Example:
dimanche 27 juillet 2008
lundi 14 juillet 2008
The Week's Proceedings
• Wednesday at 10h00 we'll meet for theory class at the School of Architecture. We'll meet for two hours and dismiss at 12h00. That will give you two hours until the studio starts. As in soccer, "delay time" will be added to the end of theory class if we have significant delays or encumbrances in our schedule. We'll do our very best to make sure they don't come from our end. Please try to be in class on time and ready to participate.
• In studio on Wednesday at 14hoo you'll pin up what you have for the day's discussion. Between 14h00 and 14h15 we'll do a quick walk around and ask a few questions about the new work presented. We'll start reviewing at 14h15 and proceed until done. The focus of these reviews will be the work on the walls- graphics, design, and urbanism- not your presentation or verbal enframing of it. To participate you'll need to be in class working for the duration of class. Class lasts from 14hoo until 18h00. The list for this week is: Mary, LaSalle, Brandon, Marianne, Tony, Jared, Sean, Michael, John, Elyse, Nate, and Simon.
• Wednesday night from 19h00 to 21h00 is an optional night at the Contemporary Art Museum for the Triennale Quebecois- the tri-annual review of young Quebec art work. At nine we'll go and sit and talk for an hour about the work we've seen if anyone is interested at that point in a long day.
• Thursday at 09h00 is a morning tour of a subject to be determined. This is required of al but Elyse and Simon, who are ot enrolled for the Theory course. When you wake up on Thursday and check the class calendar you may find a location change but nothing distant or obscure that you can't reach in five more minutes than it takes you to get to the School of Architecture.
• Friday we'll meet in the studio at 10h00 and you'll make presentations to each other in the studio working through the above list in reverse order. We'll be finished by 13h00. Everyone should participate fully throughout the three hour class time or not participate at all. The focus in that class meeting will be project plausibility, persuasiveness, narrative, and organization.
• In studio on Wednesday at 14hoo you'll pin up what you have for the day's discussion. Between 14h00 and 14h15 we'll do a quick walk around and ask a few questions about the new work presented. We'll start reviewing at 14h15 and proceed until done. The focus of these reviews will be the work on the walls- graphics, design, and urbanism- not your presentation or verbal enframing of it. To participate you'll need to be in class working for the duration of class. Class lasts from 14hoo until 18h00. The list for this week is: Mary, LaSalle, Brandon, Marianne, Tony, Jared, Sean, Michael, John, Elyse, Nate, and Simon.
• Wednesday night from 19h00 to 21h00 is an optional night at the Contemporary Art Museum for the Triennale Quebecois- the tri-annual review of young Quebec art work. At nine we'll go and sit and talk for an hour about the work we've seen if anyone is interested at that point in a long day.
• Thursday at 09h00 is a morning tour of a subject to be determined. This is required of al but Elyse and Simon, who are ot enrolled for the Theory course. When you wake up on Thursday and check the class calendar you may find a location change but nothing distant or obscure that you can't reach in five more minutes than it takes you to get to the School of Architecture.
• Friday we'll meet in the studio at 10h00 and you'll make presentations to each other in the studio working through the above list in reverse order. We'll be finished by 13h00. Everyone should participate fully throughout the three hour class time or not participate at all. The focus in that class meeting will be project plausibility, persuasiveness, narrative, and organization.
Studio Schedule and Rhythm
To focus and make it clear what you need to be working on we've developed a systemic way of working through critiques of the studio work on a weekly cycle. Each week we'll establish an order of review and post it here on Sundays. It will be used throughout the week- posted order on Mondays, reverse order on Wednesdays and back to posted order on Fridays.
MONDAYS On Monday afternoons from 14h00 to 19h00 (5 hours) we'll all meet together for group pin-ups. The focus of these reviews will be the urban designs represented on your wall and your presentation enframing of it. From that we'll be generating an agenda for the week in your work. Everyone will participate fully or not at all. We'll incorporate a short break in the middle of the class.
WEDNESDAYS At 14hoo you'll pin up what you have for the day's discussion. Between 14h00 and 14h15 we'll do a quick walk around and ask a few questions about the new work presented. We'll start these sets at 14h15 and proceed until done (approximately 18h00). The focus of these reviews will be the work on the walls- graphics, design, and urbanism- not your presentation or verbal enframing of it. You will not present the work per se but you will be asked questions about what is seen. While individual reviews are proceeding the rest of the class will be working on their projects and theory work in studio quietly and attentively.
