This is the building on the corner of Terry and Howell, slated for demolition at some point. These images are from a class field trip (reconnaissance of the exterior) on February 11, 2008.
Tuesday, July 29, 2008
Recon
This is the building on the corner of Terry and Howell, slated for demolition at some point. These images are from a class field trip (reconnaissance of the exterior) on February 11, 2008.
Tuesday, May 6, 2008
Sunday, April 27, 2008
Friday, May 2
Meet at MCC 107 at 1:30
We'll be viewing Hype! and discussing the history of grunge in Seattle.
Dress Grunge!
Bring grunge-food!
Pie will be provided!
Wednesday, April 23, 2008
In writing
Okay, even though we've gone through it a few times in class, here's the breakdown of everything to be included in your Final Portfolio, DUE THIS FRIDAY, April 25th:
1.
A self-reflective introduction, assessing your progress in the class. While it may be a concise document, this piece of writing would ideally give the reader a sense of both your progression through the coursework as well as sense of how to progress through the writings that follow. In effect, this is a road map (of sorts) to your portfolio.
2.
All of the prompted/assigned writings done either in class or outside of class, most from the first half of the semester. These should be typed, and do not necessarily need to be clean copies (they can have the comments from you or I or both of us). Although I'm not providing a list of these writings, you can find everything we've done in the Spring 2008 calendar link (at right on your screen).
3.
Abstract to your research project. Again, if you have questions on the content or form of this document, check out my previous posting here
4.
Your research project, self-directed. As we discussed, this may take multiple/hybrid forms, incorporating any number of writing approaches we've discussed or read this semester, so it is difficult to say what the "required amount" is going to be for any given person. As a GUIDELINE ONLY, the requirement for this writing is that it be substantial-- exhibiting your depth and knowledge into a site, or subject that extends from your research into that site. In line with this, when you were given the writing prompt to go to another person's location and respond to the experience of being toured, that writing was designed to function (for the person touring ) as a vital element in their process. If you have not done so already, it may be helpful to provide them with a copy of that writing to be included with their works.
5.
Bibliography, annotated (as needed). Looking at this pragmatically, we collectively explored a HUGE range of writings this semester (from handouts, online resources, and the Course Reader to all of the writings that you used in your own research)-- ALL OF THIS SHOULD be included in your bibliography. In the interest of time management, it most likely does not serve you to write up annotated entries on all of these sources, however certain pieces that you found notable or particularly useful should be discussed here, even briefly.
Again, if you have any questions at all during your assembly, please do not hesitate to email me, or post a comment (for the group to see) on this posting. Thanks again.
1.
A self-reflective introduction, assessing your progress in the class. While it may be a concise document, this piece of writing would ideally give the reader a sense of both your progression through the coursework as well as sense of how to progress through the writings that follow. In effect, this is a road map (of sorts) to your portfolio.
2.
All of the prompted/assigned writings done either in class or outside of class, most from the first half of the semester. These should be typed, and do not necessarily need to be clean copies (they can have the comments from you or I or both of us). Although I'm not providing a list of these writings, you can find everything we've done in the Spring 2008 calendar link (at right on your screen).
3.
Abstract to your research project. Again, if you have questions on the content or form of this document, check out my previous posting here
4.
Your research project, self-directed. As we discussed, this may take multiple/hybrid forms, incorporating any number of writing approaches we've discussed or read this semester, so it is difficult to say what the "required amount" is going to be for any given person. As a GUIDELINE ONLY, the requirement for this writing is that it be substantial-- exhibiting your depth and knowledge into a site, or subject that extends from your research into that site. In line with this, when you were given the writing prompt to go to another person's location and respond to the experience of being toured, that writing was designed to function (for the person touring ) as a vital element in their process. If you have not done so already, it may be helpful to provide them with a copy of that writing to be included with their works.
5.
Bibliography, annotated (as needed). Looking at this pragmatically, we collectively explored a HUGE range of writings this semester (from handouts, online resources, and the Course Reader to all of the writings that you used in your own research)-- ALL OF THIS SHOULD be included in your bibliography. In the interest of time management, it most likely does not serve you to write up annotated entries on all of these sources, however certain pieces that you found notable or particularly useful should be discussed here, even briefly.
Again, if you have any questions at all during your assembly, please do not hesitate to email me, or post a comment (for the group to see) on this posting. Thanks again.
Wednesday, April 9, 2008
Los Angeles Poverty Department (LAPD)
I'll add their link on the right, but Tonya Lockyer just directed me to the work of the Los Angeles Poverty Department (LAPD),
From their website,
Los Angeles Poverty Department was founded in 1985 by director, actor, activist, and writer John Malpede. At its inception, LAPD was the first performance group in the nation made up principally of homeless people. LAPD is dedicated to building community on Skid Row, Los Angeles. Since 1985, the company has offered performance workshops that are free and open to the Skid Row community— partnering with numerous social service and advocacy groups, including SRO Housing, Inc.; LA Community Action Network; The Downtown Women’s Action Coalition; St.Vincent DePaul Center; The Salvation Army’s Women’s and Men’s drug recovery programs; and the Inner City Law Center.A theater-without-walls for people living in Los Angeles’ inner city, LAPD has also partnered with communities and arts organizations across the United States to create powerful original works that speak to a range of political issues. Extended residencies have been held in Chicago, Philadelphia, Miami, San Francisco, Houston, and Minneapolis, among other cities.
From their website,
Los Angeles Poverty Department was founded in 1985 by director, actor, activist, and writer John Malpede. At its inception, LAPD was the first performance group in the nation made up principally of homeless people. LAPD is dedicated to building community on Skid Row, Los Angeles. Since 1985, the company has offered performance workshops that are free and open to the Skid Row community— partnering with numerous social service and advocacy groups, including SRO Housing, Inc.; LA Community Action Network; The Downtown Women’s Action Coalition; St.Vincent DePaul Center; The Salvation Army’s Women’s and Men’s drug recovery programs; and the Inner City Law Center.A theater-without-walls for people living in Los Angeles’ inner city, LAPD has also partnered with communities and arts organizations across the United States to create powerful original works that speak to a range of political issues. Extended residencies have been held in Chicago, Philadelphia, Miami, San Francisco, Houston, and Minneapolis, among other cities.
Monday, March 31, 2008
My thesis is
As a comment on this posting, please include either your thesis topic, or questions (likes the ones we shared in class last week) that you will likely be pursuing in your research. For Wednesday, please come prepared with both your thesis (the topic you plan to pursue) and an rough draft of the abstract for your project. Typically, the abstract accompanies your research, and is written after the fact (although it is meant to be read before the research document and frequently contains numerous keywords). For our purposes (and given the time constraints on your project development), you will be writing your abstract alongside your research paper. It will function as both informative and descriptive of your research packet.
HERE is a link to an article from Philip Koopman (from Carnegie-Mellon, 1997), entitled (you guessed it) "How to Write an Abstract". Also,
HERE is a link to similar information from George Mason University (but the blue band in the middle of the online document kinda makes it annoying to read).
HERE is a link to an article from Philip Koopman (from Carnegie-Mellon, 1997), entitled (you guessed it) "How to Write an Abstract". Also,
HERE is a link to similar information from George Mason University (but the blue band in the middle of the online document kinda makes it annoying to read).
Wednesday, March 19, 2008
Experimental Prototype
Here is a link to the wikipedia page on EPCOT, with a description consistent with our overview in class today. Also, for updates on coursework, please click on the SPRING 2008 Calendar link at right (I've been updating it for the coming weeks)
And the Florida city I was trying to recall is Celebration, with some background (again, special thanks to wikipedia) here
And the Florida city I was trying to recall is Celebration, with some background (again, special thanks to wikipedia) here
Thursday, March 13, 2008
Proposed Land Use Action Tour 2008
I've been compiling images of Alex playing every time we go somewhere, and plan on revising this posting every time we go somewhere new. Alex, if you have scores or audio for any of the music you're playing in these images let me know and I'll try to link some audio/mp3 so people could hear what you're playing
Monday, March 3, 2008
Mid-term conference schedule REVISED
Unless otherwise noted, individual conferences will run approximately 15 minutes. These meetings are designed to be informal conversations-- a chance for us to sit down and discuss you progress and work in the course. If there are specific readings, writings, or discussion topics you would like to focus on, please email me ahead of time, so that I can prepare.
For those of you not in class on Monday, your scheduled conferences are obviously tentative, and need to be confirmed. If you are unable to make your scheduled appointment, please let me know and I'll be happy to sit down with you outside of class. Thanks,
Wednesday, 3/5
4:15 Ryan
4:30 Corey
4:45 Robert
5:00 Graham
5:15 Lindsay TBA
5:30 Nick
5:45 Kati
6:00 Kelly
Friday, 3/7
1:30 Cara
1:45 Julian
2:00 Maia
2:15 Amanda
2:30 Alex
2:45 Jason
3:00 Taylor TBA
3:15 Akasha TBA
3:30 Katherine TBA
3:45 Jake TBA
For those of you not in class on Monday, your scheduled conferences are obviously tentative, and need to be confirmed. If you are unable to make your scheduled appointment, please let me know and I'll be happy to sit down with you outside of class. Thanks,
Wednesday, 3/5
4:15 Ryan
4:30 Corey
4:45 Robert
5:00 Graham
5:15 Lindsay TBA
5:30 Nick
5:45 Kati
6:00 Kelly
Friday, 3/7
1:30 Cara
1:45 Julian
2:00 Maia
2:15 Amanda
2:30 Alex
2:45 Jason
3:00 Taylor TBA
3:15 Akasha TBA
3:30 Katherine TBA
3:45 Jake TBA
Urban Archives
Here is a link to the work being done at University of Washington. Special thanks to Gabrielle Dean who located this and passed it along.
