars and terraced cage of a building in its background. As I watched in awe, a girl sat upon what I might consider the tail end, and the monster once again reared its impressive size. I decided, since this girl seemed less precarious about our common “towerer”, to approach said installation and provoked it with more questions. Upon approaching what had seemed to be a smooth and gliding, singular ice-form, it fractured into thousands of pieces, infinite lines, untraceable curves, the sum of every trigonometric formula I have ever imagined. The glassy material played innocently with rays of sunlight that seemed to pet it – refracting, diffusing, reflecting, translating, engulfing. I witnessed the phenomena of a full light spectrum squeezed from the bends and cambers of the prism-like surface – much like the scales of a fish in a rippling pool viewed from above reflect light and paint it with life and color. From this I derived the name Glacies Pisces (Latin for Ice Fish). The translucency of this material made for an even more intriguing light show in its shadow. Fortunately, I watched on a day with rolling clouds to witness a dance of light rays on the base of brick and reflective window behind it. The fluidity of the installation naturally transferred into globs of light, which contrasted the linear precision of masonry and cement-work. Speculation 1 Deeper investigation of the structure left me now wondering how this seemingly icy structure was standing, almost floating in midair with very little visible support. My findings were that there were several major components in the structural support of the installation. The first was in the material itself: my speculation is that it consists of a polycarbonate compound, perhaps acrylic. This material is malleable during manufacturing (probably a combination of heat forming and CNC-mill), yet it is only a few atoms away from being bullet-proof. Combine this fact with the cubic or twisted shape of each piece, and we have extreme structural integrity. The next phase of structure I considered was assembly. Obviously, with the massive scale broken down into so many pieces, such a puzzle would need both directions or reference and a bonding unit. In the case of this installation, the bonding unit is in the form of rivets, nuts and bolts. These fasteners seem straightforward, but the complexity of this structure calls for the employment of design even in the exact placement of each nut and bolt. Every hole is predrilled, ranging from five to eight strategically placed apertures. Every piece depends on the previous one. I speculate that the assembly was done in groups or sections and added in order from the lowest point of support upward. For reference, each piece is labeled with a brail-like code, which correlates with the position and layer to which each piece belongs. Once again, in a stepping-back moment, I began to wonder about the possible design process and purpose of the piece as a whole. I see within the installation the culmination of millions of thoughts and countless minds all with a common goal. I imagine this project covered all levels of design and planning. Each discipline (architecture, industrial design, and building construction) is extremely evident. The architecture is the basis for this installation, as it serves as an accent to a building, an example of art and structure on display. The industrial design shows within the concept of what I perceived as a seating section of the installation. The tail end is at sitting height and conveys the form of a bench. The building construction had their hands full. I can see many man-hours dedicated to the assembly and structural analysis of such a complex entity. With all of these components united into the project, it is an obvious point of pride as it represents the college and businesses that invested in it. Description 2 The installation inside of the atrium of the Architecture West building is one that is both a beautiful example of architecture as well as a design feat. As I reviewed the installation, I became intrigued with the elegant shape and hypnotic lines. The scale of the structure reminds of a majestic waterfall. As I am sure the design purpose entailed, the flowing contours in all three dimensions leads me to call this installation Navalia (Latin for waterfront). It is obviously made of wood, but to the best of my knowledge I would guess it is either maple or poplar. The notion of a wooden installation is made more notable by the mimicking design. In this, I am referring to the frontal knot-like forms in the lines. Also, along the lines of a waterfall, these gaps represent the interruption of the flow of water by an obstacle such as a rock. Finally, the fluid like structure collides with the ground, forming the most sudden disruption of the natural cascade of the structure. The installation gains its magnitude in height, as it begins on the third floor of the building and sweeps down roughly one hundred feet. Apart from the texture and natural art within the grain of the wood, Navalia also derives phenomenological qualities from the its reaction and interaction with light. As beams of sunlight from the highest windows in the building cast upon the upper tear of the waterfall, the optical illusion of movement occurs. While time passes and with it light, one can observe a truly bizarre show as the entire form sways. This reaction can be explained by how the basic design of parallel lines, in themselves waving in two dimensions, interact with the rays of light that shine upon it and pluck each strand of wood to cast shadows that move perpendicularly across the beams – a musical movement. The brilliance of such art, however, would not be accomplishable without a well thought-out strategy for fabrication, structural support, and assembly. Speculation 2 Once again, the sheer scale of this installation along with the choice of material, wood, both contribute to quite a challenge on the construction side of the project. Close observation reveals that the structure is an assembly project with thousands of pieces of wood each cut to a predetermined size, plotted out, and labeled according to a design chart. After the design process, the manufacturing process begins. These two procedures often go hand-in-hand at some point as problems arise and are overcome. Issues such as joint components and connection systems need to be preconceived for the construction process to flow smoothly, so it is through the fabrication and design processes that the giant structure can come together. Each joint is cut to precise angle: any defects would interrupt the jigsaw puzzle. Rather than a tongue and groove method of connection, each piece overlaps the next and is fastened with wood-screws and metal plates. The issue of controlling with contour motion of the pieces had an elegant solution as well: metal spacers (pipe-like washers) regulate the gaps between each beam where every five or six feet a metal bar is threaded through to provide both support for the spacers as well as the structure in general. Perhaps the most fascinating component of the structural support is the mounting system, which occurs at only two points on the entire installation. For such a massive artifact, it is a engineering feat for it to be virtually self supporting: this reflects on both the design of the fall (it leans at an slight angle, which lends the base to bare much of the load), and the interweaving of perpendicular support systems. Finally, this waterfall structure provides an extensive bridge between architecture and industrial design. The overall design is more architecture oriented due to its scale and interaction with the surrounding building. The location of the piece is ideal, for its use and presentation. It is in the back corner of the building but visible from the main entrance – enough to draw the eye, but not to intimidate or offend a common passerby. Moreover the design itself provides a sense of welcome and warmth as it attracts the light from its surroundings and optimistically reflects back the better qualities (openness, modernism) of an otherwise depressing and cold concrete edifice. Also significant is the participation of an industrial design method. Above all intents, the wooden waterfall has one single and basic function. The installation is bench. A basic piece of furniture put on steroids to the point that we now have a one hundred-fifty foot bench. I have watched it move in the light; I have witnessed its strength in structure; I have sat upon it. Overall, these installations are both awe inspiring within their design and powerful in their soothing aesthetic appeal, but more so, they are the culmination of the mission of design – to create human interaction with art and to expose a purpose thereof. Link to this Page
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