32.01 model photos

Photos of the following models:

• 27.01 model extensions I (3 models; 2 shots each)
• 28.01 model extensions II (1 model; 2 shots)
• 29.01 model extensions III (1 model take-apart; 4 shots)
• 30.01 final model (1 model take-apart; 6 shots)

each image frame is a minimum of 2000 pixels across horizontally (3 megapixel camera); the model should be as large as possible within the image frame; cast shadows; use photoshop to enhance black background; see examples here.

Upload 18 files: JPEG Quality 12 Maximum Baseline (Standard).
due: Wed. 12/5 8:00 am.

31.03 exploded isometric

Chadwick Kipfer. JazzStudio, 1997. take-apart iso. (hand-drawn & photoshop).

31.02 exploded isometric

Dean Albright. JazzStudio, 1994. take-apart iso. (hand-drawn & photoshop).

31.01 final drawing sets

Path Place Transition Set

• Plan Sheet 24" x 36" vertical; can show transparency, black elements, etc.
• Iso Sheet 24" x 36" vertical; same row order as plan sheet; no transparency.
• Each diagram is scaled to 2.5" long (1/32" = 1' scale).

rows top to bottom:

1. base b&w figure diagram and base x-ray diagram; graphic scale diagram.
2. diagram/diagrams (5 transformations).
3. reference diagrams (5 variations).
4. positive/negative (5 variations); related to reference diagrams.
5. path (5 transformations) related to diagram/diagrams.
6. place (5 transformations) related to diagram/diagrams.
7. transition (5 variations).
8. path+place combination.
9. path+transition combination.
10. place+transition combination.
11. path+place+transition combination.

Exploded Take-Apart Isometric of the Structure model

• 24" x 36" vertical sheet.
• Scale as needed; show graphic scale based on format rectangle (80’).
• Shows structure completed (with partial reference to most important elements of the site).
• Shows structure as take-apart based on physical model.
• Hidden-line drawing with color coding.
• Use dashes to indicate exploded or removed/displaced components.

Orthogonal Cuts of the Site/Structure Model

• 24" x 36" vertical sheet.
• 1/16” = 1’ scale.
• Longitudinal Cut through the site and structure.
• Transverse Cut through the site and structure.
• Site Plan Cut through the structure.
• Cut elements are black (site and structure).
• Articulate joints between site & structure and between elements with gaps or use white stroked lines.

Prints: four 24" x 36" vertical sheets.
Upload 6 files: AI plan sheet; AI isometric sheet; AI explode isometric sheet; AI orthogonal cuts sheet; FMZ model.

due: Sun. 12/2 9:00 pm; final review is on Mon. 12/3 8:00 am; drawings and models on display.

30.01 final model

29.01 model extensions III

1) Construct a new take-apart model that further investigates site and structure articulation opportunities; apply issues and methods raised in today's session.
2) Introduce one or two height moves to the site; increment is equal to 8' (1/2").
3) Transition volumes must be included in the model.

due: Mon. 11/12 8:00 am; have preliminary works in progress available in studio on Friday 11/09; be prepared to work.

28.01 model extensions II

1) Construct diagrams describing the logic of your site shift as it moves from the normative condition. What are the actions, reference points and lines of the shift(s)? File and print 11" x 17".
2) Construct a more articulate new model. Use the same general rules as in assignment 27.01 with the following new requirement: pick on or two path or place volumes as higher or lower than 10' height.
3) Generate an isometric of the new model; color code path and place; File and print 11" x 17".

see example Paul Rudolph's Finney Guest House.

Upload 3 files: AI diagram; AI isometric; FMZ model.
due: Wed. 11/07 8:00 am.

27.01 model extensions I

Produce 3 relief models each as a 16.5" x 10.5" field (scale: 1/16" =1').
model 1 - normative position
model 2 - lateral shift x
model 3 - bi-lateral shift x-y

• 3 layers of chipboard laminated to a foam base.
• path and place as wood volume/solids; 10' height.
  
• extension of paths to the edge of the field
• extension lines of place volumes to the edge of the field.
• layers physically depict extension lines and extended zones.
• lateral shifts must be a dimension related to the internalized geometry of the diagram/diagrams.

see examples for clues

due: Mon. 11/05 8:00 am.

26.02 model preparations

1/2" pink or blue foam; precisely cut 5 sheets 16.5" x 10.5" each.
1/16" chipboard; precisely cut 5 sheets 16.5" x 10.5" each.