FRIDAYS We'll meet in the studio at 10h00 and you'll make presentations to each other in the studio. We'll be finished by 14h00. Everyone should participate fully throughout the four hour class time or not at all. The focus in that class meeting will be project plausibility, persuasiveness, narrative, and organization- not project structure and urban design issues.
MONDAYS On Monday afternoons from 14h00 to 19h00 (5 hours) we'll all meet together for group pin-ups. The focus of these reviews will be the urban designs represented on your wall and your presentation enframing of it. From that we'll be generating an agenda for the week in your work. Everyone will participate fully or not at all. We'll incorporate a short break in the middle of the class.
WEDNESDAYS At 14hoo you'll pin up what you have for the day's discussion. Between 14h00 and 14h15 we'll do a quick walk around and ask a few questions about the new work presented. We'll start these sets at 14h15 and proceed until done (approximately 18h00). The focus of these reviews will be the work on the walls- graphics, design, and urbanism- not your presentation or verbal enframing of it. You will not present the work per se but you will be asked questions about what is seen. While individual reviews are proceeding the rest of the class will be working on their projects and theory work in studio quietly and attentively.
FRIDAYS We'll meet in the studio at 10h00 and you'll make presentations to each other in the studio. We'll be finished by 14h00. Everyone should participate fully throughout the four hour class time or not at all. The focus in that class meeting will be project plausibility, persuasiveness, narrative, and organization- not project structure and urban design issues.
dimanche 6 juillet 2008
monday....
we will meet with all of you individually for 10 minutes only, but while we discuss YOU MUST WORK IN STUDIO! we are postponing the mid semester critique until Wednesday at 10h00. this should give you ample time to finish your drawings, isometrics, diagrams, models, vector models, etc, etc, that you will need for your mid semester critique.
here is the order we will follow tomorrow morning ::
nate :: 10h00 to 10h10
elyse :: 10h10 to 10h20
john :: 10h20 to 10h40
michael :: 10h40 to 10h50
lasalle :: 10h50 to 11h00
break from 11h00 to 11h10
sean :: 11h10 to 11h20
mary :: 11h20 to 11h30
brandon :: 11h30 to 11h40
jared :: 11h40 to 11h50
tony :: 11h50 to 12h00
marianne :: 12h00 to 12h10
wrap up :: 12h10 to 12h30....
remember tomorrow is a work day. this means all of you will be in studio for a whole 2.5 hours. see you at 10 am.
vendredi 20 juin 2008
mardi 17 juin 2008
exercise #2
spatial diagram
draw a plan oblique that shows everything but the object. construct the volume of the primary, secondary, and tertiary spaces of place d'youville. act as if you were filling the site with concrete, what would you see? draw the void... reference :: rachel whiteread
exploded plan oblique
you now have a short fictional narrative that describes the condition of the place d’youville. expand on this narrative for wednesday by taking a position in the story of the place. we discussed in class today what you are missing and it is an idea about the place, a concept if you will. dig deep into the past two weeks of analysis (palimpsest, scans, ect...) and draw an exploded isometric of the factual. again we have to ask what have you discovered that gives that place its character? what do you find interesting? explore through drawing this exploded isometric...
plan oblique :: paraline oblique drawing where parallel lines are projected from the plan at a 45 degree angle.
draw a plan oblique that shows everything but the object. construct the volume of the primary, secondary, and tertiary spaces of place d'youville. act as if you were filling the site with concrete, what would you see? draw the void... reference :: rachel whiteread
exploded plan oblique
you now have a short fictional narrative that describes the condition of the place d’youville. expand on this narrative for wednesday by taking a position in the story of the place. we discussed in class today what you are missing and it is an idea about the place, a concept if you will. dig deep into the past two weeks of analysis (palimpsest, scans, ect...) and draw an exploded isometric of the factual. again we have to ask what have you discovered that gives that place its character? what do you find interesting? explore through drawing this exploded isometric...
plan oblique :: paraline oblique drawing where parallel lines are projected from the plan at a 45 degree angle.
jeudi 12 juin 2008
Death by Parked Car
Please be careful out there. Think your lock out or flat was bad? This happened today while we rode.
