- 1 - OBJECTIVE GENERAL: Understand
spatiality through the analysis of form and space analysis and active field of three-dimensional configuration.
2 - SPECIFIC OBJECTIVES:
Understand and develop processes analysis of a tangible or conceptual, as a basic principle in three-dimensional work, seeing it as an essential tool for creative design practice.
Deepening techniques of design projects, understanding and developing the fundamental aspects of concept development and construction processes.
provide students with the basic philosophical concepts that mark the world today and start on achieving a critical and analytical.
Emphasize the importance of structure in the design process and its implications: Constructivist / conceptual space.
Learn to see space from the volume volume and design from space, and their mutual interrelations.
3 - Program Content:
Penetrable A-Space:
1 .- Space as a wrapper. 2 .-
Existential Space. 3 .- Structures
intervention.
4 .- Elasticity and environmental limits.
5 .- Unity and set: interactivity between objects. 6 .-
polarity: In and Out.
7 .- Location: its relationship with the environment.
B-The Project As Attitude:
1 .- Deepening criteria and personal settings.
2 - The crystallization of the idea: discussion, conclusions.
3 .- Study of the techniques and work processes are most suitable in each case.
4 .- The fading of the form.
5 .- The primacy of the structure. 6 .-
overcome gravity.
C-Analysis and Prototyping:
1 .- narrative temporality.
2 .- Structure of space, size, relationships. 3 .- Process
construction: elements to consider. 4 .-
large format projects:
implications: Constructivist / conceptual space.
5 .- Light: illumination of bodies and surfaces
(remark-bridge-wrapper).
6 .- Location: the concept of "place."
7 .- The position of the subject.
D-Making and Presentation of Projects.
4 - METHODOLOGY:
As experimental workshop aims to train students through the development of design projects and construction testing performed at 1 / 1 (one / one), were generated prototypes definitive materials that enable faster verification results. The project will use it to experience a range of experiences and resources that lead the student to mature and question their work during the process, photographing, taking notes, analyzing each of the moments in which to develop his work.
will be emphasized as a significant material. The importance of the choice of material and technical construction: The construction with neutral materials (industrial), metals, wood, plastics, liquids, materials intangibles (light, sound) and materials.
The workshop will be entirely practical and applied. The program content is deployed in the classroom, where they were held corrections and qualifications. Students develop the progress at home.
Each student will submit a "statement" of between 100 and 200 words about your project in each of the 2 (two) previous and the final exam.
At the end of the course each student must submit a digital Dossier Power Point images are contained in each of the work done during the semester, with the entries for these projects.
The following terms and concepts will be applied during the semester:
-Sign. - Gesto. - Subjectivism. - Objectified. - Concept - conceptualizing - Partnership - interactivity - Synthesis - materialize - dematerialization-transformation - power - set - meaning - function - hybrid -. Juxtapose - appropriation - fragmentation - underground - abstract
5 - EVALUATION SYSTEMS:
The final grade will be determined by the sum of the first, second and third note, with a rate of 70% divided equally among the three (23.33% each). The remaining 30% is the value of the final exam.
The first and second note corresponding respectively to first and second prior. The third note is the average of the years called "fast", but the appreciative. Calling
projects submitted by students, will take into account the following values: Creativity - Visual Impact - Process - Structure - Cleaning Design - Finishes.
timely assistance on the day of each delivery is mandatory. The late arrival meant, since a reduction in the top of the ratings, to no reception of the work, which would imply a rating of 0 (zero).
If copying or plagiarism in any work, the student will be subject to the provisions of article No. 52 of the Student Statute.
Failures against discipline, morality, against the personal and collective security against the statutes and damaged furniture, equipment and facilities of the university, punishable as provided in article 53 of the Statute No. Student.
6 - PRACTICE:
No. 1 .- "multiple."
Working with a multi-element, produced industrially.
it was determined a common element for all students.
(Delivery, February 19).
No. 2 .- "ART / ARTE."
Appropriating a work of art history, conduct a formal analysis of this conceptual
, and perform a free interpretation.
(Delivery, February 26).
No. 3 .- "RECONSTRUCTION OF A VEHICLE"
Take a car as personal interest, applying a de-construction process and propose a new use.
(Delivery March 2).
No. 4 .- "INNER SPACE."
conduct an analysis of each student's personal space and display in class presentation of the results obtained.
(Delivery March 5).
No. 5 .- "STRUCTURAL ANALYSIS"
conduct a structural analysis of an item chosen by each student and class display in the presentation of the results obtained.
(Delivery March 16).
N º 6 .- NEW STRUCTURE: (FIRST PRE).