Tuesday, February 19, 2008
The Rez As I Saw It
is the title of the new play by Caleb Penn--
IF YOU HAVEN'T SEEN IT YET
I'll have copies of the play available all morning. I'm in the Foundations classroom (room 603, I think) from 8-12. Copies are also available in the library on reserve, and we'll have some available during IS class.
Thanks,
IF YOU HAVEN'T SEEN IT YET
I'll have copies of the play available all morning. I'm in the Foundations classroom (room 603, I think) from 8-12. Copies are also available in the library on reserve, and we'll have some available during IS class.
Thanks,
Tuesday, February 5, 2008
Writing projects, with due dates
All of these writings (along with your notes from class and observations from the field) will be submitted periodically throughout the semester, along with an annotated bibiliography
Writing 1, DUE Monday, January 28
Roughly 3 pages introducing your chosen site to your audience--
Where is it?
Why are you drawn to it and how did you first encounter it?
What processes are you finding helpful (or difficult) in researching and translating your experiences into writing?
Specifically, spend some time describing your process (perhaps this could be collected notes that accompany the deeper writing), explaining how and where you are locating information. Are you spending time in the library? Photographing on location? Interviewing? Drawing? Moving in space? Listening to music?
What types of writing are you finding to be most useful in describing or explaining your attraction to this location? Then, in line with these questions, spend some time writing about questions that you may have for both a reader as well as a potential collaborator (remember, we'll be passing these collections around to other members of the class once we get a little deeper into the writing).
Writing 2, DUE Wednesday, February 6
Roughly 3-5 pages, describing a location (a building or site) that no longer exists. Explain your experiences there, giving your audience a sense of why this site resonates with you. What, specifically, do you recall about the location? When were you there? Why is the memory of this space important to you?
Writing 3, DUE Wednesday, February 13
Focus on the context of your chosen PROPOSED LAND USE ACTION location. What is the neighborhood, and who participates in the community? What buildings, resources, parks, amenities are in the vicinity? What are the boundaries of the environment and how does it intersect with other areas in our city?
Writing 4, DUE Wednesday, February 20
Looking back into the past, what historical facts emerge around your site? What events and people were crucial? FIRST DRAFT DUE
Writing 5, DUE Monday, February 25
PORTFOLIO WITH ANNOTATED BIBLIOGRAPHY DUE
Looking back into the past, what historical facts emerge around your site? What events and people were crucial? SECOND DRAFT DUE
SPRING BREAK HERE
THE FOLLOWING PROMPTS ARE DRAFT VERSIONS ONLY
FOR CURRENT WRITING PROJECTS, PLEASE VIEW THE SPRING 2008 CALENDAR
Explore writing about your chosen location in a different voice Say, for example, that you are utilizing historical documents in your research--how do those documents frame their arguments? What is distinct about the voice(s) of the writers? How does a document written by Cornish from 1920 differ from one written this afternoon?
Return, revisit. Spend some time walking around your location IN PAIRS What are you noticing about the area as it undergoes changes? How are other people responding to these changes? Construction workers? Neighbors? Developers? Historians? Artists? This writing may be a word list, poem, short story, hybrid form...
Projection-- what will this site look like in the future? Taking your cues from the signage, the neighborhood, and your own observations, produce a portrait of your location and the city it will join.
Writing 1, DUE Monday, January 28
Roughly 3 pages introducing your chosen site to your audience--
Where is it?
Why are you drawn to it and how did you first encounter it?
What processes are you finding helpful (or difficult) in researching and translating your experiences into writing?
Specifically, spend some time describing your process (perhaps this could be collected notes that accompany the deeper writing), explaining how and where you are locating information. Are you spending time in the library? Photographing on location? Interviewing? Drawing? Moving in space? Listening to music?
What types of writing are you finding to be most useful in describing or explaining your attraction to this location? Then, in line with these questions, spend some time writing about questions that you may have for both a reader as well as a potential collaborator (remember, we'll be passing these collections around to other members of the class once we get a little deeper into the writing).
Writing 2, DUE Wednesday, February 6
Roughly 3-5 pages, describing a location (a building or site) that no longer exists. Explain your experiences there, giving your audience a sense of why this site resonates with you. What, specifically, do you recall about the location? When were you there? Why is the memory of this space important to you?
Writing 3, DUE Wednesday, February 13
Focus on the context of your chosen PROPOSED LAND USE ACTION location. What is the neighborhood, and who participates in the community? What buildings, resources, parks, amenities are in the vicinity? What are the boundaries of the environment and how does it intersect with other areas in our city?
Writing 4, DUE Wednesday, February 20
Looking back into the past, what historical facts emerge around your site? What events and people were crucial? FIRST DRAFT DUE
Writing 5, DUE Monday, February 25
PORTFOLIO WITH ANNOTATED BIBLIOGRAPHY DUE
Looking back into the past, what historical facts emerge around your site? What events and people were crucial? SECOND DRAFT DUE
SPRING BREAK HERE
THE FOLLOWING PROMPTS ARE DRAFT VERSIONS ONLY
FOR CURRENT WRITING PROJECTS, PLEASE VIEW THE SPRING 2008 CALENDAR
Explore writing about your chosen location in a different voice Say, for example, that you are utilizing historical documents in your research--how do those documents frame their arguments? What is distinct about the voice(s) of the writers? How does a document written by Cornish from 1920 differ from one written this afternoon?
Return, revisit. Spend some time walking around your location IN PAIRS What are you noticing about the area as it undergoes changes? How are other people responding to these changes? Construction workers? Neighbors? Developers? Historians? Artists? This writing may be a word list, poem, short story, hybrid form...
Projection-- what will this site look like in the future? Taking your cues from the signage, the neighborhood, and your own observations, produce a portrait of your location and the city it will join.
Monday, February 4, 2008
Course Reader bibliography
I'm gonna edit this further, but here's a preview of some of the sources cited in the new reader
Burgin, Victor. Some Cities. London: Reaktion Books, 1996.
Brand, Stewart. How Buildings Learn: What happens after they're built. New York: Penguin Books, 1994.
Mumford, Lewis (Jeanne M. Davern, ed.). Architecture as a Home for Man: Essays for the Architectural Record. New York: McGraw-Hill, 1975.
Walker, Lester. American Shelter: An Illustrated Encyclopedia of the American Home. Woodstock: The Overlook Press, 1981.
Geist, Johann Friedrich. Arcades: The History of a Building Type. Cambridge: The MIT Press, 1983.
Burgin, Victor. Some Cities. London: Reaktion Books, 1996.
Brand, Stewart. How Buildings Learn: What happens after they're built. New York: Penguin Books, 1994.
Mumford, Lewis (Jeanne M. Davern, ed.). Architecture as a Home for Man: Essays for the Architectural Record. New York: McGraw-Hill, 1975.
Walker, Lester. American Shelter: An Illustrated Encyclopedia of the American Home. Woodstock: The Overlook Press, 1981.
Geist, Johann Friedrich. Arcades: The History of a Building Type. Cambridge: The MIT Press, 1983.
Saturday, January 26, 2008
Wednesday, January 23, 2008
Where Is It?
Please post the physical description of your site as a comment here (a link to Google Maps would be helpful, but is not required).
Also, please see the calendar below (or linked at right) for a fuller explanation of the initial writings due Monday. And for those of you new to navigating the blog, if you click on the "Spring 2008" calendar link, it will open a new window to that link only. To return to the main blog page, simple click on the header ("Notice of Proposed Land Use Action" title) and you will return to the main blog page.
Also, please see the calendar below (or linked at right) for a fuller explanation of the initial writings due Monday. And for those of you new to navigating the blog, if you click on the "Spring 2008" calendar link, it will open a new window to that link only. To return to the main blog page, simple click on the header ("Notice of Proposed Land Use Action" title) and you will return to the main blog page.
Sunday, January 20, 2008
Dubailyon
I just came across this on Artforum's website, and well, it seems like something we might want to discuss...
DUBAI PLANS TO BUILD COPY OF LYON
In a move that recalls Abu Dhabi's plans to open its own branch of the Louvre, the neighboring Dubai has announced plans to build its own version of the French city of Lyon in the desert. As Le Monde's Sophe Landrin reports, the architectural replica will consist of a thousand-acre miniature based on "the spirit" of Lyon and will include municipal cultural and educational attractions, including the fabric museum, the university, the Lumière Institute, the institute of the chef Paul Bocuse, and even the soccer club Olympique Lyonnais.
The ambitious project—to be completed in four years—is the brainchild of Buti Saeed Al Ghandi, the chairman of the Emivest, Dubai's biggest investor. According to Landrin, Al Ghandi is said to have "fallen in love" with Lyon, the former capital of Gaul. An initial agreement was signed last week between Al Ghandi, the city, and the various institutions involved. While the inspiration has been found, it's not yet clear on what castles of sand Lyon-Dubai will be built.
