What is the construction logic associated with sheets of materials? How do simple material accumulations of gypsum board, plywood, masonite, veneer or acrylic become implicated in complex systems of assembly and performance? If we accumulate material BIT X BIT, constructing sheet material logics on scale, can we more fully understand the form and performance of seams, joints, tucks, puckers, and twists of material? If we accumulate material BYTE X BYTE, transforming construction logics through digital processes, can we derive strategic joints which perform across structural, spatial and environmental dimensions?

Dieste bit by bit prototypes. From left to right, the "seagull" (1976), Massaro Agroindustries (1976 - 80) and Port Warehouse (1977 - 1979).

ONE BIT

Eladio Dieste, a Uruguayan engineer and architect, was compelled to accumulate material BIT X BIT in two strategic ways engaging and evolving conventional material and construction logics. First, Dieste's material of choice was a local Uruguayan brick which in turn was deployed as part of a long span brick vaulting system, a system which he newly invented because of limited local resources.

Further, Dieste asserted a design methodology and a preference for always working with a full scale prototype. Regarding his disuse of the scaled model Dieste states "What I can say is that I have proceeded BIT by BIT, and that the smaller structures have been the models for the larger one."

For this studio BIT X BIT becomes a material logic and construction logic. The studio will work in the realm of sheet materials, transforming them to find their agency. It will likewise work in the realm of systems of construction, attempting to understand how material systems perform, evolve and differentiate themselves. To this extent each student will pursue an invented system of construction.

ONE BYTE

DECOI'S plywood constructional logic for Missoni Botique, Paris France.

The studio will likewise address the invention of construction and fabrication logics BYTE X BYTE in the context of the current digital input and output technologies. BYTE X BYTE thinking challenges each studio member to become a digital practitioner, engaging four primary technologies for output; the laser cutter, cnc router, 3d printer and 3d scanner. These technologies put conventional construction and sheet logics into a questionable position as customization becomes not only possible but fitted to specific scenarios of form and performance.

To the extent that the studio addresses full scale constructions, it must also address the questions regarding the invention, form and evolution of systems. It will ask: If sheet materials are thin materials how can thickness emerge? How can specialization of parts, forms and layers evolve? How does one assemble a constellation of strategic relationships and constellation of strategic forms?

In this studio, both BITS of material and BYTES of data conspire to generate grounds for inventive thinking and making.

DESIGN FIVE

Design five is an intermediate-level design studio with an emphasis on theory and research. The design five studio challenges each architecture student to develop clear working methodologies, formulate a design thesis or hypothesis, and test intention through iterative making. Each student will generate a body of work resulting from a fifteen week interrogation. The content of the work is spatial, experiential, temporal, and structural. Design five will open up the potential for architectural invention.

Design five includes a studio component and a seminar component. The studio is topic based, introduced with a question and working methodologies. The seminar supports the topic and theoretical content of the studio.

WITH OUT THE JARGON

This design and fabrication studio will invent sheet material systems which rely on digital input and digital output. In this studio you will be challenged, as Dieste was, to set aside the process of modeling for the process of prototyping. Prototyping is defined as 1:1 output. To approach 1:1 constructions we will consistently use a process of scaling up and testing for specificity. The studio will address one project, the construction of a small habitable structure. The structure is organized into two phases of research, allowing each student to generate a body of work surrounded by the material, construction and fabrication questions in the studio. The seminar will support this body of studio work by addressing ways of thinking about iterative practices, digital practices and digital fabrication protocols and construction.

ENERGY AND RESOLVE

In this design five studio full scale fabrication will require energy and resolve. It is the energy embedded in inventing a material assembly and asserting that the action of assembly, this joint, seam, wrinkle, or surface does occur at a specific sale. It is the resolve to MAKE IT at an asserted operative scale, FAIL, and assert again. The challenge in this studio is to find a space of possible permutations and withstand the swing between iterative work and assertive work.

COURSE REQUIREMENTS

Required reading and posting:

The required reading for this studio is available in the DESIGN 5 COURSE PACKET. The required reading is also posted on the course's electronic reserves site. This site is accessed through the University of Texas at Austin Libraries link or at www.lib.utexas.edu.

Reading is assigned each week. Each student is required to post a question on the studio's electronic reserves site prior to Wednesday's class under the corresponding class week. Your question is derived from the weekly assigned reading. Each student is then required to prepare a response to a colleagues posted question and discuss that response during Friday's seminar. Each student is expected to approach their reading as necessary research which supports their studio work.

