This year there is a workshop prepared and given by instructors from our faculty every week. The true core of this project is to make us feel more familiar with computer programs that enable us to design and represent designs that would be not very convenient without using an online software. There are many programs attached to our agenda and in this week, we start with SketchUp: an intuitive way to create 3d models.
Before lecture started our instructor made several important arguments about the common understanding of computer programming and how it is useful to us. There is no proper “knowing” a software which many designers aim to achieve. You can never fully “know” a program. Even the people who created that code that allow this program to work do not fully make use of the programs full capabilities. We should instead strive to know enough about the software that gets the job done. If you solve your problems using this you know this software. Simple as that. And also we are in the age of endless knowledge that is so very easily accessible to everyone, anytime that learning what you aim to solve should be the ultimate goal knowingly.
Our other instructor showed how to first grasp the overall basic structure of SketchUp and how to get accustomed to it. We learned how to draw, push to get 3d objects, move surfaces and how to multiply several elements. We saw how to work in several components, edit groups simultaneously and offset geometrical elements to get various results.
The endless possibilities of this technology also allows us to create quick render-like images that allow the main idea to come through in an organized and realistic manner using help from Photoshop.
I am very excited to start using SketchUp more and produce models that will have a gigantic effect on my designing process.
Hello, to start our journey into the second year studio studies, we went on a field trip to Kolejin (a multi-functional recreational center) in order to experience and be aware of the human proportions in relation to the design principles and the strategic function of the building. We had one hour to examine the space around us and try to grasp the potential of spaces reference to the human scale. Also up till now, we had never taken measurements directly from a real-world example that we can comprehend by our own experiences. This was a very interesting step for me because for the first time I got to imagine what it would be like to design something in the language of measures and in return get a tangible functional solution that we as a society can comprehend directly.
In order to get the special qualities of this place, we choose relatively small parts which contain complex materials working together to form an interrelated composition and also have details that would be not studied in a farther away approach to the design.
As the part of the assignment, we were assigned a unique part if the building to be conceived and make a 1/50 section drawing which further acts as a catalyst in the process of understanding the bond between human scale and architectural designs that we use every day.
In our group of four, when we are taking measurements, we quickly realized that the best way was to make a sketch of the to-be-made section drawing which in turn will provide the essential base for the measurements. The section drawing is down below. I truly believe that this work helped me become more aware of my surroundings and freshen up my cognitive and drawing skills.
In order to start the Arch221 course, our instructor had the first lecture on prehistory part of the history of architecture. We also had a complimentary reading portion that is parallel to the lecture and which can strengthen our understanding of the instinctual mindset that came into building architectural structures.
This goes far back as the Prehistoric times when humans first dwelled in caves and later formed their own version of a cave-like hut that consisted of branches and leaves. This later evolved into spiritual spaces and became a large part of the social rituals that exemplify nature and its animals. We started to see communities form that lives so close to each other in settlements without any roads. This is the result of new technologies that allow structures to be more stable and buildable.
Research about the passage and Adolf Loos
” In 1908, the Austrian architect, designer, and theorist Adolf Loos published an incendiary treatise entitled “Ornament and Crime.” The essay equated the use of ornamentation in late nineteenth and early twentieth century architecture and design with the destruction of culture and society. Loos felt strongly that ornament had no meaning or place within contemporary culture, even going so far as to argue that ornament actually hindered society’s progress. Specifically, Loos viewed superfluous ornament as an epidemic, one that contributed to the obsolescence of objects. He advocated for simplicity, because simple objects never go out of style and therefore would be treasured for all time.
Even today, Loos’s questioning of the role of ornamentation still resonates within the architecture and the decorative arts communities. Academics, critics, students, artists, and curators regularly discuss and debate the topic, asking themselves such questions as: What purpose does ornament serve the design of an object? Is it simply a function of style? Does ornament contribute anything meaningful to objects today? “*
“All of these reasons are suggested in architect Adolf Loos outrageous 1908 manifesto “Ornament and Crime,” an essay designed to infuriate fine artists, as it suggests they are decadent if not infantile, stuck in a primitive state of mental development. “The evolution of culture is synonymous with the removal of ornament from objects of daily use,” Loos declares, flatly rejecting the idea that lack of ornament implies an ascetic self-denial—and then proceeds to insult anyone who might disagree. For those who ornament their bodies with tattoos, he declares, “The modern man who tattoos himself is a criminal or a degenerate. There are prisons where 80 percent of the inmates bear tattoos. Those who are tattooed but not are not imprisoned are latent criminals or degenerate aristocrats” (or post-collegiate hipsters). Of those who like to dress up, he wonders how they can stand to “walk about in red velvet trousers with gold braids like monkeys at a fair.” Of the impulse to paint, he explains that “Erotic excess” drives painters to make their marks on canvas, the way caveman marked walls and vandals graffiti lavatories. Those who look to the past in nostalgia to revive the accoutrements of past luxuries, he says “impede the cultural development of nations and humanity itself,” and are thus “criminals.” In response to the fallacy that planned obsolescence in fashion creates more work and thus propels the economy, he suggests that the Austrian empire be burned to the ground every so often so it could be the most prosperous nation in the world.”**
Personal comments and ideas
In “Ornament and Crime”, a strong opposition towards the use of ornaments in everyday objects all the way to large buildings is sensed drastically. The creation of these is thought to be a waste of much-needed labour. Also he had two main ideas that supported his anti-ornament ideas which were that it is a misuse of the valuable worksmanship of workers and that it harms the mental health which results in the dellaying of the improvement in society and culture.
I think Adolf Loos’s ideas are very compelling and attractive towards many people because of its use of relatable but also harsh critisizing comparisons. He made a really good use of the interconnected ideas which is that with the missed labour the health is also affected. But also, he was short to draw somewhat clear distinction between what is an ornament and what is not. When these differences arent that much studied in an expression which centers around the abandoning the use of ornaments, this expression is weakened.