Wednesday, January 16, 2008
Proposed Land Use Action CALENDAR
Week 1
Mon, 1/14: introduction, syllabus overview
Wed, 1/16: field trip, Consolidated Works
Fri, 1/18: Tour Paramount Theatre, 2 pm
Week 2
Mon, 1/21: NO CLASS, MLK JR. DAY
Wed, 1/23:
*Writing assignment DUE MONDAY, 1/28:
Roughly 3 pages introducing your chosen site to your audience--
Where is it?
Why are you drawn to it and how did you first encounter it?
What processes are you finding helpful (or difficult) in researching and translating your experiences into writing?
Specifically, spend some time describing your process (perhaps this could be collected notes that accompany the deeper writing), explaining how and where you are locating information. Are you spending time in the library? Photographing on location? Interviewing? Drawing? Moving in space? Listening to music?
What types of writing are you finding to be most useful in describing or explaining your attraction to this location? Then, in line with these questions, spend some time writing about questions that you may have for both a reader as well as a potential collaborator (remember, we'll be passing these collections around to other members of the class once we get a little deeper into the writing).
*Reading for Monday: CLUI, excerpts from Overlook (handout in class)
Fri, 1/25: MOHAI (see link at right)-- Meet at MOHAI at 2 pm
Week 3
Mon, 1/28: WRITINGS DUE (SEE ABOVE)
Debriefing on Paramount Theatre, discuss articles/handouts: Susan Mitchell's "Notes on Scaffolding" and article from New Yorker, look at writings on chosen sites
Reading: Jane Jacobs for Friday
Wed, 1/30: Continue discussion on readings, targeting links to writings (scaffolding)
Fri, 2/1: Seattle Central Library TBA
Week 4
Mon, 2/4: Research overview with Heather Shepherd
Wed, 2/6: Writing 2 due (see recent posting)
Design research model, meeting in MC 1
Reading discussion: OMA/LMN Process Book
COURSE READER AVAILABLE WEDNESDAY
Fri, 2/8: Class meeting in Cornish Library
Week 5
Mon, 2/11: Class discussion on Rugoff, Coolidge
Wed, 2/13: Writing 3 due, see recent post
Fri, 2/15: Seattle Underground Tour, meet at 2pm, $8.00 per person
Week 6
Mon, 2/18: NO CLASS, PRESIDENT'S DAY
Wed, 2/20: Writing 4 due, see list
read from student papers/peer review of paper on "context", discuss portfolio/annotated bibliography development
Caleb Penn's play at Freehold, 7:30 pm
Fri, 2/22:
Proposed Land Use Action site-- use Amanda's site
Cluster meeting at 2:30, reading of Mallery's play
Week 7
Mon, 2/25: Class discussion, Writing 5 due
Wed, 2/27: Cluster meeting with Caleb Penn
Fri, 2/29: Bring Portfolio with annotated bibliography, peer evaluation of works
Week 8
Mon, 3/3: Discuss articles in Reader-- "How Buildings Learn", ch.1, ch. 2
Wed, 3/5: Individual meetings, see list in class
Fri, 3/7: Individual meetings, see list
Week 9
NO CLASS, SPRING BREAK!
Week 10
Mon, 3/17
Discussion with in-class writing:
1. List of questions for potential thesis (due at beginning of class Wednesday)
2. Types of writing for the main research component
3. Mid-term assessment
Reading assignment: Jane Jacobs, "Sidewalks" (course reader), to discuss Wednesday
Wed, 3/19
WRITING DUE: Describe the sidewalk that we utilized on Monday to get to the AVA & Camlin. How did we navigate it? Who used it along with us? What do we pass? How is the path maintained? What does it tell us about the neighborhood? At least one long, powerful paragraph describing the area and explaining your experiences there
Discussion:
1. Jacobs reading, as above
2. Peer response to writings, synthesizing Jacobs reading!
Fri, 3/21
Research in teams, going to one of your locations-- one person leads, one person gets the tour, both of you write a response to the experience, history of the location may be integrated here, in multiple ways...
Reading assignment for Monday: Victor Burgin, from Some Cities
Week 11
Mon, 3/24 Discussion
1. Field research from last week, what was the experience of guiding/being guided?
2. Thesis development, list of possible topics to pursue (more developed)
IN-CLASS WRITING-- Responding to the Burgin excerpt, write about a city that you thought of or imagined during the reading, discussing the links of your city to the Burgin descriptions
Reading assignment for Wednesday: Peter Marin, "Helping and Hating the Homeless"
Wed, 3/26
Discussion:
1. Thesis-- What unites all of the writings you've done on your site/neighborhood/history/region/personal experiences? What tone are you setting for a reader with the organization and progression of the works?
2. Marin reading, and homeless community in relation to your sites, as possible
Reading assignment: Lewis Mumford, from "The Disappearing City"
Fri, 3/28
Research in teams, going to one of your locations (the other one)-- one person leads, one person gets the tour, both of you write a response to the experience
Week 12
Mon 3/31
Discussion
1. Field research from last week, what was the experience of guiding/being guided?
2. Mumford reading
Reading assignment: Kevin Lynch, from "The Image of the City"
Wed 4/2
Writing due (Thesis, with abstract DRAFT VERSION)
Discussion:
1.
2. How to utilize the library for this project; what do you need to do to scaffold the experience this Friday?
Fri, 4/4 Cluster meeting at Seattle Central Library, specifics to follow
Week 13
Mon 4/7
Discussion:
1. Lynch reading from course reader)
View DVD: Vertigo
Write a response both to the film, as well as Victor Burgin's notes (handout in class)
Wed, 4/9:
Discussion: compare Burgin, Vertigo
View DVD: Vertigo
Discussion of film, reading papers
Fri, 4/11:
Look at portfolio development
Field work, time permitting
Week 14
Mon, 4/14:
Writing due, In-class writing workshop
Discuss abstracts (read aloud), bibliography,
Wed, 4/16:
Cluster meeting with Tonya Lockyer TBA
CLASS MEETING AT KERRY HALL ROOM 305
Reading assignment, Kevin Lynch, Image of the City (excerpt)
Fri, 4/18:
Discuss Kevin Lynch
In-class reading: Waiting for Godot
Week 15
Mon, 4/21: Organize portfolios, with peer evaluations/suggestions
In-class reading: Waiting for Godot
Wed, 4/23:
Field work: Pioneer Square, UPS park, King Street Building, Tashiro Kaplan
Fri, 4/25: PORTFOLIO DUE, include Self-evaluation (as introduction)
Discuss portfolios, and design schedule for focus group meetings on Monday and Wednesday of next week
COURSE AND PROGRAM EVALUATIONS
Week 16
Mon, 4/28: FOCUS GROUP DISCUSSION, SEE LIST
Wed, 4/30: FOCUS GROUP DISCUSSION, SEE LIST
Fri, 5/2: Cluster meeting. BRING FOOD!
Mon, 1/14: introduction, syllabus overview
Wed, 1/16: field trip, Consolidated Works
Fri, 1/18: Tour Paramount Theatre, 2 pm
Week 2
Mon, 1/21: NO CLASS, MLK JR. DAY
Wed, 1/23:
*Writing assignment DUE MONDAY, 1/28:
Roughly 3 pages introducing your chosen site to your audience--
Where is it?
Why are you drawn to it and how did you first encounter it?
What processes are you finding helpful (or difficult) in researching and translating your experiences into writing?
Specifically, spend some time describing your process (perhaps this could be collected notes that accompany the deeper writing), explaining how and where you are locating information. Are you spending time in the library? Photographing on location? Interviewing? Drawing? Moving in space? Listening to music?
What types of writing are you finding to be most useful in describing or explaining your attraction to this location? Then, in line with these questions, spend some time writing about questions that you may have for both a reader as well as a potential collaborator (remember, we'll be passing these collections around to other members of the class once we get a little deeper into the writing).
*Reading for Monday: CLUI, excerpts from Overlook (handout in class)
Fri, 1/25: MOHAI (see link at right)-- Meet at MOHAI at 2 pm
Week 3
Mon, 1/28: WRITINGS DUE (SEE ABOVE)
Debriefing on Paramount Theatre, discuss articles/handouts: Susan Mitchell's "Notes on Scaffolding" and article from New Yorker, look at writings on chosen sites
Reading: Jane Jacobs for Friday
Wed, 1/30: Continue discussion on readings, targeting links to writings (scaffolding)
Fri, 2/1: Seattle Central Library TBA
Week 4
Mon, 2/4: Research overview with Heather Shepherd
Wed, 2/6: Writing 2 due (see recent posting)
Design research model, meeting in MC 1
Reading discussion: OMA/LMN Process Book
COURSE READER AVAILABLE WEDNESDAY
Fri, 2/8: Class meeting in Cornish Library
Week 5
Mon, 2/11: Class discussion on Rugoff, Coolidge
Wed, 2/13: Writing 3 due, see recent post
Fri, 2/15: Seattle Underground Tour, meet at 2pm, $8.00 per person
Week 6
Mon, 2/18: NO CLASS, PRESIDENT'S DAY
Wed, 2/20: Writing 4 due, see list
read from student papers/peer review of paper on "context", discuss portfolio/annotated bibliography development
Caleb Penn's play at Freehold, 7:30 pm
Fri, 2/22:
Proposed Land Use Action site-- use Amanda's site
Cluster meeting at 2:30, reading of Mallery's play
Week 7
Mon, 2/25: Class discussion, Writing 5 due
Wed, 2/27: Cluster meeting with Caleb Penn
Fri, 2/29: Bring Portfolio with annotated bibliography, peer evaluation of works
Week 8
Mon, 3/3: Discuss articles in Reader-- "How Buildings Learn", ch.1, ch. 2
Wed, 3/5: Individual meetings, see list in class
Fri, 3/7: Individual meetings, see list
Week 9
NO CLASS, SPRING BREAK!