Woman pinned between cars dies
MONTREAL - A 43-year-old woman has died after she was struck by a car while she was walking on Rolland Blvd. near Henri-Bourassa Blvd. in Montreal North.
The woman was walking between two parked cars about noon Wednesday when one advanced suddenly, pinning her between the two vehicles, Montreal police Constable Yannick Ouimet said.
She died later in a hospital.
lundi 9 juin 2008
Today's Final Words
No Legends or Keys. No Page Borders or Frames. No Names or Course #s.
Always a North Arrow and Scale. Always a Project title or abbreviation. Always a drawing title.
All this auxiliary info is always discrete on the page, not the object.
Make all the sheets and models a consistent set of documents. Number and catalog your work for future reference. All of this will be on a wall in September in the Architecture Building with your name on it.
Mary had the best common sheet notation on sunday.
To draw oneself, to trace the lines, handle the volumes, organize the surface...all this means first to look, and then to observe and finally to discover...and it is then that the inspiration may come. Inventing, creating, one’s whole being is drawn into action, and it is this action which counts. Others stood indifferent but you saw! By working with our hands, by drawing, we enter the house of a stranger, we are enriched by the experience, we learn.
Always a North Arrow and Scale. Always a Project title or abbreviation. Always a drawing title.
All this auxiliary info is always discrete on the page, not the object.
Make all the sheets and models a consistent set of documents. Number and catalog your work for future reference. All of this will be on a wall in September in the Architecture Building with your name on it.
Mary had the best common sheet notation on sunday.
To draw oneself, to trace the lines, handle the volumes, organize the surface...all this means first to look, and then to observe and finally to discover...and it is then that the inspiration may come. Inventing, creating, one’s whole being is drawn into action, and it is this action which counts. Others stood indifferent but you saw! By working with our hands, by drawing, we enter the house of a stranger, we are enriched by the experience, we learn.
Le Corbusier
About Palimpsests
Here's an incredible opportunity for you to throw down some lyrical architecture & to do some cartographic story telling.
The core of the matter is the gathering compiling, layering, composing, & editing of TRACES in the city. There are contingent issues to these traces- legibility of the trace, relevance & plausibility of the trace, traces that act literal or figural, chronological place of the trace, correlation & depth of the set of traces, & scale of the trace. Of course all of these are interconnected design decisions- and yes, this is a design exercise. Everything you do in a design class is design or you are not holding to the subject matter. If you are not designing you are not doing.
There are amazing layers out there that can be analyzed and brought through as a trace. I've seen maps, most of them in my or Sean's collection that reveal potage gardens, fruit orchards, city walls, parliament houses, fish markets, railyards, nunneries, buildings, nomadic settlements, parking lots, city parks, conflagrations, and much more on the site. In your palimpsest how important is it that you are able to read the layers of traces once assembled? Does there have to be a direct geographic correlation of the layers of traces or are they compressed into the site as a sort of residual memory of the greater neighbourhood / precinct? Is your tracing set a condenser, compressor, or direct register of traces? How do your traces critically relate to and work didactically? mnemonically? In either case they need not but you should be aware of thes potentials and address them in a palimpsest. Naive and unedited traces laid over one another is just a collection. You are mapping- composing- if you will.
The reliance on a written date next to the trace image must diminish and the graphic itself must primarily communicate.
Know the words I use. They are the sort of words that people who design use to discuss and critique each other. The education of the professor and the student are converging and your status as intellectual juvenile is drying up. Soon you won't be able to say I'm better at this than you because I'm just more educated and experienced.
Body Blow. Body Blow. Upper cut. Knock me out!
From the wikipedia entry on Palimpsest:
Architects imply palimpsest as a ghost —- an image of what once was. In the built environment, this occurs more than we think. Whenever spaces are shuffled, rebuilt, or remodeled, shadows remain. Tarred rooflines remain on the sides of a building long after the neighboring structure has been demolished; removed stairs leave a mark where the painted wall surface stopped. Dust lines remain from a relocated appliance. Ancient ruins speak volumes of their former wholeness. Palimpsests can serve a noble duty in informing us, almost archaeologically, of the realities of the built past.
Thus architects, archaeologists and design historians sometimes use the word to describe the accumulated iterations of a design or a site, whether in literal layers of archaeological remains, or by the figurative accumulation and reinforcement of design ideas over time. An excellent example of this can be seen at The Tower of London, where construction began in the eleventh century, and the site continues to develop to this day.
