{"id":97,"date":"2015-09-27T23:34:34","date_gmt":"2015-09-28T03:34:34","guid":{"rendered":"http:\/\/ds1517.risd.gd\/?p=97"},"modified":"2015-10-02T00:08:16","modified_gmt":"2015-10-02T04:08:16","slug":"unit-2-lucy-hitchcock","status":"publish","type":"post","link":"http:\/\/ds1517.risd.gd\/?p=97","title":{"rendered":"Unit 2: Overview & Assignment"},"content":{"rendered":"

\"goldsworthy_full\"<\/p>\n

Andy Goldsworthy, Storm King Sculpture Park<\/p>\n

 <\/p>\n

I suspect no landscape, vernacular or otherwise, can be comprehended
\nunless we perceive it as an organization of space; unless we ask ourselves
\nwho owns or uses the spaces, how they were created, and how they change.
\n\u2014John Brinkerhoff Jackson<\/p>\n

 <\/p>\n

Preface:<\/h3>\n

Although graphic design exists in a multitude of spaces, places, and surfaces, it is too often seen as\u00a0a two-dimensional enterprise. But in fact our work is entirely\u00a0multi<\/em>-dimensional. Not only do we design\u00a0places, wayfinding systems, and exhibits, we also design information environments, complex digital networks, and social interfaces. Moreover, what we produce exists in real time, and real space, used by real people in all dimensions. Designers are experts at reading signs and signals\u00a0within\u00a0any\u00a0situation, large or small. We analyze and record given characteristics, and intervene to change or improve upon circumstances. Design is nearly always\u00a0engaged with altering, or re-organizing,\u00a0or improving upon, a given\u00a0circumstance or set of circumstances, whether at a macro\u00a0or micro scale.<\/p>\n

\"Lawrence_Weiner_Lisson_Gallery_A_BIT_BEYOND_WHAT_IS_DESIGNATED_AS_THE_PALE\"
\nLawrence Weiner<\/p>\n

 <\/p><\/blockquote>\n

Assumptions:<\/h3>\n

Humans are hard-wired to read signs and signals in\u00a0any given situation. As we move through our environments, we intuitively and unconsciously look for comfort, safety, and elements\u00a0that are of value or pertain to us. We avoid danger and discomfort. We are egocentric, but\u00a0we are also intelligent\u00a0and quick to read our surroundings. We “read”\u00a0all manner of spatial form,\u00a0color, tone, temperature, sensation, sounds, and any number of other characteristics of a place almost instantaneously.\u00a0We are\u00a0extremely perceptive and are inclined to find meaning in most things. In this Unit, we will be looking at how we “read” spaces and places, and we will explore how we might intervene upon existing spaces. Our interventions will be a form\u00a0of discovery \u2014 a process for understanding contrasts, narrative, form, and the human desire to form interpretations. As we work for the next two weeks, we will discuss in our sections how we define place; how a place relates to its surroundings; how we embrace the culture of a place, large or small, or how we might subvert its histories and realities.<\/p>\n

\"Jess
\nJessica Greenfield, RISD MFA alum<\/p>\n

 <\/p><\/blockquote>\n

Unit Question: How can you alter an existing space (site)?<\/h3>\n

Additional questions:<\/strong>
\n-How can you truly “know” a place?
\n-By altering a site, can you\u00a0create a new<\/em> narrative read of\u00a0the site?
\n-How does the way<\/em> you approach the alteration, and the way you frame<\/em> your documentation of the intervention, affect the \u201cread\u201d\u00a0of your site.
\n-How can you document, sequence, and explain your\u00a0site interventions to create a narrative out of the documentation?<\/p>\n

Deliverables:<\/strong>
\nA designed\u00a0sequence\/presentation (media is open) of your documentation that\u00a0explains your sites and your alterations to a public audience (us).<\/p>\n

Learning Objectives:<\/strong>
\n1) Getting to know your city and environs.
\n2) Develop a consciousness about how we define\u00a0space,\u00a0place, site, landscape, culture, audience, community
\n3) Exploration\u00a0of how formal elements work together, whether in\u00a0contrast or concord; harmony or discord.
\n4) Developing resourcefulness around finding unusual and surprising materials or objects to bring to a site for the creation of a new or alternative “read.”
\n5) Developing an awareness of the power of the\u00a0artifact\/after-the-fact\u00a0documentation. “How to tell a story for those who werent there.”<\/p>\n

