Art and Design Commons^™

Drafts, Vladimir Mayakovsky

mOthertongue

No abstract provided.

Untitled #37, Jonas Schmidt

mOthertongue

No abstract provided.

Harry Digging Ditches #3, Gregory Storozuk

mOthertongue

No abstract provided.

Inscape Spring 2002, Morehead State University

Inscape: Art & Literary Magazine Archive

The Spring 2002 edition of the Inscape: Literary and Art Magazine.

Zephyr: The Third Issue, Zephyr Faculty Advisor, Matthew Bibeau, Jocelyn Brown, Tiffany Cherry, Angela Dobson, Cecilia M. Duchano, Judith Haug, Andrew Shuttleworth, Charissa Wong, Heather Anne Wright

Zephyr

This is the third issue of Zephyr, the University of New England's journal of creative expression. Since 2000, Zephyr has published original drawings, paintings, photography, prose, and verse created by current and former members of the University community. Zephyr's Editorial Board is made up exclusively of matriculating students.

The Object Of Ornament: European Design, 1480-1800, Judith A. Singsen

Journals

Exhibition Notes, Number 18, Spring 2002. This exhibition arose from a collaboration between participants in a Brown University art-history seminar of Fall 2001 and curators from three departments at The RISD Museum: Costume and Textiles; Decorative Arts; and Prints, Drawings, and Photographs. Studying each department's resources in the area of European ornament, the group examined how the work of artisans in materials such as wood, metal, fiber, and ceramics responded to and participated in the inventions of designers who drew patterns for prints. In the exhibition, related ornamented objects are clustered according to the themes of entertaining, study, dress, and …

The Lantern Vol. 69, No. 2, Spring 2002, Erin Dickerson, Cory Spangler, Kevin Hankins, Sarah Kauffman, Christopher Tereshko, Sarah Napolitan, Alison Shaffer, Melanie Scriptunas, John Ramsey, Christine Spera, Monica Stahl, Patricia Quinn, Syreeta Dixon, Raquel Pidal, Genevieve Romeo, Dennis Kearney, Phil Malachowski, Rosabelle Diaz, Michael Pomante, Katie Lambert, Daniel Bruno

The Lantern Literary Magazines, 1933 to Present

• What was Said in the Court of Riong
• Bailan Pies (Dancing Feet)
• Canard
• Vernacular City
• Saturday Night Motorcycles
• The Muse
• I Stuffed my Face in the Herbs
• Jacob's Nightingale
• At Tracey's
• Ona Time, a Rhym-mer
• For Yo Yo Ma's Encore
• Two Minutes from Earl's Court Tube Station
• For Two
• Bald
• This Year's Love
• The Dimmer Switch
• Tickertape
• Imaginary Highway
• First Kiss and Related Terrors
• Hairball
• His Hobbies
• Spaghetti Dinner

Textile Society Of America Newsletter 14:2 – Spring 2002

Textile Society of America Newsletters

TSA Symposium
Letter from the President
TSA News, From the Listserve
TSA Member News
Collections News
TSA News, Book Reviews
Exhibit Reviews
European Textile Network
Conferences & Symposia
Exhibitions Calendar
Lectures/Workshops
Tours/Courses
Calls for Papers

Spring 2002, Valparaiso University

The Lighter, 1958-2019

No abstract provided.

Quiet Catastrophe: Robert Smithson’S Spiral Jetty, Vanished, Clark Lunberry

English Faculty Research and Scholarship

Maps to Nowhere: Seen from above, Robert Smithson's Spiral Jetty emerges dramatically from the rocky shores of Utah's Great Salt Lake. Like a swirling vortex steadied and then stilled, the earthwork begins as a straight line of stone extending far into the water, the form then curving, arching and coiling in upon itself until abruptly coming to an end. Rocks and boulders are seen in various shapes and sizes, with brown soil packed and flattened within the spiral, making a broad path that one might walk upon. The water washes upon the earthwork's shaped shores, surrounding and filling it, a …

A Survey Of Four Contemporary Sound Artists, Mark Garry

Articles

No abstract provided.

Creative Approaches To Enhance Student Learning, Teaming, And Collaboration, Sally A. Struthers, Ned Young, Gary Mitchner

Art and Art History Faculty Publications

This forum concentrates on the use of humor and non-conventional pedagogy to help students improve their learning, teaming, and collaboration skills. Using card games, party games, egg drop exercises, and "A Bug's Life" movie, students experience the complicated interactions of teaming process and external boundary management.

Art Context: 15 Minutes: The Ballad Of Then And Now, Paintings By David Wayne Mcgee, David Henry, David Wayne Mcgee

Journals

Exhibition Notes, Number 16, Winter 2001. During the fall of 2001, McGee moved to Providence from his home in Houston, Texas, to be the Art ConText artist in residence. Given the challenge of introducing people at the Olneyville Branch of the Providence Public Library to The RISD Museum, McGee did what he does best: he painted. The following interview with David Henry, Head of Education at The RISD Museum, was conducted a month before the paintings were to be hung.