Back in April there was an event here in the city called:
MONTREAL AS PALIMPSEST: ARCHITECTURE, COMMUNITY, CHANGE
Conference in the history of architecture
The city of Montreal is a palimpsest, a series of surfaces upon which various actors, communities and organizations have left their trace in the form of the built environment. Much as the early seigneurial system of land division is still visible in many quarters of the city, so too are subsequent layers of urban and architectural development still alive, if only in the form of memories, in present-day Montreal. What is the nature of the relationship between a city, its memories and communities, and its ongoing transformation? Graduate students in architectural history have chosen thirteen distinct sites in Montreal to explore these questions. Drawing from the past, present and even the future of their chosen sites, the presenters of MONTREAL AS PALIMPSEST will explore the significance of architecture within the cultural landscape of Montreal.
Look at how this "Prethesis" student at another university (Cornell) is talking about architecture. It should sound somewhat familiar to you this summer.
The core of the matter is the gathering compiling, layering, composing, & editing of TRACES in the city. There are contingent issues to these traces- legibility of the trace, relevance & plausibility of the trace, traces that act literal or figural, chronological place of the trace, correlation & depth of the set of traces, & scale of the trace. Of course all of these are interconnected design decisions- and yes, this is a design exercise. Everything you do in a design class is design or you are not holding to the subject matter. If you are not designing you are not doing.
There are amazing layers out there that can be analyzed and brought through as a trace. I've seen maps, most of them in my or Sean's collection that reveal potage gardens, fruit orchards, city walls, parliament houses, fish markets, railyards, nunneries, buildings, nomadic settlements, parking lots, city parks, conflagrations, and much more on the site. In your palimpsest how important is it that you are able to read the layers of traces once assembled? Does there have to be a direct geographic correlation of the layers of traces or are they compressed into the site as a sort of residual memory of the greater neighbourhood / precinct? Is your tracing set a condenser, compressor, or direct register of traces? How do your traces critically relate to and work didactically? mnemonically? In either case they need not but you should be aware of thes potentials and address them in a palimpsest. Naive and unedited traces laid over one another is just a collection. You are mapping- composing- if you will.
The reliance on a written date next to the trace image must diminish and the graphic itself must primarily communicate.
Know the words I use. They are the sort of words that people who design use to discuss and critique each other. The education of the professor and the student are converging and your status as intellectual juvenile is drying up. Soon you won't be able to say I'm better at this than you because I'm just more educated and experienced.
Body Blow. Body Blow. Upper cut. Knock me out!
From the wikipedia entry on Palimpsest:
Architects imply palimpsest as a ghost —- an image of what once was. In the built environment, this occurs more than we think. Whenever spaces are shuffled, rebuilt, or remodeled, shadows remain. Tarred rooflines remain on the sides of a building long after the neighboring structure has been demolished; removed stairs leave a mark where the painted wall surface stopped. Dust lines remain from a relocated appliance. Ancient ruins speak volumes of their former wholeness. Palimpsests can serve a noble duty in informing us, almost archaeologically, of the realities of the built past.
Thus architects, archaeologists and design historians sometimes use the word to describe the accumulated iterations of a design or a site, whether in literal layers of archaeological remains, or by the figurative accumulation and reinforcement of design ideas over time. An excellent example of this can be seen at The Tower of London, where construction began in the eleventh century, and the site continues to develop to this day.
Back in April there was an event here in the city called:
MONTREAL AS PALIMPSEST: ARCHITECTURE, COMMUNITY, CHANGE
Conference in the history of architecture
The city of Montreal is a palimpsest, a series of surfaces upon which various actors, communities and organizations have left their trace in the form of the built environment. Much as the early seigneurial system of land division is still visible in many quarters of the city, so too are subsequent layers of urban and architectural development still alive, if only in the form of memories, in present-day Montreal. What is the nature of the relationship between a city, its memories and communities, and its ongoing transformation? Graduate students in architectural history have chosen thirteen distinct sites in Montreal to explore these questions. Drawing from the past, present and even the future of their chosen sites, the presenters of MONTREAL AS PALIMPSEST will explore the significance of architecture within the cultural landscape of Montreal.
Look at how this "Prethesis" student at another university (Cornell) is talking about architecture. It should sound somewhat familiar to you this summer.