Procedure:<\/strong><\/p>\n

    \n
  1. You must choose two sites<\/em>.
    \nOne must be an intentionally built <\/span>\/ urban \/ public \/ site. Outdoors.
    \nOne\u00a0must be a natural<\/span> (relatively unbuilt or naturally occurring) environment.
    \n(for example, the RISD’s Tillinghast farm, or (walking distance) Swan Point Cemetery’s woods, or Lincoln Woods State Park, or Weetamoo Woods in Tiverton.)<\/li>\n
  2. You must deliberately\u00a0and attentively get to know your two sites. You should record all manner of characteristics pertaining to your sites. Using photography and other recording techniques, take note of\u00a0the site’s characteristics, forms, materials, textures, sensations, light, uses, users, sounds, temperatures, intentions. You can also consider\u00a0cultures, histories, stories, pasts, futures. What was<\/em> the site. Does it have a past? A future? What can it be? Get to know these two places thoroughly. Think Macro and Micro. Record context and adjacencies. Record edges and boundaries. Record before and after your alterations.<\/li>\n<\/ol>\n

    Pay attention to how you frame your recordings\/images. How you light or edit your images. How will your technique\u00a0affect\u00a0the way an audience might understand\u00a0your\u00a0site’s inherent narrative. Show us how you want us to see the site. Show us how the site communicates.<\/p>\n

    Before the next class meeting you must alter your two spaces<\/span> in the following ways, and create carefully considered documentary images and recordings:<\/b><\/p>\n

    A.
    \nTransform or intervene upon an existing, built<\/span>, urban space\/place<\/i><\/b><\/p>\n

    1) Intervene with color \u00a0(material is open)<\/p>\n

    2) Intervene with multiples (more than 25)<\/p>\n

    3) Intervene with something singular<\/p>\n

    4) Intervene with language \/ text \/ type<\/p>\n


    \nB.
    \nTransform or intervene upon a natural<\/span> space\/place:<\/i><\/b><\/p>\n

    1) Intervene with language or<\/em><\/span> color\u00a0or<\/em><\/span>\u00a0multiples\u00a0or<\/em><\/span> other\u00a0items you bring to the place<\/p>\n

    2) Intervene only<\/em> with things that\u00a0you find at the site<\/p>\n

    RECORD EVERYTHING (photo, video, sound, drawing)<\/p>\n

    \"Joe
    \n<\/a>RISD GD Student Work<\/p>\n

    C.
    \n<\/i><\/b>Design your Documentation
    \n<\/i><\/b>
    \n<\/i><\/b>for 10\/6\/15
    \n<\/strong>Bring to class a multitude of images and evidentiary records\/documents\u00a0<\/strong><\/em>and\u00a0begin building a sequential narrative that can communicate to those who were not there exactly what took place; what they might find there if they could<\/em> be there. Media is open but the sequence of your narrative and how you show a visual flow is to be considered.<\/p>\n

    for 10\/13\/15<\/strong>
    \nBring in refined presentations<\/strong><\/em> of your interventions in a narrative sequence of images and texts as needed. These need to resonate with your audience (all of us) in a public viewing, and help us understand the whole sequence of your space alterations.<\/p>\n

    Required Reading:<\/strong>
    \nLucy Lippard <\/span>    Lure of the Local
    \n<\/a>Brief overview of Maya Lin’s work <\/span>    Here<\/a><\/p>\n

    Resources:<\/strong>
    \n    RISD Second Life<\/a>
    \n<\/a>    Resources\/Recycling for RI Education<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

    Andy Goldsworthy, Storm King Sculpture Park   I suspect no landscape, vernacular or otherwise, can be comprehended unless we perceive it as an organization of space; unless we ask ourselves who owns or uses the spaces, how they were created, and how they change. \u2014John Brinkerhoff Jackson   Preface: Although graphic design exists in a […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5,2,11],"tags":[],"class_list":["post-97","post","type-post","status-publish","format-standard","hentry","category-assignments","category-outline","category-unit-02-lucinda-hitchcock"],"_links":{"self":[{"href":"http:\/\/ds1517.risd.gd\/index.php?rest_route=\/wp\/v2\/posts\/97","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/ds1517.risd.gd\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/ds1517.risd.gd\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/ds1517.risd.gd\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"http:\/\/ds1517.risd.gd\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=97"}],"version-history":[{"count":10,"href":"http:\/\/ds1517.risd.gd\/index.php?rest_route=\/wp\/v2\/posts\/97\/revisions"}],"predecessor-version":[{"id":149,"href":"http:\/\/ds1517.risd.gd\/index.php?rest_route=\/wp\/v2\/posts\/97\/revisions\/149"}],"wp:attachment":[{"href":"http:\/\/ds1517.risd.gd\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=97"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/ds1517.risd.gd\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=97"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/ds1517.risd.gd\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=97"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}