A Cumulative Studio Design Sequence: Students Learning Within The Context Of Their Own Work, Valerie S. Goodwin

Proceedings of the 18th National Conference on the Beginning Design Student

This paper describes a series of beginning design studio projects developed over the span of five years.To varying degrees, beginning architecture students in these studios are asked to explore different types of connections between quilting and architecture. The concept for this series relies on the use of projects that build on each other and are divided into discreet manageable parts. Each represents an incremental step in the overall learning process. The threads of this project sequence are based on the process of abstraction, manipulation, and transformation. Pedagogical issues are carried forward into each successive project and are layered with specific …

The Consuming Process, Gregory Herman

Proceedings of the 18th National Conference on the Beginning Design Student

The production of architecture has changed dramatically over the course of the last decade or so; this is a fact we, as educators, are all well aware of. Change has occurred in the areas of theory and representation, and certainly in the area of pedagogy, in ways both subtle and dramatic. My own experience as an instructor in design education began at the end of the eighties, and since that time I have witnessed an ever-tightening frequency in the normal courses of change. A common issue that has become more and more crucial since that time is the issue of …

Seeing/Site: A One-Week Project, Peter Hind

Proceedings of the 18th National Conference on the Beginning Design Student

"Seeing/Site," is the first project given to freshman students in the Analysis Composition rotation of the Visual Literacy program taught at the University of Nebraska, Lincoln. The program is interdisciplinary and is in its fifth year with enrollment close to 300 students and 8 faculty members instructing. Visual Literacy encompasses architecture, interior design, fine art, textiles/clothing design, and fashion merchandising. Seven-week units comprise the yearlong course: Drawing I , Drawing 2, Color; and Analysis Composition. Analysis Composition focuses on issues of form, mass, surface, space, and the relationship between two dimensions (2D) and three dimensions (3D).

This paper will illustrate …

Learning From Cultural Space: Connecting Culture And Environment In Beginning Design, Jeffrey Hou

Proceedings of the 18th National Conference on the Beginning Design Student

The paper begins with an introduction on the background of the course, the students, and the assignment. It then introduces a selected group of projects, including the opportunities they have created for discussing the multiple dimensions of space. By examining the students' projects, the paper looks at how the exercise provides a vehicle to connect the students' life experience to design, and how the complex issues of culture and multiplicity of space can be introduced at the beginning level. The paper concludes with an observation on the multiple instrumentalities of the exercise and its broader implications for beginning design education.

Ordinary Unfamiliarity: Foundation Pedagogy Through The Critique Of The Everyday, Kevin R. Klinger, Marc Swackhamer

Proceedings of the 18th National Conference on the Beginning Design Student

In our new foundation program, we proceed from two principles of instruction: first, we direct the focus of work away from conventional architectural topics and use analogy to awaken native critical insight; second, we postpone traditional "design" activity by strictly emphasizing observation skills and critical analysis. We delay design activity until the first quarter of the second year, in preparation for which we organize firstyear \tudio workshops around short iterative exercises that capitalize on the students' familiarity with the everyday world. We then structure these problems to render the everyday world in unfamiliar terms. This oscillation between the ordinary and …

Design As A Liberating Practice: Design-Build With First Years, Eduardo Aquino

Proceedings of the 18th National Conference on the Beginning Design Student

The academy is not paradise. But learning is a place where paradise can be created. The classroom [studio], with all its limitations, remains a location of possibilrt.y. In that field of possibility we have the opportunity to labor for freedom, to demand of ourselves and our comrades, an openness of mind and heart that allows us to face realrty even as we collectively imagine ways to move beyond boundaries, to transgress.This is education as the practice of freedom.

In The Beginning -- We [Design For] Humans, An Opening Studio Curriculum For An Architectural Professional Program, Alex Maller

Proceedings of the 18th National Conference on the Beginning Design Student

Two years ago, aft.er long deliberations, the Archrtectural Program at the University of Nebraska-Lincoln formally adopted a significant programmatic change: it restructured its curriculum from a 4+2 curriculum to a 2+4 curriculum. In the same time the status of the program was redefined as a 'professional' program similar to other professional programs, such as Law and Medicine. These changes enable the program to adopt a more autonomous position in the University. As part of the restructuring process a number of essential changes were introduced, two with a significant impact on our current discussion: [a] the two first years were incorporated …

Design's Community Of Knowledge: Identifying And Organizing Design's Fundamental Concepts To Support Teaching And Learning, William R. Benedict

Proceedings of the 18th National Conference on the Beginning Design Student

The words we use and the concepts they represent affect how we see, think and talk about the world. Each community of knowledge (e.g., Architecture, Physics, Sociology, etc.) has a language that is specific to that community or discipline. Membership in a community of knowledge involves learning the community's language and developing an understanding of the concepts that it identifies. Our level of understanding of a community's language can either obscure or clarify-it can help or hinder communication. The degree to which we understand the language and concepts of a community of knowledge is directly related to our ability to …

The Space Of Mondrian, Lori Brown

Proceedings of the 18th National Conference on the Beginning Design Student

How does one introduce a beginning design student to spatial concepts and spatial ways of seeing? As John Hejduk states the architect begins from the abstract - a world of ideas, of concepts, of aspirations - and gravitates toward built form. Students must first see and critically assess and question this abstract world before they can make the jump toward the real world. They arrive with so many misconceptions about architecture yet have no conceptions about the abstract world.