Have available 1/16" white museum board and scraps of wood 5/8".

due: Fri. 11/02 8:30 am.

26.01 path place transition presentation

Plan Sheet 24" x 36"vertical: (top to bottom)

1. base b&w figure diagram and base x-ray diagram.
2. diagram/diagrams (5 transformations)
3. reference diagrams (5variations)
4. path (5 transformations) related to diagram/diagrams.
5. place (5 transformations) related to diagram/diagrams.
6. transition (5 variations)
7. path+place combination
   
8. path+transition combination
9. place+transition combination
10. path+place+transition combination
11. place external (dashed) vs. internal (solid); related to place diagrams.
    
12. positive/negative (5 variations); related to reference diagrams
    

Iso Sheet: iso version of plan sheet (same row order).

Each diagram is scaled to 2.5" long (1/32" = 1' scale)

Prints: two 24" x 36" vertical sheets.
Upload 3 files: AI plan presentation; AI iso presentation; FMZ model.
due: Fri. 11/02 8:30 am.

25.02 path place transition analysis IV

Iso Sheet 1: iso version of plan sheet 1.
Iso Sheet 2: iso version of plan sheet 2.
Iso Sheet 3: iso version of plan sheet 3.
Iso Sheet 4: iso version of plan sheet 4.

iso sheets due: Wed 10/31 8:00 am; upload 4 AI iso presentations; 1 FMZ model.

25.01 path place transition analysis IV

Plan Sheet 1: (top) base b&w figure diagram; base x-ray diagram; (mid) diagram/diagrams; (bot) reference diagrams.
Plan Sheet 2: (top) path; (mid) place; (bot) transition.
Plan Sheet 3: (top) path+place; (mid) path+transition; (bot) place+transition.
Plan Sheet 4: (top) path+place+transition; (mid) place external as dashed/internal as solid; (bot) positive/negative.

Notes: a re-assembly and refinement of previous diagrams; manifest ordering; constants and variables; major/minor; transformational sequences of diagrams. Sheet size is 24 x 36; the scale of the isometrics must be the same scale as the plans; isometrics are hidden line output from formZ; use Illustrator to color isos; all diagrams must show format box or volume.

See Le Corbusier transformations.

plan sheets due: Mon. 10/29 8:00 am; upload 4 AI plan presentations.

24.01 path place transition analysis III

Revise the set again according to this morning's pinup.

due: Fri. 10/26 8:30 am.
Prints: two 24" x 36" sheets.
Upload 3 files: AI plan presentation; AI iso presentation; FMZ model.

23.01 path place transition analysis II

Based on today's pinup, analyze your previous diagram work in terms of path, place, and transition. For background information review the following diagram examples:
Order Architecture slides
Mary's House diagrams
Barcelona Pavilion diagrams
Peter Eisenman diagrams

due: Wed. 10/24 8:00 am.
Upload 3 files: AI plan presentation; AI iso presentation; FMZ model.

22.01 path place transition analysis

Analyze your previous diagram work in terms of path, place and transition. For background information review today's lecture slides on
Order Architecture.
Plath Place Transition: The French House.

plan series
top row: reference 5 plan sequence based on assignment 21.01; select 5 diagrams from either series; the black elements or the white elements.
row 2: potential paths (blue tint)
row 3: potential places (red tint)
row 4: potential transitions (gray tint)

isometric series
top row: reference isos
row 2: potential paths (blue tint)
row 3: potential places (red tint)
row 4: potential transitions (gray tint)

Notes: the scale of the isometric diagrams must be the same scale as the plan diagrams; isometrics are hidden line output from formZ; use Illustrator to color isos; all diagrams must show format box or volume.

Prints: two 24" x 36" sheets.
Upload 3 files: AI plan presentation; AI iso presentation; FMZ model.

due: Mon. 10/22 8:30 am.

21.01 negative volumes III

Same assignment as 19.01 and 20.01 with the following additions discussed in studio.

1) Plan Presentation: all plan diagrams the same scale (5" across); format rectangle; line strokes according to what is appropriate to the diagram; label diagrams.

• top row: base diagram (black figures & white figures; no extension lines); base x-ray diagram (all figures as no fill; no extension lines).
• row 2: base diagram/diagrams.
  
• row 3: black elements (black fill) with sectioning-lines.
• row 4: white elements (white fill) with sectioning-lines.

2) Iso Presentation: same as previous but improved relationships; redesigned.

Prints: two 24" x 36" sheets.