Reading and Writing for the Week
First, any writing not received by email to Marti and I by tonight at midnight will just be a zero grade. I asked nicely. It didn't work. You've got the ultimatum mode now.
I've forwarded an article by Peter Eisenman, "The End of the Classical" to your ttu.edu emails. Select one of the three outlined fictions (Representation, Reason, & History) and write about the Place d'Youville and your investigations of the Place as it regards that particular fiction. Do not just offer a direct critique of Eisenman's position in your writing- that should only be, at most, a subtext- something most of you (and I) are not really capable of projecting in our textual work. Suspend your disbelief and demonstrate that you can relate the investigations you are making to an understanding of the principles and positions outlined in the text. We'll have discussions of the article in our theory class and tours. Make at least a cursory pass at the article before we go to the museum.
You writing will be limited to one page of text, 1.5 line spaced, minimum 11pt text, all in ariel or helvetica, delivered to us by Sunday June 15th at 18h00 in pdf format.
We're divvying up the work and will get the writing assignment #1 work we've gotten already back to you this week.
At the top of the page do this:
Your Name / Writing Assignment #2 / Fictional Postion Investigated (Representation, Reason, and History)
I've forwarded an article by Peter Eisenman, "The End of the Classical" to your ttu.edu emails. Select one of the three outlined fictions (Representation, Reason, & History) and write about the Place d'Youville and your investigations of the Place as it regards that particular fiction. Do not just offer a direct critique of Eisenman's position in your writing- that should only be, at most, a subtext- something most of you (and I) are not really capable of projecting in our textual work. Suspend your disbelief and demonstrate that you can relate the investigations you are making to an understanding of the principles and positions outlined in the text. We'll have discussions of the article in our theory class and tours. Make at least a cursory pass at the article before we go to the museum.
You writing will be limited to one page of text, 1.5 line spaced, minimum 11pt text, all in ariel or helvetica, delivered to us by Sunday June 15th at 18h00 in pdf format.
We're divvying up the work and will get the writing assignment #1 work we've gotten already back to you this week.
At the top of the page do this:
Your Name / Writing Assignment #2 / Fictional Postion Investigated (Representation, Reason, and History)
An Excerpt from an Email to a Close Colleague
This is one of your readings for this week. I wrote it but the ideas are not mine, just thier summation. Look up and know each of the people, events, and periods mentioned and understand their theoretical importance.
Giotto is the iconic artist of the "bridge" moment between medieval and renaissance art. What Giotto epitomizes is the shift from figural and illustrative art into an art of geometric and spatial intentions. These shifts are never as momentary as art history would sometimes make them out to be. They are really made of a whole series of developments across broad ranges of time. Nevertheless, it helps us understand the changes across histories if we mark periods and movements across history's surface.
A significant period of evident shift in art history occurred between 1913 and 1968. In general, culture was being impacted by the changes in scientific thinking around relativity, thermodynamics, and quantum physics. It also reeled from the first fully mechanized war- the war where the vast majority of incredible numbers in death were mediated by an industrial mechanism. Art had to come to terms with industrialization, mechanization, photography, cinema, and consumer culture across this time frame. Art had to boil itself down to it's minimum and most foundationally "artistic". What did art do that nothing else could do? What was art created in time, not paint or metal? The career of Marcel Duchamp epitomizes and spans this period.
Giotto and the Renaissance painters codified spatial systems into painting. The impact of this codification on the architects of the time was incredible. Brunelleschi and other early Renaissance architects saw quickly that, these perspectival techniques in painting could be translated into parallel techniques in their own discipline. There's more difference between projecting perspectival space onto a 2-D canvas and projecting perspectival space into the landscapes and cities with buildings than we give credit. They're really less the same thing than we think. That's because these architects did such an incredible job of making the translation of an operative, systematic, performative condition- the craft and translation of a subject.
For the next 400 to 500 years of the renaissance and the enlightenment, the idea was qualified, tested, and systematized further. Ideas were taught to be explored through a system of Hegelian dialectics or oppositions.
At the outset of the 20th c. art was questioning of the idea of the subject of art- a work of art's "Concept". What form could a concept take in art? What was a reasonable subject? What relationships exist between subject and form? Could art be reduced to simply a concept or an index? Was art a work, a process, or an idea? These are questions that the work of Duchamp represents for the 20th c. in the same way that Giotto represents for the trajectory of the 14th c.