The Viewing Machine, Alice Minsoo Chun

Proceedings of the 18th National Conference on the Beginning Design Student

Technology in architecture. rhetoric of construction. often expresses an erotic search for knowledge. As Marco Frascari explains, "Technology is the fertile factor for the architectural production of elegant meanings, it deals with both the construction- the logos of techne (elegant art)- and the construing- the techne of logos (rhetoric)." ¹ In this case technology translates from figures of thought into figures of site, and figures of making. It may be construed as a condition that attempts to answer the question: How does one begin? The curriculum developed for the Undergraduate Architecture Program at the University of Pennsylvania provides a place …

Listening To The Past: Persuasive Stories And The Beginning Design Student, Nathaniel Coleman

Proceedings of the 18th National Conference on the Beginning Design Student

Architecture students tell stories about their work. These stories are meant to convey information about design philosophy, design intent, and design concept. Such stories are intended to have something to do with the work students present. Often, though, what is said is accepted as valid simply because it is said. Closer scrutiny of the relationship between what is said and what is presented frequently reveals a wide gap between intention (what is said) and result (what is done). Incongruity between intention and result encourages a loose way of thinking that fosters a separation of thought (theory) from doing (practice). Concurrently, …

Musical Beginnings: Musings On Teaching With Music In The Fundamental Design Studio, John Maze

Proceedings of the 18th National Conference on the Beginning Design Student

The beginning design student, like any other. is confronted with a world riddled with a multiplicity of physical, sociological, and psychological conditions that can thwart efforts to objectify contextual design determinants. Given the complexity of the twenty-first century environment, students should perhaps be given a non-building t ype of environment to hone their analytic abilities prior to taking on such a proliferation of perceptual stimuli. Physical environments such as urban settings that typically make up the sites for early design problems are simply too complex for students to first learn to perceive their surroundings in an objective manner. Too many …

Educating Emerging Vision, Marcella Eaton, Karen Wilson Baptist

Proceedings of the 18th National Conference on the Beginning Design Student

Learning to see requires practice, risk-taking, and a deliberate awakening of conscious perception. Vision which can be interpreted as an integrated human capacity that emerges from the world of lived experience, is participatory and engaged rather than detached and observatory. Learning to look - vision- is deeply subjective, emerging from experience and critical consciousness. When vision becomes clear, students become aware of what was once hidden, lost, or invisible to them. Awakened vision requires a response. Educators must teach learners to balance their vision with action.channeling 'seeing' as a force against fear, and isolation, (that so often occurs in the …

A Case For Analysis In The Design Student Curriculum, Melissa Weese Goodil

Proceedings of the 18th National Conference on the Beginning Design Student

In many schools of architecture, precedent analysis is often done in a course separate from the design studio, and typically does not occur within the first year. The separation between analysis and design within a curriculum implies to the student that there is a separation between the two processes in reality. Additionally, and painful as it is to acknowledge, without active integration within the design studio, any topic, including technology, tends to play second fiddle to studio. Even, however, when the analysis is integrated within the design studio, there is a tendency for the analysis to be completed, and then …

An Architectural Exhibition: "Bench With The Film Of Its Own Making", Jonathan A. Hale

Proceedings of the 18th National Conference on the Beginning Design Student

This paper describes a design-and-build studio project carried out at the University of Nottingham with students in their fourth year - although elements of it could also be considered appropriate for the 'Beginning Design Student'. The programme for the project is based on the premise that there is a fundamental continuity between the human body and the rest of the world. This idea has been around for some time and appears in a variety of forms: The Biblical quotation above which suggests a material connection between body and earth; the early medical theories of Hippocrates which describe the influence of …

Ventures In Dichotomy: Rigor And Tolerance In The Beginning Studio, Hector Lasala

Proceedings of the 18th National Conference on the Beginning Design Student

As a beginning design teacher for over twenty years, I have learned that educating beginning designers entails reaching a delicate and difficult equilibrium between two contradictory positions: while maintaining the rigor of high aspirations that expect all students to exhibit sophistication of concerns and execution in their designs, one must also remain aware that each student's process is unique and fragile. This condition summons one to tolerance (not to be confused with indulgence) and much patience. This pedagogical approach, one that we practice at our school, is provokingly summarized in a phrase by one of my accidental mentors, "We are …

Design As Language, Patrick Louis Carrico

Proceedings of the 18th National Conference on the Beginning Design Student

Good design has many faces; one is articulated well by the principals of Gestalt, while another is formed by tradition and style. When teaching design, it is important to delineate between the two. What makes the Mona Lisa universal and the cover of "Staying Alive" doomed is that the former uses good design grammar; and the latter uses an obsolete design dialect. Understanding their difference is integral in deciding the line between less expressive designs, like commercial design, and the design layer of a cathartic painting. Design is a language.