After the tests, a prototype of a structure.
(Correction, March 19 - March 23 delivery).
No. 7 .- "OBJECT FORGOTTEN."
Each student will bring home an object considered forgotten. Bring into play the relations between objects and meaning.
(Delivery, April 6).
No. 8 .- "SENSORY SPACE" Building a
altering, enhancing or negating one, several or all directions.
(Correction on 09 - Delivery, April 13).
No. 9 .- "SPACE STRUCTURE AS PROTECTION."
release of an egg to 4 feet without breaking. This exercise was developed in partner.
(Delivery, April 16).
No. 10 .- "THE CHAIR"
Building, in board, a seat 1 / 1 scale capable of supporting humans.
(Delivery, April 20).
No. 11 .- "RECONSTRUCTION OF SPACE"
Take a space according to personal interest, applying a de-construction process and propose a new space.
(Correction 23 - Delivery, April 27).
No. 12 .- "RECONSTRUCTION OF VOLUME"
Take a volume according to your interest, apply a de-construction process and propose a new volume.
(Correction April 30 - Delivery, May 4).
No. 13 .- "NEW CONSTRUCTION" (previously owned).
From those included in the previous two years, present a prototype, disassembled, to visualize the space-volume relations, interior-exterior.
(Correction on 07 - Delivery, May 11).
No. 14 .- "BEING"
Developing, writing, physical and psychological aspects of a new being. Submit artist renderings and then the final materials SER.
(14th Revision - Delivery, May 18).
No. 15 .- "TOY OF BEING."
Design a toy for being.
(Delivery, May 21).
No. 16 .- "The interior of SER." (CUT). Building
be habitable space and incorporate its context (the world of being).
(Corrections and 28de May 25 - Delivery, July 1).
No. 17 .- "FURNITURE OF BEING." Make
furniture to use for the being.
(Delivery, July 4).
No. 18 .- "The interior of SER." (FINAL CONSIDERATION).
Building a penetrable 1 / 1 scale.
(corrections days 08 and 11 - Delivery, May 22).
On February 23, take a guided tour to 13 regional artists SALON, EAST ZONE. Will talk about trends and artistic movements of the twentieth century.
On March 26 we will make an audiovisual lecture on the references given in the program.
"INTERVENTION IN SITU"
installations carried out in the space of ephemeral building project "Demolition." This work will be done in groups.
The timing of this intervention is subject to the calendar to make the project "Demolition."
This exercise is likely to replace any of the above and if necessary, that the dates are given, this exercise may be the first Prior.
7 - REFERENCES:
A. - MOVEMENTS AND TRENDS:
-Dadaism. - Cubism. - Constructivism. - BAUHAUS .- OP ART / kinetic art. -Minimal. - Conceptual art. - FLUXUS. - LAND ART. - POP ART. - VIDEO-INSTALLATION ART.. -
B. - ARTISTS:
-PICASSO. - MARCEL DUCHAMP. - Jorge Oteiza. - Vladimir Tatlin. - HENRY MOORE.-Constantin Brancusi. - Alberto Giacometti. - ALEXANDER CALDER.
-PIET MONDRIAN. - Kandinsky. - Anton Pevsner. - Naum Gabo. - Anthony TAPIES.-Lucio Fontana. - Jackson Pollock. - Robert Rauschenberg - .- Andy Warhol Claes Oldenburg. - Victor Vasarely. - Jesus Rafael Soto. - .-- Joseph Beuys Nam June Paik. - CARL ANDRE. - Sol LeWitt. - Donald Judd. - Yoko Ono. - Keith Haring. - Jean-Michel Basquiat. - Guerrilla Girls. - Pink Lady. - EDUARDO RAMIREZ Villamizar. - Bernardo Salcedo. - Elias Heim.
C-ARCHITECTS:
-Frank Gehry. - Norman Foster. - Rem Koolhaas. - Ole Scheeren. - Vincent Callebaut. - Richard Rogers. Jean Nouvel. - Le Corbusier. - Kengo Kuma. – KESTER RATTENBURY. –MICHEL ROJKIND. – SANTIAGO CALATRAVA–RENZO PIANO – PETER EISENMAN. – MIRALLES TAGLIABUE. – SIMON VELEZ. – FRANK LLOYD
WRIGHT. - LUDWIG MIES VAN DER ROHE. – OSCAR NIEMEYER. --TADAO ANDO.
D- PENSADORES:
-JACQUES DERRIDA. – WALTER BENJAMIN. – MARCEL PROUST. – ANDY WARHOL. -MARCEL DUCHAMP. – SIGMUND FREUD. – ROLAND BARTHES.
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