As this questioning has rolled into architecture, like in the renaissance, the effect on architecture translating the systematic shift in representation has been intrinsic. Architecture, freed of a necessary subject, has become a sort of language based in the processes of design.
From the late 1960s until very recently...architecture has been very "process" driven. That is to say...architectural form is the outcome, or registration, of a series of design procedures. These procedures are in control of the architect, carried out by graphic mean, and have their own internal logic. That logic in turn is seen to be embedded in the architectural object as meaning and formal organization.
Giotto is the iconic artist of the "bridge" moment between medieval and renaissance art. What Giotto epitomizes is the shift from figural and illustrative art into an art of geometric and spatial intentions. These shifts are never as momentary as art history would sometimes make them out to be. They are really made of a whole series of developments across broad ranges of time. Nevertheless, it helps us understand the changes across histories if we mark periods and movements across history's surface.
A significant period of evident shift in art history occurred between 1913 and 1968. In general, culture was being impacted by the changes in scientific thinking around relativity, thermodynamics, and quantum physics. It also reeled from the first fully mechanized war- the war where the vast majority of incredible numbers in death were mediated by an industrial mechanism. Art had to come to terms with industrialization, mechanization, photography, cinema, and consumer culture across this time frame. Art had to boil itself down to it's minimum and most foundationally "artistic". What did art do that nothing else could do? What was art created in time, not paint or metal? The career of Marcel Duchamp epitomizes and spans this period.
Giotto and the Renaissance painters codified spatial systems into painting. The impact of this codification on the architects of the time was incredible. Brunelleschi and other early Renaissance architects saw quickly that, these perspectival techniques in painting could be translated into parallel techniques in their own discipline. There's more difference between projecting perspectival space onto a 2-D canvas and projecting perspectival space into the landscapes and cities with buildings than we give credit. They're really less the same thing than we think. That's because these architects did such an incredible job of making the translation of an operative, systematic, performative condition- the craft and translation of a subject.
For the next 400 to 500 years of the renaissance and the enlightenment, the idea was qualified, tested, and systematized further. Ideas were taught to be explored through a system of Hegelian dialectics or oppositions.
At the outset of the 20th c. art was questioning of the idea of the subject of art- a work of art's "Concept". What form could a concept take in art? What was a reasonable subject? What relationships exist between subject and form? Could art be reduced to simply a concept or an index? Was art a work, a process, or an idea? These are questions that the work of Duchamp represents for the 20th c. in the same way that Giotto represents for the trajectory of the 14th c.
As this questioning has rolled into architecture, like in the renaissance, the effect on architecture translating the systematic shift in representation has been intrinsic. Architecture, freed of a necessary subject, has become a sort of language based in the processes of design.
From the late 1960s until very recently...architecture has been very "process" driven. That is to say...architectural form is the outcome, or registration, of a series of design procedures. These procedures are in control of the architect, carried out by graphic mean, and have their own internal logic. That logic in turn is seen to be embedded in the architectural object as meaning and formal organization.
Stan Allen, "Trace Elements" in Tracing Eisenman
lundi 2 juin 2008
Bibliotheque Nationale du Quebec Maps On Line
Click on this Link to access vol.1 pl.2 of the 1879 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.2 of the 1890 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.18 of the 1907 Atlas of Montréal Map.
Click on this Link to access vol.1 pl.6 of the 1909 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.12 of the 1909 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.2 of the 1914 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.6 of the 1918 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.12 of the 1918Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.29 of the 1918Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.6 of the 1940 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.12 of the 1940Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.32 of the 1940Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.33 of the 1940Goads Fire Insurance Map.
The BNQ has an incredible map collection. It is not as nice when I got all the maps from them. The maps I have are higher res. C'est la vie.
Click on this Link to access vol.1 pl.2 of the 1890 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.18 of the 1907 Atlas of Montréal Map.
Click on this Link to access vol.1 pl.6 of the 1909 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.12 of the 1909 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.2 of the 1914 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.6 of the 1918 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.12 of the 1918Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.29 of the 1918Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.6 of the 1940 Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.12 of the 1940Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.32 of the 1940Goads Fire Insurance Map.
Click on this Link to access vol.1 pl.33 of the 1940Goads Fire Insurance Map.