Upload 4 files: AI plan layers; AI plan presentation; AI iso presentation. FMZ model.

due: Fri. 10/19 8:30 am. (to give more time to print, but you better be on the wall at exactly 8:30!)

20.01 negative volumes II

Same assignment as 19.01 with the following considerations discussed in studio: a) for base diagrams: simplify as a transformational sequence; as a series of sequential operations (simple to complex). b) for negative volumetrics: simplify the sectioning operations, relating them back to the base diagrams. c) correct any hidden line errors in Illustrator; adjust line weights.

1) Plan Presentation: 15 plans on a 24" x 36" sheet; top row base diagram diagrams; middle row black elements (black fill); bottom row white elements (white fill and thick stroke); all diagrams show sectioning-lines and format rectangle as thin stroke; label diagrams.

2) Iso Presentation: 15 isometrics on a 24" x 36" sheet; top row base diagram diagrams; middle row black element negatives; bottom row white element negatives. All isos are rendered as hidden line, black-line, white fill; label diagrams; where needed show format volume as a virtual volume (dotted lines).

Upload 4 files: AI plan layers; AI plan presentation; AI iso presentation. FMZ model.

due: Wed. 10/17 8:00 am.

19.01 negative volumes

1) Diagramming the base diagram: generate 5 plan and 5 isometric interpretations of the base diagram. These are based on a reduction of the extension-line network.

2) Negative volumetrics of the five-stage sequence: generate a negative interpretation (plan and iso) of the black-elements and the white-elements.

3) Presentation: 15 isometrics on a 24" x 36" sheet; top row base diagram diagrams; middle row black element negatives; bottom row white element negatives. All isos are hidden line, black-line, white fill; label diagrams.

Upload 3 files: AI plan layer diagrams; FMZ model; AI iso presentation.

due: Mon. 10/15 8:00 am.

18.01 isometric sequence

As demonstrated in studio today, re-organize elements from the base drawings and the five-frame sequence into a single Illustrator file with a maximum of 13 layers as follows: format, figures, extensions, black1, black2, black3, black4, black5, white1, white2, white3, white4, white5.

Export the Illustrator file into a AutoCAD Drawing (dwg) file. In formZ select the dwg file as Import Model; set DWG options to Make Smooth objects. The process of 3D model creation is similar to assignments 9.01 and 9.02. Present a series of 45-degree isometrics (similar to assignment 10.01); top row is referential (format, extensions, figures); middle row is the black element sequence; bottom row is the white element sequence.

Upload a total of 3 files: layered AI file; layered formZ model file; AI presentation iso file. Print the isometric presentation on a single 24" x 36" sheet. Print to the HP 4000 or Oce.

Due: Wed. 10/10 8:00 am

17.01 Five Stage Sequence II

Generate 5 new and improved diagrams from revised base drawings. That new extension lines, new diagrams, new sequences, new prints. Same rules as in assignment 16.01.

Upload a total of 7 AI files. Print all to 11" x 17" sheets.
See slides and notes from today's presentation.

Due: Mon. 10/08 8:00 am

16.01 Five Stage Sequence

Two base drawings are refined from your previous chorus diagram(s) or encodings. All extension lines are now solid thin lines. Dashed lines are transformed into solid lines. Add new extensions lines that give you flexible options for articulation.

black + white figures + solid extension lines.

x-ray diagram; all figures no fill + solid extension lines.

Generate 5 diagrams from these base drawings. All drawings use the same extension line network. These drawings reference each other as a sequential series or as a variation on the same system. Each drawing has plans and volumes, thick and thin. They are seen as imaginary horizontal cuts in space (similar to a series of plan cuts). An animated sequence. If the animation is jerky, then you are probably not rigorously defining the precincts of the base diagram. If the animation doesn't move, then you have probably not varied the base diagram enough.

Upload a total of 7 AI files. Print all to 11" x 17" sheets.

Due: Fri. 10/05 8:00 am

15.01 encoded variations

Generate a new set of 10 encoding variations based on the diagram chosen in studio. Upload a total of 10 AI files. Print only the 5 best compositions to 11" x 17" sheets. Also have the original diagram printed. Adjustments can be made to the diagram as needed.

The primary focus is on order and articulation. Add extensions lines as needed.

Due: Wed. 10/03 8:00 am

14.01 encoded diagrams

Generate a new set of five encoded diagrams for each of the three cross-mapped diagrams. As discussed in the studio, consider using earlier diagrams from exercise 06.01 or exercise 05.01 as the base diagram. Upload a total of 15 AI files. Print only the six best compositions (two for each diagram) to 11" x 17" sheets.