Week 10
Mon, 3/17
Discussion with in-class writing:
1. List of questions for potential thesis (due at beginning of class Wednesday)
2. Types of writing for the main research component
3. Mid-term assessment
Reading assignment: Jane Jacobs, "Sidewalks" (course reader), to discuss Wednesday
Wed, 3/19
WRITING DUE: Describe the sidewalk that we utilized on Monday to get to the AVA & Camlin. How did we navigate it? Who used it along with us? What do we pass? How is the path maintained? What does it tell us about the neighborhood? At least one long, powerful paragraph describing the area and explaining your experiences there
Discussion:
1. Jacobs reading, as above
2. Peer response to writings, synthesizing Jacobs reading!
Fri, 3/21
Research in teams, going to one of your locations-- one person leads, one person gets the tour, both of you write a response to the experience, history of the location may be integrated here, in multiple ways...
Reading assignment for Monday: Victor Burgin, from Some Cities
Week 11
Mon, 3/24 Discussion
1. Field research from last week, what was the experience of guiding/being guided?
2. Thesis development, list of possible topics to pursue (more developed)
IN-CLASS WRITING-- Responding to the Burgin excerpt, write about a city that you thought of or imagined during the reading, discussing the links of your city to the Burgin descriptions
Reading assignment for Wednesday: Peter Marin, "Helping and Hating the Homeless"
Wed, 3/26
Discussion:
1. Thesis-- What unites all of the writings you've done on your site/neighborhood/history/region/personal experiences? What tone are you setting for a reader with the organization and progression of the works?
2. Marin reading, and homeless community in relation to your sites, as possible
Reading assignment: Lewis Mumford, from "The Disappearing City"
Fri, 3/28
Research in teams, going to one of your locations (the other one)-- one person leads, one person gets the tour, both of you write a response to the experience
Week 12
Mon 3/31
Discussion
1. Field research from last week, what was the experience of guiding/being guided?
2. Mumford reading
Reading assignment: Kevin Lynch, from "The Image of the City"
Wed 4/2
Writing due (Thesis, with abstract DRAFT VERSION)
Discussion:
1.
2. How to utilize the library for this project; what do you need to do to scaffold the experience this Friday?
Fri, 4/4 Cluster meeting at Seattle Central Library, specifics to follow
Week 13
Mon 4/7
Discussion:
1. Lynch reading from course reader)
View DVD: Vertigo
Write a response both to the film, as well as Victor Burgin's notes (handout in class)
Wed, 4/9:
Discussion: compare Burgin, Vertigo
View DVD: Vertigo
Discussion of film, reading papers
Fri, 4/11:
Look at portfolio development
Field work, time permitting
Week 14
Mon, 4/14:
Writing due, In-class writing workshop
Discuss abstracts (read aloud), bibliography,
Wed, 4/16:
Cluster meeting with Tonya Lockyer TBA
CLASS MEETING AT KERRY HALL ROOM 305
Reading assignment, Kevin Lynch, Image of the City (excerpt)
Fri, 4/18:
Discuss Kevin Lynch
In-class reading: Waiting for Godot
Week 15
Mon, 4/21: Organize portfolios, with peer evaluations/suggestions
In-class reading: Waiting for Godot
Wed, 4/23:
Field work: Pioneer Square, UPS park, King Street Building, Tashiro Kaplan
Fri, 4/25: PORTFOLIO DUE, include Self-evaluation (as introduction)
Discuss portfolios, and design schedule for focus group meetings on Monday and Wednesday of next week
COURSE AND PROGRAM EVALUATIONS
Week 16
Mon, 4/28: FOCUS GROUP DISCUSSION, SEE LIST
Wed, 4/30: FOCUS GROUP DISCUSSION, SEE LIST
Fri, 5/2: Cluster meeting. BRING FOOD!
Friday, January 4, 2008
Thursday, December 6, 2007
Tuesday, December 4, 2007
Alex Performing at PONCHO
Don't forget! Alex Wilkins is performing tomorrow afternoon at 4 pm as part of Scores of Sound at PONCHO (Kerry Hall). Here is the schedule for the entire week
Scores of Sound - Student Music Festival
Fall 2007
Tuesday, Dec. 4th – Friday, Dec. 7th
PONCHO Concert Hall - 710 E. Roy St.
Cornish College of the Arts
Free and open to the public.
Tuesday, December 4th
1pm Rhythm Section
2pm Vocal Jazz Standards II, III and IV with Beth Winter
3-3:30pm Snack Break
3:30pm Composer-Performer Ensemble with Linda Waterfall
4:30pm Classical Voice Studios I
5:30pm African Drumming Ensemble with Kofi Anang
6:30-8pm Dinner Break
8pm Latin Ensemble with Jovino Santos Neto
9pm Vocal Jazz Standards II, III, and IV with Randy Halberstadt
Wednesday, December 5th
11am-12pm Classical Voice Studios II
12pm Lunch Break
1pm Jazz Ensemble II with Chuck Deardorf
2pm Jazz Composition Class with Jim Knapp
3-3:30pm Snack Break
3:30-4pm Art Songs with Bern Herbolsheimer
4pm Chamber Music Ensembles I
5pm Acting for Singers with Natalie Lerch
6-7:30pm Dinner Break
7:30-8pm Bachianas Brasilieras by Villalobos with Natalie Lerch and Eight Cellists
8-9:30pm Seattle Chamber Players perform Composition Seminar Works
Thursday, December 6th
11am Jazz Ensemble I with Chuck Deardorf
12pm Lunch Break
1pm Jazz Composers Ensemble with Jim Knapp
2pm Vocal Jazz Standards I with Beth Winter
3-5pm Composition Studios
5-5:30pm Snack Break
5:30pm Gamelan Ensemble with Jarrad Powell
6:30-8pm Dinner Break
8pm Classical Instrumental Studios I
9pm Chamber Music Ensembles II
Friday, December 7th
10:30am-12pm Electronic Music with John Burrow
12-1:30pm Lunch Break
1:30pm Jazz Ensemble II with Randy Halberstadt
2:30pm Jazz Arranging with Jovino Santos Neto
3:30-4pm Snack Break
4pm Composer-Performer Ensemble with Jovino Santos Neto
5pm Chorus with Roger Nelson
6pm Classical Instrumental Studios II
7pm Dinner Break
8pm Jazz Ensemble IV with Denney Goodhew
9pm Blue Ensemble with Denney Goodhew
Sunday, December 2, 2007
THE LIST
By request, here's the list of writings that, in some form or another, should be included in your final portfolio. All works are listed chronologically, with annotation where it may be helpful. For blog entries, either provide an annotated citation/bibliographic entry, or print a copy of your response. For each of the field work studies listed, length of your document may vary, although 2-3 pages is a recommended length to begin.
Think rich. Look Poor. Blog entry, Monday, September 10, 2007.
Charette casebook, multiple elements (again, see related list on blog archive). Page content will vary in these works, but please consider that your writing contributions here represent the bulk of your work this semester, in both content and length.
Field work: Westlake Park, City Hall Park, and Seattle City Hall (via bus tunnel)
Kerry Hall Songs. Blog entry.
Music of Kerry Hall, revision of blog entry, may also include audio and mapping elements.
Field work: Tashkent Park & Cal Anderson Park
Field work: Federal Courthouse, REI greenspace, and Cascade People's Center (for these, please cite any references you make to the GSA book provided at the Courthouse, or any research you use from either CPC or REI. For your convenience, weblinks to both these places are provided in the alphabetical list on the right)
Volunteer Park. Blog entry. As of today, only Brittany and Akasha have commented on this posting. Even though it is retroactive, please provide helpful links to either things you saw at the park, or reference guides you may have used in writing your responses to the site.
Field work: Volunteer Park, 1st draft. This writing should address (even if in passing) all of the sites we visited: reservoir, koi pond, playground, Bruce Lee's grave, conservatory, and water tower.
Field work: Volunteer Park, 2nd draft, with revisions from Kim's class and synthesis of Course Reader writings. How have other writers responded to issues concerning parks?
Field work: Columbia Center, Westlake Park revisited
Reflective introduction to portfolio, see posting below for more information
Think rich. Look Poor. Blog entry, Monday, September 10, 2007.
Charette casebook, multiple elements (again, see related list on blog archive). Page content will vary in these works, but please consider that your writing contributions here represent the bulk of your work this semester, in both content and length.
Field work: Westlake Park, City Hall Park, and Seattle City Hall (via bus tunnel)
Kerry Hall Songs. Blog entry.
Music of Kerry Hall, revision of blog entry, may also include audio and mapping elements.
Field work: Tashkent Park & Cal Anderson Park
Field work: Federal Courthouse, REI greenspace, and Cascade People's Center (for these, please cite any references you make to the GSA book provided at the Courthouse, or any research you use from either CPC or REI. For your convenience, weblinks to both these places are provided in the alphabetical list on the right)
Volunteer Park. Blog entry. As of today, only Brittany and Akasha have commented on this posting. Even though it is retroactive, please provide helpful links to either things you saw at the park, or reference guides you may have used in writing your responses to the site.