The BNQ has an incredible map collection. It is not as nice when I got all the maps from them. The maps I have are higher res. C'est la vie.
vendredi 30 mai 2008
First Theory Writing Assignment
Reading: "Urban Fragments" from Aldo Ross, THE ARCHITECTURE OF THE CITY
MTL Site: Place des Armes
MTL Site: Place des Armes
dimanche 25 mai 2008
Updates
1) I travel tomorrow. If, for any reason, you need to contact me then you can call me at 806 445 6341. If I am able to secure a MTL (514) phone line, I will let you know. My phone also has text messaging, and email. I can call you if you tell me to. Phone numbers in MTL are like in D-FW or Houston. They require the area code before the seven digit.
2) The last day of class will be August 6th.
3) The google calendar on the class webpage is going to be our main contact point. I have detailed instructions and directions for you there. Click on stuff and it will reveal maps, texts, photos, and sounds.
4) If you've got to ask whether you should (or need to) go to something then you shouldn't go and I will always answer as such. "Naw, it isn't that important." Events that are official tours or designated class times are required and you are assessed partly on being present at these events. Any other thing, like that first dinner, are optional- just me trying to be collegial and show you all the city. The first three days of class are long stretches and are required time. Be ready to ride a bike or walk all day all three days. You will need your assigned sketchbooks. See the post below for that requirement.
The looking at and surfing on the speed and rhythm of life in this city is what you do on this trip. It is the main reason you should go on these trips. We'll also give you a somewhat traditional architectural education in studio and seminar and that is imporant too but if you do this trip right you'll blur the line betwen the two- the more the better. Try falling into the life. Go to the gallery lectures, recitals, concerts, shows, presentations, exhibitions, and parks. More than you usually would. Try- at least for a portion of this trip- to take advantage of being in a city where people think a lot about how to design and how to design in an environment that is supra-linguistic- relying more on symbol, simile, and metaphor than text in communication- that's what bilingualism does- people who can read in multiple languages are a designer's friend. Sophisticated users never hurt a designer's work. Multiple languages gives a more complex perspective and sense of nuance. You'll see. If you look and take some time to do it. I'm going to teach you how to see places this summer.
2) The last day of class will be August 6th.
3) The google calendar on the class webpage is going to be our main contact point. I have detailed instructions and directions for you there. Click on stuff and it will reveal maps, texts, photos, and sounds.
4) If you've got to ask whether you should (or need to) go to something then you shouldn't go and I will always answer as such. "Naw, it isn't that important." Events that are official tours or designated class times are required and you are assessed partly on being present at these events. Any other thing, like that first dinner, are optional- just me trying to be collegial and show you all the city. The first three days of class are long stretches and are required time. Be ready to ride a bike or walk all day all three days. You will need your assigned sketchbooks. See the post below for that requirement.
The looking at and surfing on the speed and rhythm of life in this city is what you do on this trip. It is the main reason you should go on these trips. We'll also give you a somewhat traditional architectural education in studio and seminar and that is imporant too but if you do this trip right you'll blur the line betwen the two- the more the better. Try falling into the life. Go to the gallery lectures, recitals, concerts, shows, presentations, exhibitions, and parks. More than you usually would. Try- at least for a portion of this trip- to take advantage of being in a city where people think a lot about how to design and how to design in an environment that is supra-linguistic- relying more on symbol, simile, and metaphor than text in communication- that's what bilingualism does- people who can read in multiple languages are a designer's friend. Sophisticated users never hurt a designer's work. Multiple languages gives a more complex perspective and sense of nuance. You'll see. If you look and take some time to do it. I'm going to teach you how to see places this summer.
mercredi 21 mai 2008
dimanche 18 mai 2008
samedi 17 mai 2008
Heads Up : Trip to Ottawa
Parliament- notice the "Mountie" in the foreground.
An abandoned Log Flume in the middle of the city.Ottawa is a 19th century city, about the same age as Austin. It was founded as a timber mill city. It sits on top of the second biggest waterfalls in North America, Niagara Falls being first. It was made the capitol city of Canada by Queen Victoria after Montréalers burned the old parliament in Montréal one night.
Carleton School of Architecture - the best architecture building ever.
Parliament from the roof of the new Canadian War Museum "groundscraper".
Hogsback Falls next to the Carleton University campus.Please let me know if you are interested in going or have further questions.
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