The primary focus is on order and articulation. Add extensions lines as needed.

Due: Mon. 10/01 8:00 am

13.01 encoded diagrams

Generate five alternative encoded diagrams for each of the three cross-mapped diagrams. Upload a total of 15 AI files. Print only the six best compositions (two for each diagram) to 11" x 17" sheets.

• No checkerboarding
• No tangential relationships
• No striping
• No decorating
• Define space(s)
• Articulate elements
• Add extensions lines as needed
• White elements are just as important as black elements
• Planes and volumes
• Thick and thin

Due: Fri. 09/28 8:00 am

12.01 in class encodings

Upload AI encoding files you generated in class to the server.

11.01 encoded diagrams

The encoding process does not follow a strict recipe or formula. It is an exploratory search into multiple trajectories that redefine primary, secondary and tertiary precincts within the given underlying order. The studies test orientation constants and variables. Black elements might turn white. White elements might turn black. Extension-line regions can generate new planes and volumes. See examples that were shown in class: neiman jazz composition and encoding sample (these are PDFs that can be opened in Illustrator). This encoding was made in Photoshop.

Process notes: Make duplicate copies of each of the three cross-mapped diagrams. Proportionally scale the drawing for an 11" x 17" format (the 10" dimension is increased to 15"). Make each diagram (all layers: black, white, format, ext-line black, ext-line white) into one Live-Paint object. Selected regions based on the existing extension-line network are filled with black, white, or no-fill. Label each diagram.

Submissions: Generate two alternative encoded diagrams for each of the cross-mapped diagrams. Upload a total of 6 AI files. Print each file on 11" x 17" sheets.

Due: Wed. 09/26 8:00 am

10.02 formZ tutorial

Study chapters 1 - 8 of the form•Z tutorial that is included on your disk. For chapters 3, 4, 5, 6, 7, and 8 submit form•Z files as evidence of work in those chapters.

Here is a pdf of form•Z keyboard commands which you will find useful

Due: Mon. 09/24 8:00 am

10.01 presentation

Using Illustrator, present your 3 isometric sets on a single 24" x 36" sheet. Print to the HP 4000.
Submit Illustrator file to the server.

Due: Mon. 09/24 8:00 am

09.02 second take

Redo the previous assignment with the following requirement. Generate a 1/16" = 1' scale 45-degree isometric for each of the 3D model layer: white, black, extension-white, extension-black, format. Submit a total 18 files (15 Illustrator isometrics and 3 formZ model files) to the server. If you did not have to redo the 3D models then only turn in the Illustrator isometrics. filename: 09.02_intials_filename

Due: Fri. 09/21 8:00 am

09.01 constructed models

Using formZ modeling, construct 3d models derived from your cross-mapped diagrams. Construct a model diagram for each layer of each file (total 15 models: 3 cross-diagram structures each having 5 layers; each layer has a 3d model).

Start with a draft copy version of each cross-mapped diagram file. Make sure it is organized into 5 layers as follows: white, black, extension-white, extension-black, format. Make a new model file, then using paste from drafting, transfer a copy of the draft layers to the model file. Extrude figures, and use the section tool to cut volumes according to extension lines. Create new layers: iso-white; iso-black; iso-ext white; iso-ext black; iso-format.

Major Tools: layers; paste from drafting (edit); 3D extrusion (derivatives); section (booleans); isometric (views; view parameters)

Output: for each cross-mapped diagram set, turn on all layers in the 3D model file; render 45-degree isometric wire-frame; export image to Illustrator; open in Illustrator; re-save.

Due: Wed. 09/19 8:00 am; submit 3 formZ files and 3 Illustrator files to the server at \\archlab\BRN_2501

08.01 constructed isometrics

Using formZ draft, construct isometrics derived from your cross-mapped diagrams. Construct an isometric diagram for each layer of each file (total: 15 isometrics).

• make a copy of each cross-mapped file and organize it into 5 layers as follows: white, black, extension white, extension black, format.
• eliminate any redundant elements or lines.
• save as a copy Adobe Illustrator version Illustrator 8.  Give the file a different name.
  
• launch formZ; import the Illustrator 8 document; check button Import Draft.
• use scale uniform/self to scale all of the layers from 10" to 80' (scale factor: 96).
• create new layers: iso-white; iso-black; iso-ext white; iso-ext black; iso-format.
  
