Week 4: Project Matrix

Hi all,

This week we'll focus on your project matrix assessment which is due this Sunday the 30th of June. You'll submit your project matrix via your blog, so please ensure you have posted a link to your blog (and tested that it works!) in the comments section of the post below called: "Your Contemporary Fabrication Techniques Blogs"

The below is some advice on each of the parameters that you'll need to address. Keep in mind that we will treat the Project Matrix as a contract, and while sometimes departures from contracts are unavoidable we will only consider them in extreme circumstances. 

First, the Architectural Precedents

Googles dictionary tells us that a precedent relates to earlier work that can guide us in subsequent similar circumstances. They give these examples as synonyms: model, exemplar, example, pattern, previous case, prior case, previous instance/example, prior instance/example.

This course requires that your precedent be selected from the work of others. We require this for a few reasons, the first is to help ensure the quality of the work; if it has been published it's more likely that it has been subject to some peer review. It's also a good way to broaden your horizons. And finally, it helps you to analyse the work more objectively, without obvious internal bias.

You'll note that the precedents should be architectural which means that they might not necessarily be architecture. What does it mean to be "architectural"? Well, if the project employs material, light, surface, form or space in the service of shelter, commemoration, production, travel or leisure (to name a few) then it's likely to be architectural if not actually architecture. But we know from professional titles such as "software or systems architect" that "architectural" doesn't even have to employ physical attributes ... it can be about intangible or abstract relationships or concepts. In this context precedents such as furniture, musical instruments or even maps seem quite reasonable.

Your opportunity to argue how your precedent is architectural is in the two following sections on the Key Concept and How is the Key Concept Reflected in the Design Studio. We are very open to interesting precedents but do need to see intelligent, logical, arguments for things which stretch the boundaries.

One question we've received a lot is should they relate to each other and if so how? We ask for three precedents so that you can develop a range of fabrication experiences. If the precedents relate to each other it helps to focus your work (focus is good because it builds depth). But if they are too close they will appear the same and we will wonder what new experiences you will gain out of doing them. Differences might be accentuated through the choice of scale, material or technique. Note that if a precedent is especially complicated it could count for 2 or even 3 of your precedents.

You need to complete all the sections below for each of the three precedents.
Key Concept

Here you describe what it is that is special about the precedent you have chosen. Because this is a Masters level course we expect that your opinions are supported by, or contrast with, references drawn from the literature. If you struggle to find much discussion on the precedent you have chosen that may be an indication that it isn't as good as you first thought it was. References from books, journals and scholarly articles (searching Google Scholar for instance) will demonstrate that you've made a solid attempt to gather a range of perspectives (rather than simply citing a few architecture websites or only the designers own website). 250 words isn't much, a medium length paragraph, so you are really describing just one idea.

Selected Design Element

Again you have 250 words, but this time it's probably quite a lot ... so you will need to go into a little more detail than "I'll model the facade". Someone who has never seen the precedent should be able to locate it, and know for sure what the scope of your model will be. If it is a facade, does it include details of where it intersects with the roof,  or ground, or where it turns a corner or surrounds an opening. Be specific. If it is a guitar (a precedent chosen in a previous class) will you build the body, neck, adjustment for strings, the electronics? What is the "body" of a guitar? You'd need to describe that because most of your readers are not Luthiers. Though the selection and examination of your selected design element you will build up a level of expertise in it ... this section is where you demonstrate your sophisticated understanding.

How is the Key Concept Reflected in the Design Studio?

Not all of you are doing a design studio this term but the subtext to this question is the same; how will making this model be of use beyond satisfying the requirements of this course? So, rephrased, how will it be of use in your current design studio, or how will it be of use to your future design studios (taking into account which stream you are in), or how will it support your career aspirations outside of university?

Geometrical Description of the Shape

This section could have been called "things are often not as simple as they seem". Here you can demonstrate your careful review of the physical attributes of your selected design element. What are the actual dimensions and how do they relate to each other (does a formula describe the shape for example)? Imagine you are talking to a machine that can't think for itself ... write a set of descriptors that leaves nothing out.


Proposed Scale, Material, Technique

These three qualities are interrelated. Change the scale, for example, and you will most likely have to change the material and technique to suit. If your key concept demands that you work with a particular material, that demand will drive your scale and technique decisions. The key here is to look back to your descriptions of the key concepts for guidance. Also key is discussing your options with Daniel, me and the workshop staff to ensure you learn from past experience and aren't proposing to fabricate something that we don't have the resources to support.

Time commitment and budget

My rule of thumb is that building anything will take 3 times longer than you estimate. Keep this in mind when you are making your proposals. We are looking  for you to demonstrate that you have really thought through the process of fabricating your model. Have you estimated the time it will take to collect materials? What actual days will you use the Design Lab ... what hours ... will it be open, have you checked?

It's always disappointing to see how much money students have spent on their fabrications. We would much rather see you making components rather than buying them pre-made. Many of the fabricators on Instagram use the hashtag #builtnotbought. We encourage you to embody that spirit (even though, ironically, if no one bought what the Instagram fabricators built they would go out of business!).

We'll discus these issues and any other questions you might have in the Design Lab tomorrow. And if you have the Project Matrix finished then you can even get started on the first fabrication!

Regards

Russell