1-5 WORKSHOP MATTERS LAB 3
Summer Workshop 2015
1-5디자인랩에서 모집하는 Summer Program은 미국 Harvard, MIT, Brown 대학교를 졸업하고 현직에 계신 4명의 RISD교수들이 한국에서 진행하는 수업입니다. RISD, Brown 대학교, 포항공과대학교 재학생들만 들을 수 있는 3학점 수업이며, 명시된 대학의 재학생이 아닌 경우는 오직 1-5디자인랩 재학생들에게만 주어지는 특별한 기회입니다.
REAL and IMAGINED SEOUL 2015
로보트는 언제나 실행자이다. 과학적 관점에서 로보트는 프로그래머들을 위해 지정된 일을 실행하고, 상징적 의미에서 로보트는 인간의 상상력을 구현해내는 일에 대한 아이디어를 실행한다.
로보트 디자이너는 반드시 위의 두 개념을 (과학적, 이론적) 동등한 선상에서 바라보고 접근해야 한다. 로보트의 모든 실행들은 해석에 달려있다. 본 수업의 목적은 극적인 상황을 해석하고 실행하는 로보트를 imagine, design, produce 하는 것이다.
모집인원: 7명 (고등학생, 대학생)
모집심사: 포트폴리오 + 인터뷰
등록기간: 05/15/2015까지
참여자: 4 Professors & RISD, POSTECH, EWHA, 1-5 DESIGN LAB students
모집학생 관심분야: 공학, 건축, 제품, Computer Programming
워크샵 기간: 2015년 6월 22일 -07월 17일
Introduction 06/15-19 2015
Week 1: Performing Robotics:
Instructor: Jeff Landman
Robots have always been performers. As technology, they perform production tasks for their programmers, but as symbols of technology, they perform ideas of labor for our collective imagination. Designers of robots must be equally alive to both of these technical and mythical realities. All performance is interpretive: the goal of this workshop will be to imagine, design, and produce a robot to interpret and perform a theatrical moment, one relevant to traditional or contemporary Korean Culture. Robots are a broad category but in this case, they might be adapted or built, they may work as a prosthesis worn by a humanoid or be an everyday object used by people,....
Week 02: Designing a Relationship with Robot Object
Instructor: Kate Cho
How do we perceive and respond to the universe, people, animals, and objects? What does it mean to give emotion to non-living things? Building on week 1 students will be asked to further develop in their robot or object gesture and emotion and to design interaction between robot and human.
Consider the following questions.
- What does your robot want to be?
- What brings an object to life?
- What elements can be added, altered, or subtracted to/from the robot to help it to communicate with humans and to express emotion?
Exercise
- Reading (TBD)
- Building a prototype
- Make an animation of the prototype
* Workshop includes a field trip to the fabrication place where tools (Woodshop, CNC, Laser-cut, 3d print, etc.) are allowed to use by students.
Week 3: Machined Lines, Coded Lines, Drawn Lines
Instructor: Carl Lostritto
The line is the most primitive and foundational element of architectural thought. This segment of the workshop addresses the relationship between the machine language of robots (often made up of tool path lines), lines of code, and the registration of lines on a canvas or paper. These three kinds of lines come together when programming software to control a machine to make a drawing. Machines often used for fabrication–CNC routers and robotic arms, for example–will be deployed to create representational works in concert with vintage pen-plotting machines supplied by the instructor. The technical and methodological component of this workshop stage is buttressed by architectural, artistic, and cultural theories of line and will reference earlier work.
Tim Ingold, Lines: A Brief History
Deanna Petherbridge, The Primacy of Drawing: Histories and Theories of Practice Marco Frascari, Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect's Imagination.
Week 4: Rendering Painterly Space
Instructor: Lisa Lostritto
Typically, in architecture or industrial design, we make renderings to describe how an object or space could be perceived. “Rendering” in the context of software is usually associated with photography. During this workshop week, we will break from the singular notion that a rendering is a simulated photograph and instead will draw from qualities, effects, and characteristics of painting to inform digital craft and context.
Painters have direct control over light, form, optics, and the fracture (evidence of material on canvas using a unique or identifiable process or technique) of a painting. How can a painter affect the indirect nature of digital rendering?
Exercise 1: Analysis of painting & technical discussions. What are the qualities, effects, and characteristics of a painting?
Exercise 2: How are the qualities, effects, and characteristics achieved through digital rendering?
Exercise 3: Creation of newly painted space through rendering, editing, composite image.
Final work: Presentation of final work, final documentation of the process, potential next steps. A rendering log will be kept to document tests and processes. It will be used to present work during the workshop.
