Architectural Design Workshop
4.184
Spring 2004
MIT: Department of Architecture
Professor Mark Jarzombek
All student work used by
permission, and created by:
Kwan Yue Chan
Christopher Kempster
Naveem Mowlah
Jelena Pejkovic
Nicolas Rader
Kyle Steinfeld
Pablo Wenceslao
SEQUENCE ONE: EXTRACTION (Sample Student interaction) 1
2
Kyle Pablo
Kyle
Kyle
3
4
5
Kyle Pablo
Mark
Naveem
Class
Pablo
SEQUENCE TWO: EXPANSION
6
7
8
TexttexttextKwan
Naveem
Kyle
SEQUENCE THREE: RELATIONAL
9
Naveem+Kyle
10
Class
11
Kwan /Naveem
12
Kwan
Naveem
FINAL
PRODUCT
SEQUENCE ONE: EXTRACTION
1
2
Kyle Pablo
Kyle
Kyle
3
4
5
Kyle Pablo
Mark
Naveem
micro-collage
Class
Pablo
SEQUENCE TWO: EXPANSION
6
7
8
TexttexttextKwan
Naveem
object
Kyle
SEQUENCE THREE: RELATIONAL
9
Naveem+Kyle
10
Class
11
Kwan /Naveem
12
Kwan
Naveem
collage
ion
Class
au
ty
Pro
tec
tio
n
ry
ve
Di
s co
n
ati
o
rpr
et
Kwan
Re
tur
no
f th
ug
h
t
eE
go
Int
e
Kwan /Naveem
12
Th
o
11
Ki
ng
Ch
ao
s
sh
ip
Re
l at
ion
Naveem+Kyle
10
Be
era
t
me
n ta
Kyle
an
ds
lav
e
Naveem
SEQUENCE THREE: RELATIONAL
9
Pablo
8
In s
Kwan
5
Fr
ag
De
7
tru
cti
on
lat
i on
Class
Texttexttext-
Tr
an
s
va
tio
n
Ob
ser
Ob
l it
Naveem
str
uc
tio
n
Mark
SEQUENCE TWO: EXPANSION
6
4
t io
n
pe
r-e
g
Su
Kyle
FINAL
PRODUCT
Kyle Pablo
Kyle Pablo
Kyle
3
Al
ien
2
o
1
ati
on
SEQUENCE ONE: EXTRACTION
Naveem
au
ty
Class
Pablo
Be
ry
ve
Di
s co
Naveem
5
De
str
uc
tio
n
Mark
Pro
tec
tio
n
ion
era
t
4
Ob
l it
pe
r-e
g
Su
Kyle
FINAL
PRODUCT
Kyle Pablo
Kyle Pablo
Kyle
3
Al
ien
2
o
1
ati
on
SEQUENCE ONE: EXTRACTION
n
8
ati
o
7
Texttexttext-
In s
Int
e
rpr
et
tru
cti
on
Naveem+Kyle
Class
Kwan /Naveem
t
Kwan
f th
no
12
Re
tur
11
Ki
ng
10
Ch
ao
s
Re
l at
ion
9
sh
ip
SEQUENCE THREE: RELATIONAL
eE
go
Kyle
ug
h
Naveem
an
ds
lav
e
Kwan
Th
o
lat
i on
6
Tr
an
s
Ob
ser
va
tio
n
SEQUENCE TWO: EXPANSION
Naveem
au
ty
Class
Pablo
Be
ry
ve
Di
s co
Naveem
5
De
str
uc
tio
n
Mark
Pro
tec
tio
n
ion
era
t
4
Ob
l it
pe
r-e
g
Su
Kyle
FINAL
PRODUCT
Kyle Pablo
Kyle Pablo
Kyle
3
Al
ien
2
o
1
ati
on
SEQUENCE ONE: EXTRACTION
n
8
ati
o
7
Texttexttext-
In s
Int
e
rpr
et
tru
cti
on
Naveem+Kyle
Class
Kwan /Naveem
t
Kwan
f th
no
12
Re
tur
11
Ki
ng
10
Ch
ao
s
Re
l at
ion
9
sh
ip
SEQUENCE THREE: RELATIONAL
eE
go
Kyle
ug
h
Naveem
an
ds
lav
e
Kwan
Th
o
lat
i on
6
Tr
an
s
Ob
ser
va
tio
n
SEQUENCE TWO: EXPANSION
Naveem
Exercise 1 SEQUENCE ONE: EXTRACTION
The students were each
given a 8”X 8” white
board with a line drawn
arbitrarily on it. They
were asked to “do” a
collage in twenty minutes.
This was to test their
assumption that the line
was arbitrary and thus
meaningless. What is it
that we notice in the
environment and what is
it that we ignore?
Exercise 1 SEQUENCE ONE: EXTRACTION
No one in the class noticed the line. Life’s Lesson Number One.
Exercise 1 SEQUENCE ONE: EXTRACTION
Exercise 2 SEQUENCE ONE: EXTRACTION
Back of a collage.
Each “collage” was cut in
half and students were
given two pieces
arbitrarily. (Life’s Lesson
number Two.) They had
to unify - or in some way
create a whole - out of
the two sides.
Exercise 2 SEQUENCE ONE: EXTRACTION
Exercise 3 SEQUENCE ONE: EXTRACTION
Over-painted split collage.
I used white house paint to
cover over and obliterate
the entire surface of the
“collage” that the students
had worked on the previous
week. (Life’s Lesson
Number Three.) Students
had to recover their design
and/or in some way deal
with the obliteration of
their work.
Exercise 3 SEQUENCE ONE: EXTRACTION
Collages in various post-over-painted recovery stages.
Exercise 3 SEQUENCE ONE: EXTRACTION
Collages in various post-over-painted recovery stages.
Exercise 4 SEQUENCE ONE: EXTRACTION
Students, in consultation
with each other, had to
take cut out small square
mini-collages out of the
boards. Using paper and
moving it across the
surface of the larger work,
they extracted as many
moments of aesthetic
quality as they could find.
Exercise 4 SEQUENCE ONE: EXTRACTION
Extraction in various phases.
1
2
Exercise 4 SEQUENCE ONE: EXTRACTION
Pieces isolated and distributed to class members.
Exercise 5 SEQUENCE ONE: EXTRACTION
Students were asked to
frame the mini-collages in
any way that they thought
suitable. The frame was a
way to protect and
enhance works that are
otherwise insubstantial or
fragmentary. The frame
also, obviously, defines
the nature of the viewing
condition.
KYLE STEINFELD
Exercise 5 SEQUENCE ONE: EXTRACTION
KYLE STEINFELD
Exercise 5 SEQUENCE ONE: EXTRACTION
NAVEEM MOWLAH
Exercise 5 SEQUENCE ONE: EXTRACTION
MARK JARZOMBEK
Exercise 5 SEQUENCE ONE: EXTRACTION
JELENA PEJKOVIC
PABLO WENCESLAO
Exercise 5 SEQUENCE ONE: EXTRACTION
JELENA PEJKOVIC
Exercise 5 SEQUENCE ONE: EXTRACTION
KWAN CHAN