Field work: Volunteer Park, 1st draft. This writing should address (even if in passing) all of the sites we visited: reservoir, koi pond, playground, Bruce Lee's grave, conservatory, and water tower.
Field work: Volunteer Park, 2nd draft, with revisions from Kim's class and synthesis of Course Reader writings. How have other writers responded to issues concerning parks?
Field work: Columbia Center, Westlake Park revisited
Reflective introduction to portfolio, see posting below for more information
Saturday, November 24, 2007
Final portfolio DRAFT VERSION
Writing has been the primary means of presenting your research this semester, and the portfolio is an opportunity (for both you and I) to see your production assembled, providing us a shared space to look for patterns in your work, and assess your writing at this time. It is a chance for you to consider your writing as an integral part of your discipline, of your practice, of your output, and of your work. Integrated Studies is a writing-based course, developed to support you as an artist who writes.
During the semester you have been investigating sites ranging from physical locations (parks, offices, libraries, schools, a bus tunnel, and City Hall) to more conceptual spaces (Calvino’s text “Invisble Cities” and your own proposed charrette spaces). For the final writing exploration of this semester, you’ll be investigating your own body of writings as sites of inquiry.
By the time the portfolio is submitted, you will have had exposure to a broad range of writing opportunities (journal sketches, revised drafts, self-reflective essays, proposal/charrette briefs, presentations, revisions, synthesis of resources, and blog entries, among others). Is your writing moving in directions that are helpful to you as an artist? In what ways can you improve upon this process?
For your portfolio (and this list in consistent within all the Integrated Studies courses), please include the following elements:
1. A compilation/portfolio of all your writings from the semester-- this should include EVERYTHING* you have written (a chronological list of your submitted works is included at the bottom of this page, but this packet may also include any notes, research, or mix tapes you have found relevant in your process). All works (wherever possible) should be three-hole punched and submitted in a three-ring binder, labeled with your name and the course title.
2. From these works, you will select and foreground three (3) pieces of your writing from this semester which will be the basis of a self-reflective writing introducing the portfolio (see #3 below). These three papers should be clearly separated from the other works in your binder. They may be any three pieces you’ve written (they could be three distinct works, multiple revisions of a single work, or a combination of these things).
3. An introduction/self-reflective piece introducing your portfolio. For length, consider a writing at least two pages, although you may want to explore this writing; I'll read as much as you write (it takes me awhile, but yes, really), and it's a great opportunity to really unpack your work this semester and take some time with your output. What worked? What sucked? Ideally, this paper will include your responses to both the coursework and your own writings. What role does writing fulfill in your studio practice? How are you taking steps to develop your work? What direction would you like the writing aspect of the course take in the future? Are you seeing your writing process grow? What are your hopes for writing in the coming semester, or coming years at Cornish?
In conversation Monday, we looked deeply at a synthesis paper from one of Kim's earlier classes, considering ways of responding to works from other students. This exercise was designed to complement the experience of receiving feedback from Kim's group (prior to Thanksgiving), and pave the way for your own critical assessment of your writing process, while laying groundwork in peer responses for future papers.
In this self-reflective, introductory (to the portfolio) writing please also describe your process of selecting three pieces from the semester. Why are they vital to you now? What links the works together? Is your process of research the same from one piece to the next? Are there common elements in the writings? How are these writings exemplary of your progress this semester?
All works for this writing portfolio are due Monday, December 10, 2007.
Everything* should include--if you choose-- a fair selection of your notes or preliminary writings. You don't need to extract or copy all of the pages from your journal, but if there are specific writings or notes or diagrams you've taken that have helped you go to someplace new in your writing, then yes, by all means, include them here.
List of writings (the basis of the portfolio):
During the semester you have been investigating sites ranging from physical locations (parks, offices, libraries, schools, a bus tunnel, and City Hall) to more conceptual spaces (Calvino’s text “Invisble Cities” and your own proposed charrette spaces). For the final writing exploration of this semester, you’ll be investigating your own body of writings as sites of inquiry.
By the time the portfolio is submitted, you will have had exposure to a broad range of writing opportunities (journal sketches, revised drafts, self-reflective essays, proposal/charrette briefs, presentations, revisions, synthesis of resources, and blog entries, among others). Is your writing moving in directions that are helpful to you as an artist? In what ways can you improve upon this process?
For your portfolio (and this list in consistent within all the Integrated Studies courses), please include the following elements:
1. A compilation/portfolio of all your writings from the semester-- this should include EVERYTHING* you have written (a chronological list of your submitted works is included at the bottom of this page, but this packet may also include any notes, research, or mix tapes you have found relevant in your process). All works (wherever possible) should be three-hole punched and submitted in a three-ring binder, labeled with your name and the course title.
2. From these works, you will select and foreground three (3) pieces of your writing from this semester which will be the basis of a self-reflective writing introducing the portfolio (see #3 below). These three papers should be clearly separated from the other works in your binder. They may be any three pieces you’ve written (they could be three distinct works, multiple revisions of a single work, or a combination of these things).
3. An introduction/self-reflective piece introducing your portfolio. For length, consider a writing at least two pages, although you may want to explore this writing; I'll read as much as you write (it takes me awhile, but yes, really), and it's a great opportunity to really unpack your work this semester and take some time with your output. What worked? What sucked? Ideally, this paper will include your responses to both the coursework and your own writings. What role does writing fulfill in your studio practice? How are you taking steps to develop your work? What direction would you like the writing aspect of the course take in the future? Are you seeing your writing process grow? What are your hopes for writing in the coming semester, or coming years at Cornish?
In conversation Monday, we looked deeply at a synthesis paper from one of Kim's earlier classes, considering ways of responding to works from other students. This exercise was designed to complement the experience of receiving feedback from Kim's group (prior to Thanksgiving), and pave the way for your own critical assessment of your writing process, while laying groundwork in peer responses for future papers.
In this self-reflective, introductory (to the portfolio) writing please also describe your process of selecting three pieces from the semester. Why are they vital to you now? What links the works together? Is your process of research the same from one piece to the next? Are there common elements in the writings? How are these writings exemplary of your progress this semester?
All works for this writing portfolio are due Monday, December 10, 2007.
Everything* should include--if you choose-- a fair selection of your notes or preliminary writings. You don't need to extract or copy all of the pages from your journal, but if there are specific writings or notes or diagrams you've taken that have helped you go to someplace new in your writing, then yes, by all means, include them here.
List of writings (the basis of the portfolio):
Monday, November 19, 2007
Synthesis
So I've amended the calendar (link to the right) with the information below, but it seems helpful to clarify some of what I'm asking you to do in class today as well as over the break:
Today (Monday, 11/19) Kim's class will be joining us with the intention of having them mentor you through a process of writing analysis. Using a paper from one of Kim's prior classes (and I'll be providing you with a copy of this) as a model, they have been working to develop methods for offering feedback and creating a reflexive writing practice. My hope is that they will be sharing this process with you, allowing you to synthesize their practice with your own.
To support this work, I'm asking you to do a couple of things for Monday, 11/26:
First, read through the paper from Kim's class (entitled "Synthesis Paper, or How the Theory of Derive, Conversations with Imaginary Friends and Shouting in the Park Got Me a New Old Pair of Shoes") and make notes on it (literally, mark it up-- use it, amend it, question it, edit it). We'll begin next class by going through this together and seeing what trends emerge. How does the writer lead you to a topic? How are different sources integrated into the text?
Second, extending from the assistance you receive today (11/19), develop a NEW draft of your experience with Volunteer Park. This new draft should *do* two things: First, it should attempt to bring in/discuss/analyze some of the feedback you got from Kim's class, and second, it should attempt to synthesize some (or most) of the readings we've done on parks (from the Course Reader and in-class).
As I wrote on the calendar post:
The suggestions from Kim's class will be utilized in the next version, due Monday 11/26. For this version (keeping in mind that we will continue to work with this paper), please also consider the writings from the Course Reader II, and look for ways to synthesize your views with the views of Pierce Lewis, J.B. Jackson, Nicholson Baker, Alain de Botton and Francis Ponge (On Water was a hand-out in class). For example, how does your view of the urban park differ from Jackson's? How do you describe water distinct from Ponge, and what are those distinctions?
If you have any questions on the writing process we're adopting here (and it's a progression from the descriptions/experiences you've written thus far), please, please write them as comments on this post, and I'll respond to them as quickly as I can. The act of synthesizing new works into a text (drawing on different viewpoints, arguments, and topics)-- into your text-- is a crucial element in your work as a writer, and my hope is that we will be discussing the opportunities and difficulties frequently and deeply.
Go team.
Today (Monday, 11/19) Kim's class will be joining us with the intention of having them mentor you through a process of writing analysis. Using a paper from one of Kim's prior classes (and I'll be providing you with a copy of this) as a model, they have been working to develop methods for offering feedback and creating a reflexive writing practice. My hope is that they will be sharing this process with you, allowing you to synthesize their practice with your own.
To support this work, I'm asking you to do a couple of things for Monday, 11/26:
First, read through the paper from Kim's class (entitled "Synthesis Paper, or How the Theory of Derive, Conversations with Imaginary Friends and Shouting in the Park Got Me a New Old Pair of Shoes") and make notes on it (literally, mark it up-- use it, amend it, question it, edit it). We'll begin next class by going through this together and seeing what trends emerge. How does the writer lead you to a topic? How are different sources integrated into the text?
