Part of the advanced studio sequence at RISD, this studio explores computer programming as a design medium. In this course, programming (the creation and implementation of algorithms) was applied first though computing drawing via a vintage pen plotter, emphasizing questions of line, composition, color, and mark making, rather than overt architectural conditions.
Two phases were used a vehicles of exploration drawing, with differing approaches: first a sensation of depth on paper through exclusively 2-dimensional mark making, and then the rendering of a particular corner through line. Shifting between drawing and architecture, the course culminated in a final building phase (a USPS warehouse in Boston), but with the central pedagogical questions always revolving around representation: particularly those elements that make a drawing both “of” a particular subject matter and something that “is,” i.e. a work that exists on its own merit.
↑ final triptych articulating program, views, and tectonic language
↑ first computed drawing, pen plotted: exploration of voluptuousness and depth through masking
↑ a corner developed that is both flat and deep
↑ the corner is now many corners, through several viewpoints
↑ an algorithm was used to explore language developed in previous corner drawing, generating a new geometry
↑ final drawing, phase 2. many corners, with an ambiguity oscillating between solid and void. rendered lines amplify the ambiguity
↑ final tectonic model
↑ final drawing 1: tectonic is established on paper; it is the relationship between lines and objects, primarily that of a rotating box. the primary user, a delivery truck, is a box interacting with the larger box
↑ final drawing 2.: can multiple views and experiences co-exist on the same sheet of paper?
↑ final drawing 3: is it possible to adequately represent a project with no conventional orthographic drawings?