• draft a segment 10' length (rotate line 45 degrees).
• copy the rotated segment as needed as you construct the isometrics.
• use the following formZ draft tools as needed; segment, snap to point; snap to intersection; ortho snap; ortho + diagonal snap; set layer; query attributes; measure; translate/continuous copy, set layer, trim open.

See isometric presentation.


Due: Mon. 09/17 8:00 am; submit formZ files to server at \\archlab\BRN_2501

07.01 cross-mapped diagrams

Revise and resubmit the previous assignment files as 06.02. Then based on those diagrams generate 3 new combination diagrams as follows: diagrams 1 + 2; diagrams 1 + 3; diagrams 2 + 3. As before include labels notations to reinforce the meaning of these diagrams (example: primary vs secondary + thick vs thin and then notes).

Even though the music is starting to fade into the background, redefine a B-section in each diagram. These cross-mappings require significant new adjustments and refinements. Resolve conflicts and look for new relationships. The diagrams are becoming their own vehicles. Continue to focuse on issues of formal consistency (establishing rules and sub-rules); hierarchy (relationship of primary, secondary, tertiary, quaternary); variation on a theme (constants and variables).

Required Media: Adobe Illustrator; print one 8.5” x 11” sheet per diagram; 3 sheets total.

Due: Fri. 09/14 8:00 am; submit to server at \\archlab\BRN_2501

06.01 re-mapped diagrams take 4

Three new diagrams - same chorus; establish a constant format/field for all three diagrams (remove AABA box); the diagrams are variations on a theme. Reduce the number of elements; articulate (gaps, overlaps, line weight and type). Adobe Illustrator; print one 8.5” x 11” sheet per diagram; 3 sheets total.

concepts to keep in mind

distillation

underlying relationships

numbers, ratios, positions, locations, zones

multi-tracking

solid/void

articulation

extension lines

orthogonal

tangential avoidance

TEST!

Wed. 09/12 8:00 am; submit to server at \\archlab\BRN_2501

filename: 06.01_intials_diagram name

05.01 re-mapped diagrams take 3

Each student has been assigned a new chorus to analyze. Produce a new chorus analysis and three diagrams of your choice (primary vs. secondary; vertical vs. horizontal; ascending vs. descending; continuous vs. discontinuous; thick vs. thin). Re-apply the knowledge gained from your previous works and the pinup discussions (communication ability, articulation, overlay, relative line weights choice, small dashed lines, no weird resultant shapes). The same rules as those used for assignments 03.01 and 04.01 apply. Diagrams should relate to each other as a set.

Required Media: Adobe Illustrator; print one 8.5” x 11” sheet per diagram; 4 sheets total.

Due: Mon. 09/10 8:00 am; submit to server at \\archlab\BRN_2501

filename as follows: 05.01_intials_diagram name

04.01 re-mapped diagrams take 2

Create a second set of five diagrams: primary vs. secondary; vertical vs. horizontal; ascending vs. descending; continuous vs. discontinuous; thick vs. thin. Every figure generates extension lines (horizontal and vertical). Solid figures generate solid extension lines; voided figures generate small dashed extension lines. All extension lines extend to the full length and height of the underlying format. All diagrams should relate to each other as a series (comparisons are made across multiple diagrams).

1. Avoid literal or metaphorical interpretations.
2. The economy of means: use as few elements as possible; justify the relationships of every element; distill: simplify into the essence of the idea; reduce jumbling.
   
3. Add descriptive notations to each diagram.
4. Relative line weights (stroke) is important.
   
5. The measures grid and the AABA chorus grid layers should be turned off.

Required Media: Adobe Illustrator; print one 8.5” x 11” sheet per diagram; 5 sheets total.

server log on: \\archlab\BRN_2501 (see your own folder)

filename as follows: 04.01_intials_diagram name
Due: Fri. 09/07 8:00 am.

03.01 re-mapped diagrams

Diagrammatically re-map the musical events revealed in your chorus analysis into a series of 5 new diagrams for the following pairs of binary oppositions:

1. primary vs. secondary
   
2. vertical vs. horizontal
3. ascending vs. descending
4. continuous vs. discontinuous
5. thick vs. thin

Design Considerations

1. The diagrams represent a systematic architectonic language. Use solid and void figures of rectangles or squares to represent hierarchy (relationship of primary, secondary, tertiary, quaternary) within the chorus. Figures can range from any size in relationship to the underlying format grid. Articulate a noticeable gap between figures unless there is an overlapping condition; avoid tangential relationships.
2. Generate several alternate variations (or takes) of the diagrams prior to committing to a final set. Through a critical process of re-study, the solid and voided figures are positioned in an increasingly inventive manner.
3. Use the format pdf as a template for each of your diagrams. X-dimension is time; Y-dimension represents magnitude. The format represents a chorus as 32 measures in length, sub-divided into four 8 measure sections (AABA). All figures must be positioned orthogonally on the format diagram.
4. Read Mapping the Unmappable In Notation by Stan Allen.
   