Second, extending from the assistance you receive today (11/19), develop a NEW draft of your experience with Volunteer Park. This new draft should *do* two things: First, it should attempt to bring in/discuss/analyze some of the feedback you got from Kim's class, and second, it should attempt to synthesize some (or most) of the readings we've done on parks (from the Course Reader and in-class).
As I wrote on the calendar post:
The suggestions from Kim's class will be utilized in the next version, due Monday 11/26. For this version (keeping in mind that we will continue to work with this paper), please also consider the writings from the Course Reader II, and look for ways to synthesize your views with the views of Pierce Lewis, J.B. Jackson, Nicholson Baker, Alain de Botton and Francis Ponge (On Water was a hand-out in class). For example, how does your view of the urban park differ from Jackson's? How do you describe water distinct from Ponge, and what are those distinctions?
If you have any questions on the writing process we're adopting here (and it's a progression from the descriptions/experiences you've written thus far), please, please write them as comments on this post, and I'll respond to them as quickly as I can. The act of synthesizing new works into a text (drawing on different viewpoints, arguments, and topics)-- into your text-- is a crucial element in your work as a writer, and my hope is that we will be discussing the opportunities and difficulties frequently and deeply.
Go team.
Wednesday, November 14, 2007
Volunteer Park
Please post all of your suggestions, research, and links as comments to this post.
We will be leaving Kerry Hall for Volunteer Park at 1:30 pm on Friday.
We will be leaving Kerry Hall for Volunteer Park at 1:30 pm on Friday.
Monday, November 12, 2007
Course reader and this week (Marc's class)
First off, Happy Veteran's Day to everyone checking in today. It was nice to sleep in and wake up to the Ellen Degeneres show this morning. The Chris Brown performance was awesome. Here's some Youtube of Ellen dancing to Chris, from an earlier appearance--
Okay, to work:
For this Wednesday, please come prepared with the Course Reader II (again, this one is available from Perfect Copy, located at the intersection of John and Broadway). They are doing an initial run of 13, so if you're #14+ that day, you may have to wait. If you would like to call ahead, their number is here
and for class, I'd like to discuss these first two articles--
Tosches, Nick. “Review of Gately’s Café”. The Nick Tosches Reader. New York: Da Capo Press, 2000, pp. 44-45. I can't believe they forgot this in the reader
and
De Botton, Alain. Excerpts from The Architecture of Happiness. New York: Pantheon Books, 2006.
also, skipping around a bit, please read this for Friday as well
Baker, Nicholson. Excerpt from The Mezzanine. New York: Vintage Contemporaries, 1990.
(the excerpt from de Botton is a bit of a departure from our current research into the "nature" of parks, but it provides a few frames that should be helpful as we move towards other spaces; the Tosches is waaay outside of our work, but his approach to writing on music/spaces seems really interesting to pursue)
Also, it may be helpful to look at the writings in relation to the field work we did last week at REI, Cascade People's Center, and the Federal Courthouse (links to REI and the CPC are located on the right), and discuss the writings/descriptions in the book we received from the GSA.
And, let's think about ways to conclude our readings/discussions of Calvino's Invisible Cities. What can we take from this work as we move forward?
Lastly (and yes, this post is gettin' real long), we'll discuss our field work for this coming Friday and next Monday. Go team.
Okay, to work:
For this Wednesday, please come prepared with the Course Reader II (again, this one is available from Perfect Copy, located at the intersection of John and Broadway). They are doing an initial run of 13, so if you're #14+ that day, you may have to wait. If you would like to call ahead, their number is here
and for class, I'd like to discuss these first two articles--
Tosches, Nick. “Review of Gately’s Café”. The Nick Tosches Reader. New York: Da Capo Press, 2000, pp. 44-45. I can't believe they forgot this in the reader
and
De Botton, Alain. Excerpts from The Architecture of Happiness. New York: Pantheon Books, 2006.
also, skipping around a bit, please read this for Friday as well
Baker, Nicholson. Excerpt from The Mezzanine. New York: Vintage Contemporaries, 1990.
(the excerpt from de Botton is a bit of a departure from our current research into the "nature" of parks, but it provides a few frames that should be helpful as we move towards other spaces; the Tosches is waaay outside of our work, but his approach to writing on music/spaces seems really interesting to pursue)
Also, it may be helpful to look at the writings in relation to the field work we did last week at REI, Cascade People's Center, and the Federal Courthouse (links to REI and the CPC are located on the right), and discuss the writings/descriptions in the book we received from the GSA.
And, let's think about ways to conclude our readings/discussions of Calvino's Invisible Cities. What can we take from this work as we move forward?
Lastly (and yes, this post is gettin' real long), we'll discuss our field work for this coming Friday and next Monday. Go team.
Monday, November 5, 2007
New post
Okay, so I'm still a bit under the weather (my weekend included something like twenty hours in bed watching South Park episodes and sleeping), but I've gone back and updated the calendar with the events/timeline we discussed on Friday. To recap,
Each week for the rest of the semester will, for the most part, follow the same format:
Mondays will be discussion days in the classroom, looking at (in parallel ways) the readings and our field work from the previous week. What are the links you're noticing, and in what ways can those links be made visible in your writings? This week for example, we'll look at Calvino and Ponge (again), in the context of our time spent in Cal Anderson and Tashkent Parks.
Wednesdays will most likely be field work of some sort, providing the framework for that week's writings. This week, we'll meet at MCC, then out to some nearby greenspaces.
Fridays (and keep in mind this is all a pretty delicate balancing act) will most likely be spent both in the field AND the classroom. It's a long enough span for us to discuss some texts, be outside the classroom, and look at developing your works as writers! Although this week we meet at MCC, then go to the Federal Courthouse, meeting with the GSA representative at 2pm.
The calendar is your friend.
Each week for the rest of the semester will, for the most part, follow the same format:
Mondays will be discussion days in the classroom, looking at (in parallel ways) the readings and our field work from the previous week. What are the links you're noticing, and in what ways can those links be made visible in your writings? This week for example, we'll look at Calvino and Ponge (again), in the context of our time spent in Cal Anderson and Tashkent Parks.
Wednesdays will most likely be field work of some sort, providing the framework for that week's writings. This week, we'll meet at MCC, then out to some nearby greenspaces.
Fridays (and keep in mind this is all a pretty delicate balancing act) will most likely be spent both in the field AND the classroom. It's a long enough span for us to discuss some texts, be outside the classroom, and look at developing your works as writers! Although this week we meet at MCC, then go to the Federal Courthouse, meeting with the GSA representative at 2pm.
The calendar is your friend.
Thursday, October 18, 2007
Conference schedule
Remember, these are approximate times, please try and make it a few minutes early, to keep things rolling.
Wed 10/24
4:15 Brittany
4:30 Lindsay
4:45 Ryan
5:00 Kelly
5:15 Akasha
5:30 Jason
5:45 Kati
Fri, 10/26
1:30 Shane
1:45 Jake
2:00 Cara
2:15 Corey
2:30 Amanda
2:45 Alex
3:00 Patrick
3:15 Katherine
3:30 Maia
3:45 Taylor
4:00 Graham
Wed 10/24
4:15 Brittany
4:30 Lindsay
4:45 Ryan
5:00 Kelly
5:15 Akasha
5:30 Jason
5:45 Kati
Fri, 10/26
1:30 Shane
1:45 Jake
2:00 Cara
2:15 Corey
2:30 Amanda
2:45 Alex
3:00 Patrick
3:15 Katherine
3:30 Maia
3:45 Taylor
4:00 Graham
Monday, October 15, 2007
Comments on Kerry Hall/Music, Here
As requested here's a post that can take comments. I'll move all of the previous post/comments tomorrow (I hope) and have everything assembled here for easy reference. And thanks again for all of the feedback and conversation today.
h and s class music blog
well i havent been by a computer for the whole entire weekend so i figured i would blog about the music i hear around kerry hall about now. when i would walk around kerry hall, i could hear the drum sets, the african drums, the jazz, and all sorts of classical music as well. it was really cool to just walk and pick up any type of music or sounds you could. you could also have music in your head as you were walking. for some reason, i started to think about the brandenburg concertos when i was walking down the hallways! who knows, this school gives off all sorts of wicked vibes. thats all for now i guess. peace .alex.
Kerry Hall Songs
Basement computer lab: "Love Machine" because of all the computers/machines
Basement kitchen: "Nobody Loves Me" worm song because when I looked out the tiny window I felt very small
First floor copy room: "Sweet Dreams" by La Bouche because the copy machines make this snoring noise
Second floor hallway: "Let Go" by Frou Frou because it was so quiet and empty and reminded me of Garden State
Second floor bathroom: "Far Away" by Carol King because it's a tiny place and seems far away
Basement kitchen: "Nobody Loves Me" worm song because when I looked out the tiny window I felt very small
First floor copy room: "Sweet Dreams" by La Bouche because the copy machines make this snoring noise
Second floor hallway: "Let Go" by Frou Frou because it was so quiet and empty and reminded me of Garden State
Second floor bathroom: "Far Away" by Carol King because it's a tiny place and seems far away
Sunday, October 14, 2007
Kerry Hall Songs
3rd Floor Hallway-
Classic piano music. Specifically, songs that are typically used when at the barre.
Elevator-
The Greys Anatomy soundtrack. Anybody who watches the show will understand.
Digital Lab (Basement)-
"Turning Japanese" by The Vapors
I was overwhelmed by the abundance of computer technology.
