Visit Pt Bonita .
While you are there, be mindful of both the visual aspects of your environment - the nature of the topography, the brightness of the sky, the view to the city - as well as the non-visual aspects of your experience - the feeling of the wind, the changes in the sound of the ocean as you move along a path, the dampness of rocks. The former describes the content we often see represented via graphic projection , a world of hard edges, unambiguous boundaries between form and space, devoid of sound, movement, temperature and color, synoptic and totalizing in its disembodied perspective. The mechanisms of graphic projection struggle to capture the latter qualities listed above, which tend to be embodied, ephemeral, contingent, and ambiguous.
In this exercise, we will endeavor to bend the instrument of graphic projection toward a language that is capable of describing the embodied experience of your visit to Pt Bonita. The descriptive drawings we produce here will be operate within a field of normative orthographic projection - the plans, sections, and elevations that we are already familiar with, while the graphic techniques we deploy at the service of extracting salient phenomena from the Pt Bonita site will not. Any media is available for your use towards this end.
Starting with the base geometry of the given site contour lines and/or 3d surface in CAD, students will produce three large-scale digital prints depicting a plan, a section, and an elevation of the Point Bonita site. These large-scale prints will then be transferred to watercolor paper (or other media) where additional information about the site will be added through a media of your choosing – hard-line pencil, freehand shade-and-shadow, watercolor, and colored pencil are all acceptable options.
Using the variety of information sources available (photographs, site sketches, site visits), these hand-drawings ought to be based upon the digital CAD model, and yet go beyond the information available in the digital format. Paper sizes and cut-plane locations are indicated in the model provided - these locations may be adjusted depending on your area of interest, and in consultation with your studio instructor.
The information you decide to include ought to reflect your observations of the site – if you need inspiration, you may choose one of the qualities of the site listed below, selected from those actively being discussed in studio. Note that the resulting drawing is to primarily operate as descriptive rather than diagrammatic, which is to say that while it does seek to emphasize particular phenomenological qualities of the site, it remains within the language of traditional orthographic representation.
Possible site qualities to consider:
- Patterns of vegetation (dense/sparse, color, plant species, etc)
- Landform (smooth/rough, rocky/sandy, etc)
- Littoral zone characteristics
Things to do at the Site
After noticing which qualities of the site draw your attention, invent and enact a thoughtful system for documenting collecting information about this phenomena. Take measurements if you are able. Quantify your experience such that it may be explained to others in a measured fashion.
- Take lots of photos and videos
- Collect photographic texture for creating montages
- Consider organizing yourselves into documentation crews, perhaps working in pairs
- Pose for "entourage" photos
- Share all photos on BOX
Draw and Sketch
- Detailed sketches, both of landscape views and detail views showing texture, vegetation
Draw in series
- Think of the larger site, beyond the bounds of the given site model
- When do you first encounter the larger visual field of our site - how is this space revealed to you?
Collect Non-Visual Samples
Our Rhino model will do a adequate job of describing the site geometrically, but not in other ways. You can take a "measure" of the site through embodied methods during our visit:
- How long does it take to walk from point-to-point on the site?
- How many 'hands' high is an elevation?
- Which locations are accessible - what surface can you reach, and which can you not?
- Every smartphone is a sound recorder. Use it.
- While any media is permissible, we suggest that you use a heavyweight cold-pressed watercolor paper for your site drawings.
- Cold-pressed paper has a smoother finish than other watercolor papers.
- You may transfer impressions of digital prints to the watercolor paper using a light table (if your paper is thin enough), or via a chemical process (using acetone).
Two hand-drawn orthographic projection drawings, one of which must be a plan, rendered in a media of your choice. 30”x40” landscape format . When complete, scan these drawings at high resolution for submission in digital format.
- 1 site plan, 1/16” = 1'
- 1 site section, 1/16” = 1'
For the 200c Fall 2013 Semester, this project reviewed in class on the following dates:
- Monday, Sep 23
- First iteration of all drawings reviewed in 200a.
- Wednesday, Sep 25
- Second iteration of all drawings reviewed in 200a.
- Thursday, Oct 03
- Studio Redline Pinup - third iteration of all drawings reviewed, alongside 200a work.
- Sunday, Oct 6
- All drawings due to be turned in by 10pm
- Monday, Oct 7
- Drawings reviewed alongside Departure Two