Required Media: Adobe Illustrator or Photoshop (format.pdf can be opened and manipulated with the programs). Print one 8.5” x 11” sheet per diagram; label the chorus and diagram; 5 sheets total.

Refine and re-print assignment 02.01 chorus analysis with significant improvements; also pin up the first version.

due: Wed. Sep. 5th. beginning of studio

02.01 chorus analysis

Applying concepts discussed in today's pinup and lecture, graphically analyze one chorus of Lester Leaps In. The analysis must consider four measures before and after the chorus. Distill major underlying musical structures by looking for any event in the chorus that can be quantified or described in terms of relationships, numbers, ratios, positions, locations, and zones, etc. The diagrams should be multi-tracked as a series of diagrams that includes text, captions, or keys.

• chorus arrangement diagram (file can be opened and manipulated in Illustrator)
• example analysis diagram based on jazz composition LeapFrog.
  
• download Lester Leaps In master take audio
• Linear moving sound graph 1
• Linear moving sound graph 2
• intro audio
• chorus 01 audio
• chorus 02 audio
• chorus 03 audio
• chorus 04 audio
• chorus 05 audio
• chorus 06 audio

format/media: use Illustrator; print on 8.5" x 11" sheets.

See presentation on architecture and jazz.

due: Friday. Aug. 31. pinned up at the beginning of the studio.

01.01 listening observation analysis

This was one of those sessions where nothing had been planned prior to coming into the studio. Walter Page and Jo Jones were messing around and on comes Freddy Green, Count Basie, and then Lester comes in. They just decide to do these things. These were strictly off-the-cuff performances and rate today as monstrous classics. 

- Oscar Treadwell on Lester Leaps In (1)

Stage 01 begins with an interpretive analysis and distillation of the underlying structural and thematic components of a masterpiece jazz composition. The jazz vehicle chosen for listening, observation and analysis is the master take swing performance entitled Lester Leaps In, recorded in 1939 by Count Basie and the Kansas City Seven.(2)

Each student generates a written and graphical analysis of the entire musical composition.

We are looking at the exercise as architects, not musicologists, therefore, a strict technical musical analysis is unnecessary. 

To help you understand the basics of this music and assist you with this task, download audio, animation, and graphic files (listed below) each representing different scales of analysis.

• Discover and recognize major relationships and underlying musical structures. Diagram relationships between choruses. 
• guide for listening/glossary
• article by Jerry Coker, Listening to Jazz. 
• Repeatedly listen to Lester Leap In. 
• Use the linear arrangement chart to understand the overall structure of the song. 
• linear-graph 1
• linear-graph 2
• Lester leaps In first vehicle statement
• Lester leaps In the second statement
• Lester leaps In bridge (B-section)

due: Wed. Aug. 29 - 8:00 am; pinup on the studio wall the written and graphical analysis; be prepared to verbally present and answer questions.

(1) Oscar Treadwell, from his public radio program The Eclectic Stop Sign on WGUC-FM, Cincinnati, Ohio. (2) Recorded for Vocation, CBS Records from Epic LN 3107, New York, NY, November 5, 1939.

00.01 the jazz studio

First, you learn your instrument.

Then you learn music.

Then you forget both of those and just blow.

-Dizzy Gillespie

The term vehicle was first proposed in jazz by trumpeter Dizzy Gillespie as a near-synonym for the tune, describing the improviser’s use of the tune as a machine he rides during his improvisation*. In this studio, jazz is the “vehicle” for generating structured architectural space.

The process unfolds in three successive stages:

Stage 01: an interpretive analysis and distillation of a masterpiece jazz composition's underlying structural and thematic components.

Stage 02: a series of articulated diagrams, projections, and models are generated from the musical analysis.

Stage 03: the conceptual strategies, procedures, elements, ordering systems, vocabularies, and formats discovered in the previous two stages are synthesized into a Jazz Studio structure configured within a self-referential site.

*Jerry Coker, Listening to Jazz. (Englewood Cliffs, NJ: Prentice-Hall, 1978). p.9.

Jazz Studio Statement
Course Syllabus