Lounge-
"Brick House" by The Commodores
Simply because the first thing I noticed when I walked in was the brick wall. :P
Rm 114-
I don't know specifically what song I was thinking of, but in general this room made me think of Buddy Holly. The reason for this is that the teacher who had just finished up class really wanted to help me find inspiration in this room and proceded to show me the various instruments in there, one of which happened to be a harpischord, which I know Buddy Holly used in some of his songs. I think probably if I had to pick just one song I would pick "Rave On" because thats the song I immediately think of when I think of Buddy Holly...but I don't even know if that actually uses the harpischord or not.
-Kelly Middleton
Classic piano music. Specifically, songs that are typically used when at the barre.
Elevator-
The Greys Anatomy soundtrack. Anybody who watches the show will understand.
Digital Lab (Basement)-
"Turning Japanese" by The Vapors
I was overwhelmed by the abundance of computer technology.
Lounge-
"Brick House" by The Commodores
Simply because the first thing I noticed when I walked in was the brick wall. :P
Rm 114-
I don't know specifically what song I was thinking of, but in general this room made me think of Buddy Holly. The reason for this is that the teacher who had just finished up class really wanted to help me find inspiration in this room and proceded to show me the various instruments in there, one of which happened to be a harpischord, which I know Buddy Holly used in some of his songs. I think probably if I had to pick just one song I would pick "Rave On" because thats the song I immediately think of when I think of Buddy Holly...but I don't even know if that actually uses the harpischord or not.
-Kelly Middleton
Friday, October 12, 2007
Kerry Hall Songs
Our Classroom: I heard "London Beckoned Songs about Money Written by Machines" by Panic! at the Disco because there are lyrics in there that remind me of all the discussions we have in there. The lyrics that remind me go:
Hallway outside Classroom: I heard "Goodbye Love" from the Rent soundtrack for some reason. It just looked like a lonely hallway, one that you would say goodbye to someone there. And whenever I walk down the hallway in that direction, I'm usually saying goodbye to someone from class.
Basement: I heard the song "Crazy" by Gnarles Barkley because the white halls and clean feeling made me feel like I was in the ICU. I hate that feeling and so I rarely go down there.
Basement hallway: I heard "In My Own Little Corner" from Cinderella because it has this very lonely feeling to it. It's so long and I just felt like I was the only person in the hallway.
First Floor: As soon as I stepped out of the elevator onto the first floor, I could hear "A Elbereth Gilthoniel" from Lord of the Rings. This song makes me feel so peaceful and that's how the first floor always makes me feel, like I'm at home.
First Floor Hallway: When I walked down the first floor hallway, I could hear the song "Lacrymosa" from Mozart's Requiem. I think I could hear this since I have choir on the first floor very close to that hallway. Whenever I go to choir, Mozart's Requiem always goes through me head.
(Sorry this wasn't turned in earlier, I wasn't sure where to post it too!)
Brittany Williams
Boy you better put that pen to paper and charm your way out.
If you talk you better walk you better back your shit upHallway outside Classroom: I heard "Goodbye Love" from the Rent soundtrack for some reason. It just looked like a lonely hallway, one that you would say goodbye to someone there. And whenever I walk down the hallway in that direction, I'm usually saying goodbye to someone from class.
Basement: I heard the song "Crazy" by Gnarles Barkley because the white halls and clean feeling made me feel like I was in the ICU. I hate that feeling and so I rarely go down there.
Basement hallway: I heard "In My Own Little Corner" from Cinderella because it has this very lonely feeling to it. It's so long and I just felt like I was the only person in the hallway.
First Floor: As soon as I stepped out of the elevator onto the first floor, I could hear "A Elbereth Gilthoniel" from Lord of the Rings. This song makes me feel so peaceful and that's how the first floor always makes me feel, like I'm at home.
First Floor Hallway: When I walked down the first floor hallway, I could hear the song "Lacrymosa" from Mozart's Requiem. I think I could hear this since I have choir on the first floor very close to that hallway. Whenever I go to choir, Mozart's Requiem always goes through me head.
(Sorry this wasn't turned in earlier, I wasn't sure where to post it too!)
Brittany Williams
Kerry Hall Songs - Taylor
Elevator - 1st Floor
I couldn't help but think of the song Workhorse by Mastodon as a single student loaded the elevator full of musical equipment including an entire drum set, a stand, and an amplifier. The student was obviously the "Workhorse" for the day.
2nd Floor
Near the drum room I heard some faint sounds of drums being put away. The noises from the drums made me think about Day of Baphomets by The Mars Volta since it has an epic drum/bongo solo in it.
Front Door
I was looking out at the empty street from the front door of Kerry hall and i couldn't help but feel lonely since the street was completely empty and there was no movement other than trees swaying in the wind. This reminded me of one of the loneliest sounding songs I know Leap Your Bar by John Frusciante.
I couldn't help but think of the song Workhorse by Mastodon as a single student loaded the elevator full of musical equipment including an entire drum set, a stand, and an amplifier. The student was obviously the "Workhorse" for the day.
2nd Floor
Near the drum room I heard some faint sounds of drums being put away. The noises from the drums made me think about Day of Baphomets by The Mars Volta since it has an epic drum/bongo solo in it.
Front Door
I was looking out at the empty street from the front door of Kerry hall and i couldn't help but feel lonely since the street was completely empty and there was no movement other than trees swaying in the wind. This reminded me of one of the loneliest sounding songs I know Leap Your Bar by John Frusciante.
from Shane Small
3rd floor
In our class room the song was Julia by the Beatles. I think the class had a real warm ambiance to it and this is why this song was in my head. When I walked in to the hallway outside of our class another Beatles song came to mind, this time it was she said. I feel that there was a lot of innocents and love in the hall way with parents and children feeling the hall.
2nd floor
This floor had a completely different vibe to it for me as I walked down the stair well I felt an emptiness and silence that brought about the song lateralus by tool and when I entered the lounge area the song heart shaped box blared in my ear and when I stared down one of the empty hall ways the song hurt came into my head by nin.
1st floor
By this time the darker side of my imagination took over and I as entered the first floor lobby the song ghost by Tupac was in my head. I then stared down the hallway with the exit and the song the nine-year tide came to my mind from twelve tribes.
In our class room the song was Julia by the Beatles. I think the class had a real warm ambiance to it and this is why this song was in my head. When I walked in to the hallway outside of our class another Beatles song came to mind, this time it was she said. I feel that there was a lot of innocents and love in the hall way with parents and children feeling the hall.
2nd floor
This floor had a completely different vibe to it for me as I walked down the stair well I felt an emptiness and silence that brought about the song lateralus by tool and when I entered the lounge area the song heart shaped box blared in my ear and when I stared down one of the empty hall ways the song hurt came into my head by nin.
1st floor
By this time the darker side of my imagination took over and I as entered the first floor lobby the song ghost by Tupac was in my head. I then stared down the hallway with the exit and the song the nine-year tide came to my mind from twelve tribes.
Thursday, October 11, 2007
The Lay of the Land TENTATIVE calendar
At long last, here's an overview of what we'll be up to during the next few weeks. In part, I've been slow to deliver this framework, as so much new information came out of the charrette that will likely influence the trajectory of our projects over the next year. Also, please be aware that as cluster opportunities (for collaborative work) arise, I'll be editing this posting, revising locations and dates as needed; this is just a guideline.
Reading assignment for Mon, 10/15: Anne Lamont, “Bird by Bird” , also purchase Invisible Cities (see prior post for info): we will be utilizing this as our primary text for the next few weeks, followed by a course reader for the last few weeks of the course.
Writing assignment (post on blog) due Fri, 10/12: “Maps”/Kerry Hall sound/music map-- listing spaces, the music they conjure, and brief descriptions of how the spaces & sounds go together. Please consider this as a draft, a document we will build and change throughout the next couple of weeks.
Fri, 10/12: Cluster meeting in MCC 303, viewing Streetwise
Week 7
Reading assignment: Italo Calvino, Invisible Cities
M 10/15
Schedule Mid-term conferences, to take place during Week 8
Discussion on Lamont (above), In-class reading/writing on “In Praise of the Humble Comma”, Course evaluation for mid-term discussion during the next week, schedule reading timeline for Calvino, also reading Lars Eighner "On Dumpster Diving"
W 10/17
Class to meet at Cornish Library MCC
Library orientation,
F 10/19
Class to meet at MCC
Fieldwork: Bus tunnel & two parks (Westlake and greenspace adjacent to Taschiro Kaplan)—interview, photograph, physical descriptions of spaces, personal experiences (develop into 2+ page exploration-- more to follow).
Alumni visit to be arranged?
Week 8
Reading assignment: Italo Calvino, Invisible Cities (continued)
Kerry Hall/Capitol Hill focus. Building off of the sound exploration of Kerry Hall (and responding to Invisible Cities), we will be making multiple excursions (physically as well as written) into the building, examining scents, lighting, cinema, etc.