COURSE POLICIES

Attendance Policy

Studio meets MW 1:00 - 6:00, F3:00 - 6:00
Seminar meets F 1:00 - 2:45
Attendance is mandatory. Participation in both studio and seminar is expected. Students with two unexcused absences may be dropped from the course without further notice. The minimum penalty for two unexcused absences is a full grade letter drop in your final grade for the course. Please contact me prior to the beginning of class if you expect to be late or will not be attending class.

Absences are excused only for medical conditions and personal or family emergencies. I may require written documentation for any excused absence.

A student who is absent from a class or examination for the observance of a religious holy day may complete the work missed within a reasonable time after the absence, if proper notice has been given. Notice must be given at least fourteen days prior to the classes scheduled on dates the student will be absent. For religious holy days that fall within the first two weeks of the semester, notice should be given on the first day of the semester. It must be personally delivered to the instructor and signed and dated by the instructor, or sent certified mail, return receipt requested. A student who fails to complete missed work within the time allowed will be subject to the normal academic penalties.

Grading Policy

This is a research studio. Design work is iterative. You are responsible for generating a well articulated thesis or hypothesis and body of work which tests your intentions. This body of work must be informed by both studio making and seminar thinking. Your studio and seminar work is evaluated on its rigor and evolution over sixteen weeks. Equal weight is given to all assignments.

Grading is broken into four components for each assignment:

1/4 theory/research: your identification of pertinent concepts and discussions through seminar participation and studio translation

1/4 thesis: your intention combined with an appropriate translation into making.

1/4 product: the testing of your thesis through actual physical samples and prototypes

1/4 synthesis: the understanding of thesis and product and their architectural implications

Grading Criteria:

The criteria for establishing a grade is as follows:

A (90-100%) OUTSTANDING DESIGN 5 WORK
The resulting body of work is decisively iterative, tested and exemplary in its theory/research, thesis, product and synthesis. It is innovative and supported by a well articulated intention. Research methodologies have matured at a rigorous pace, evidencing a pursuit fueled by thinking and making. All work is completed on time and is done so prolifically. Work at this level surpasses expectations with respect to development, inventiveness, impact, appropriateness, resolution and integrity of pursuit.

B (80-89%) GOOD DESIGN 5 WORK
The resulting body of work is iterative, tested and evidences experimentation with research methodologies. It is supported by a well articulated intention. Work which earns the grade of B is not deserving of the grade A because it does not coherently and rigorously follow though on one of the following: theory/research, thesis, product and synthesis. Work at this level is diligently pursued and completed on time. It is likewise inventive, developed, promises impact and evidences a dedicated pursuit.

C (70-79%) AVERAGE DESIGN 5 WORK
The resulting body of work is iterative and tested but underdeveloped with regards to research methodologies. A thesis and intention are present and under-articulated. Work which earns the grade of C is not deserving of a Grade A or B because it lacks development and coherency in two or more of the following areas: theory/research, thesis, product and synthesis. Work at this level is moderately rigorous, completed on time but lacks invention and complete dedication. A brilliant idea can earn a grade of C if it produces a casual product and a thinly articulated thesis. Similarly, a weak or indifferently pursued idea can earn a grade of C even if it is accompanied by a good end result.

D (60-69%) DESIGN 5 WORK IS NOT EVIDENT
The resulting body of work is not iteratively pursued and is underdeveloped with regards to research methodologies. The intention of the work is not present or easily identified. Work which earns a grade of D is not deserving of a Grade A, B or C because it lacks development and coherency in three or more of the following areas: theory/research, thesis, product and synthesis. Work is not completed on time, is thoroughly underdeveloped and missing whole and essential concepts developed in the studio.

F (below 59%) DESIGN 5 WORK IS ABANDONED
A body of work is not present or evident. Work which earns a grade of F lacks development and coherency in all of the following areas: theory/research, thesis, product and synthesis.

X Excused incomplete
In accordance with university policy, an X or incomplete may be given only for legitimate reasons of illness or family emergency. Simply not completing the work on time is not an adequate cause for assigning this symbol. It may only be used after consultation with the instructor or the Associate Dean, and with an agreement as to a new completion date. Studio work has to be completed before the second week of the next design semester in which a student wishes to enroll, according to school policy.

If you are earning a C, D, or F at mid semester I may issue an absence/failing report.

Students with disabilities:

The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at 471-6259, 471-4641.

If you are appropriately qualified through this office, please notify me in accordance with the Office of the Dean of Students policies.

Studio Safety and Security

The studio should be an environment for anyone and everyone to feel comfortable in. Please see me if there are any problems (music, visual pollution, etc.) that you are unable to resolve on your own. Security is a necessary component for a studio that is accessible to you and your colleagues 24 hours a day, 7 days a week. After hours please keep doors to the studio and especially the building locked. Do not prop open building doors and remove those props that you do find. Be safe.