Readings will include:
Resources for Maxwell Render and Rhinoceros
Resources for painting techniques
Readings on paintings and painter’s processes
Readings on digital rendering
1-5 WORKSHOP MATTERS LAB 3
Summer Workshop 2015
1-5디자인랩에서 모집하는 Summer Program은 미국 Harvard, MIT, Brown 대학교를 졸업하고 현직에 계신 4명의 RISD교수들이 한국에서 진행하는 수업입니다. RISD, Brown 대학교, 포항공과대학교 재학생들만 들을 수 있는 3학점 수업이며, 명시된 대학의 재학생이 아닌 경우는 오직 1-5디자인랩 재학생들에게만 주어지는 특별한 기회입니다.
REAL and IMAGINED SEOUL 2015
로보트는 언제나 실행자이다. 과학적 관점에서 로보트는 프로그래머들을 위해 지정된 일을 실행하고, 상징적 의미에서 로보트는 인간의 상상력을 구현해내는 일에 대한 아이디어를 실행한다.
로보트 디자이너는 반드시 위의 두 개념을 (과학적, 이론적) 동등한 선상에서 바라보고 접근해야 한다. 로보트의 모든 실행들은 해석에 달려있다. 본 수업의 목적은 극적인 상황을 해석하고 실행하는 로보트를 imagine, design, produce 하는 것이다.
모집인원: 7명 (고등학생, 대학생)
모집심사: 포트폴리오 + 인터뷰
등록기간: 05/15/2015까지
참여자: 4 Professors & RISD, POSTECH, EWHA, 1-5 DESIGN LAB students
모집학생 관심분야: 공학, 건축, 제품, Computer Programming
워크샵 기간: 2015년 6월 22일 -07월 17일
Introduction 06/15-19 2015
Week 1: Performing Robotics:
Instructor: Jeff Landman
Robots have always been performers. As technology, they perform production tasks for their programmers, but as symbols of technology, they perform ideas of labor for our collective imagination. Designers of robots must be equally alive to both of these technical and mythical realities. All performance is interpretive: the goal of this workshop will be to imagine, design, and produce a robot to interpret and perform a theatrical moment, one relevant to traditional or contemporary Korean Culture. Robots are a broad category but in this case, they might be adapted or built, they may work as a prosthesis worn by a humanoid or be an everyday object used by people,....
Week 02: Designing a Relationship with Robot Object
Instructor: Kate Cho
How do we perceive and respond to the universe, people, animals, and objects? What does it mean to give emotion to non-living things? Building on week 1 students will be asked to further develop in their robot or object gesture and emotion and to design interaction between robot and human.
Consider the following questions.
- What does your robot want to be?
- What brings an object to life?
- What elements can be added, altered, or subtracted to/from the robot to help it to communicate with humans and to express emotion?
Exercise
- Reading (TBD)
- Building a prototype
- Make an animation of the prototype
* Workshop includes a field trip to the fabrication place where tools (Woodshop, CNC, Laser-cut, 3d print, etc.) are allowed to use by students.
Week 3: Machined Lines, Coded Lines, Drawn Lines
Instructor: Carl Lostritto
The line is the most primitive and foundational element of architectural thought. This segment of the workshop addresses the relationship between the machine language of robots (often made up of tool path lines), lines of code, and the registration of lines on a canvas or paper. These three kinds of lines come together when programming software to control a machine to make a drawing. Machines often used for fabrication–CNC routers and robotic arms, for example–will be deployed to create representational works in concert with vintage pen-plotting machines supplied by the instructor. The technical and methodological component of this workshop stage is buttressed by architectural, artistic, and cultural theories of line and will reference earlier work.
Tim Ingold, Lines: A Brief History
Deanna Petherbridge, The Primacy of Drawing: Histories and Theories of Practice Marco Frascari, Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect's Imagination.
Week 4: Rendering Painterly Space
Instructor: Lisa Lostritto
Typically, in architecture or industrial design, we make renderings to describe how an object or space could be perceived. “Rendering” in the context of software is usually associated with photography. During this workshop week, we will break from the singular notion that a rendering is a simulated photograph and instead will draw from qualities, effects, and characteristics of painting to inform digital craft and context.
Painters have direct control over light, form, optics, and the fracture (evidence of material on canvas using a unique or identifiable process or technique) of a painting. How can a painter affect the indirect nature of digital rendering?
Exercise 1: Analysis of painting & technical discussions. What are the qualities, effects, and characteristics of a painting?
Exercise 2: How are the qualities, effects, and characteristics achieved through digital rendering?
Exercise 3: Creation of newly painted space through rendering, editing, composite image.
Final work: Presentation of final work, final documentation of the process, potential next steps. A rendering log will be kept to document tests and processes. It will be used to present work during the workshop.
Readings will include:
Resources for Maxwell Render and Rhinoceros
Resources for painting techniques
Readings on paintings and painter’s processes
Readings on digital rendering