M 10/22
Discussion on Mid-term check-in forms (Charette, readings, course format)
Writing project: As we will not be meeting as a class on either Wednesday or Friday, you will be working independently on a writing piece that will be due next Monday, October 29th. Using the draft that you wrote for the blog (on the sounds triggered by specific areas of Kerry Hall) as a point of departure, you will be developing that work into a fuller piece. Your writing should include the research/music/spaces you've already addressed, but should expand on those in some way. For example, you may be inclined to add locations and music, mapping a route you take through the building and the sounds you hear along the way. Or perhaps you may choose to move outside the building (I wouldn't blame you at all, the weather has been really nice lately), using the first places you visited/wrote about/picked music for as starting points-- where do they lead you in the city? How far can your route go and how does the music/sounds of the city follow along? In writing this piece (and I'm not going to suggest an appropriate length that it has to be, but rather ask that you consider it as a work that you will develop over the course of a week), consider both how the physical route you take is mapped as well as how the sounds/music are related to that route and to one another. Could your writing be similar to liner notes for a cd? Or more precisely, perhaps a soundtrack for the city?
W 10/24
Mid-term conferences SEE SCHEDULE, Writing projects, as above.
F 10/26
Mid-term conferences SEE SCHEDULE, Writing projects, as above.
Week 9
M 10/29
Discussion on Invisible Cities,
Writing project due (see above)
W 10/31
View film with Kim's class: 'The Social Life of Small Urban Spaces" is available from the Cornish library on DVD. For those REALLY interested, there is an accompanying text.
Fri 11/2
Field work: Cal Anderson Park, Tashkent Park-- write response/description/reaction, due Monday 11/5
Reading (in-class) Francis Ponge, "On Water"
Mon 11/5
Writings due.
Continue discussion on Invisible Cities (sections 1-4). Discuss parks from last class. In-class writing on "Invisible Cities": From memory, describe one of the cities Marco Polo discusses with Khan, and compare to a city you know.
Wed 11/7
Parks (continued): Meet at MCC, tour Cascade P-Patch and REI greenspaces
Fri 11/9
Class meeting at Federal Courthouse 2pm. Please remember -- no cameras, food, or drink. Also, you must present a picture I.D. (valid driver's license, state-issued identification, or passport)
Week 11:
PURCHASE COURSE READER FROM PERFECT COPY, BRING TO CLASS WED, 11/14. For Wednesday's class, please read excerpts (the first two articles) from Alain de Botton. Specifics are provided in a more recent post
Mon 11/12 NO CLASS, VETERAN'S DAY
Wed 11/14
Writings due, discuss Federal Courthouse, REI, CPC
Reading assignment (for Friday):
Pierce Lewis, "The Monument and the Bungalow", J.B. Jackson, from A Sense of Place, A Sense of Time, web-based research: Center for Land Use Interpretation, Seattle Parks & Recreation, REI, History Link, others.
Fri 11/16
Field work: Volunteer Park. For this trip, I'd like to try a different format: instead of me leading/framing the experience, I'd like YOU to design what we should be taking from this experience, and examining aspects of the park that interest you, and maybe all of us.
What I'm proposing is this:
We meet at Kerry Hall, and depart (as a group) from there. You (and from here on out, I'll be referring to a collective "you") decide how we get to the park-- bus? walking? carpool?
Bring enough money for bus fare, museum entrance, other costs?
Once we arrive there, my suggestion is we sculpt a scavenger hunt, of sorts, with everyone contributing some places we should see while we're there. In part, this is to frame some of the ways I'd like us to move through the city next semester, but it also reflects the breadth of experiences available at Volunteer Park. Haven't been to Volunteer Park before? An introduction is here.
Week 12:
Mon 11/19
Shared class with Kim Mackay's group-- my class shares drafts of their writings on Volunteer Park with Kim's class, who act as mentors to my group-- providing analysis and feedback on the writing. The suggestions from Kim's class will be utilized in the next version, due Monday 11/26. For this version (keeping in mind that we will continue to work with this paper), please also consider the writings from the Course Reader II, and look for ways to synthesize your views with the views of Pierce Lewis, J.B. Jackson, Nicholson Baker, and Alain de Botton. For example, how does your view of the urban park differ from Jackson's?
Wed 11/21 NO CLASS, THANKSGIVING
Fri 11/23 NO CLASS, THANKSGIVING
Week 13:
Mon, 11/26
DUE Draft #2/Synthesis paper on Volunteer Park/Course Reader II (parks). This writing should include your responses to writings by Alain de Botton, J.B. Jackson, and Peirce Lewis, all located in the course reader. Additionally, it may also discuss the film we viewed, and the Ponge poems we discussed.
Discussion and analysis of Synthesis paper (from Kim's class) IN-CLASS. Discuss peer feedback from last week.
Reading assignment in the Course Reader II: Nicholson Baker (excerpts from The Mezzanine) and Louise Mozingo, "Campus, Estate, Park: Lawn Culture Comes to the Corporation".
Wed, 11/28
Discuss final portfolio design (see recent post, handout in class), in-class writing samples.
Fri, 11/30
Class meeting at MCC: Office field work, 4th & Cherry.
And this is real ambitious, but Offices: 4th & Cherry, City Hall, MCC, others Libraries: SPL, Capitol Hill Branch, Braille Library, others Community-based initiatives (see Department of Neighborhoods), schedule final conferences
Week 14:
Mon, 12/3
DUE Writing on offices: Describe an office you've been to, synthesizing your memories with our experiences in the Columbia Tower and the writings on office spaces/culture from the Course Reader.
Reading assignment for Wednesday, "Generica" (course reader) , "Post-It City" (handout)
Wed 12/5
Portfolio workshop-- bring everything you've written to date, to be organized/assembled
Reading assignment for Friday,
Fri 12/7 To Be confirmed
class meets at MCC
Seattle Central Library, overview, introduction
Week 15:
Mon, 12/10
FINAL CONFERENCES, GROUP 1 (WE'LL CHOOSE IN CLASS)
PORTFOLIOS DUE, with self-reflective writing introduction
Course evaluation, discussion, overview of Proposed Land Use Action, proposals for Spring 08 projects, Post-portfolio writing project, begin conferences
Wed, 12/12
FINAL CONFERENCES, GROUP 1 (WE'LL CHOOSE IN CLASS)
PORTFOLIOS DUE, with self-reflective writing introduction
Course evaluation, discussion, overview of Proposed Land Use Action, proposals for Spring 08 projects, Post-portfolio writing project, begin conferences
Fri, 12/14 cluster meeting, view "The Cruise"
Reading assignment for Mon, 10/15: Anne Lamont, “Bird by Bird” , also purchase Invisible Cities (see prior post for info): we will be utilizing this as our primary text for the next few weeks, followed by a course reader for the last few weeks of the course.
Writing assignment (post on blog) due Fri, 10/12: “Maps”/Kerry Hall sound/music map-- listing spaces, the music they conjure, and brief descriptions of how the spaces & sounds go together. Please consider this as a draft, a document we will build and change throughout the next couple of weeks.
Fri, 10/12: Cluster meeting in MCC 303, viewing Streetwise
Week 7
Reading assignment: Italo Calvino, Invisible Cities
M 10/15
Schedule Mid-term conferences, to take place during Week 8
Discussion on Lamont (above), In-class reading/writing on “In Praise of the Humble Comma”, Course evaluation for mid-term discussion during the next week, schedule reading timeline for Calvino, also reading Lars Eighner "On Dumpster Diving"
W 10/17
Class to meet at Cornish Library MCC
Library orientation,
F 10/19
Class to meet at MCC
Fieldwork: Bus tunnel & two parks (Westlake and greenspace adjacent to Taschiro Kaplan)—interview, photograph, physical descriptions of spaces, personal experiences (develop into 2+ page exploration-- more to follow).
Alumni visit to be arranged?
Week 8
Reading assignment: Italo Calvino, Invisible Cities (continued)
Kerry Hall/Capitol Hill focus. Building off of the sound exploration of Kerry Hall (and responding to Invisible Cities), we will be making multiple excursions (physically as well as written) into the building, examining scents, lighting, cinema, etc.
M 10/22
Discussion on Mid-term check-in forms (Charette, readings, course format)
Writing project: As we will not be meeting as a class on either Wednesday or Friday, you will be working independently on a writing piece that will be due next Monday, October 29th. Using the draft that you wrote for the blog (on the sounds triggered by specific areas of Kerry Hall) as a point of departure, you will be developing that work into a fuller piece. Your writing should include the research/music/spaces you've already addressed, but should expand on those in some way. For example, you may be inclined to add locations and music, mapping a route you take through the building and the sounds you hear along the way. Or perhaps you may choose to move outside the building (I wouldn't blame you at all, the weather has been really nice lately), using the first places you visited/wrote about/picked music for as starting points-- where do they lead you in the city? How far can your route go and how does the music/sounds of the city follow along? In writing this piece (and I'm not going to suggest an appropriate length that it has to be, but rather ask that you consider it as a work that you will develop over the course of a week), consider both how the physical route you take is mapped as well as how the sounds/music are related to that route and to one another. Could your writing be similar to liner notes for a cd? Or more precisely, perhaps a soundtrack for the city?
W 10/24
Mid-term conferences SEE SCHEDULE, Writing projects, as above.
F 10/26
Mid-term conferences SEE SCHEDULE, Writing projects, as above.
Week 9
M 10/29
Discussion on Invisible Cities,
Writing project due (see above)
W 10/31
View film with Kim's class: 'The Social Life of Small Urban Spaces" is available from the Cornish library on DVD. For those REALLY interested, there is an accompanying text.
Fri 11/2
Field work: Cal Anderson Park, Tashkent Park-- write response/description/reaction, due Monday 11/5
Reading (in-class) Francis Ponge, "On Water"
Mon 11/5
Writings due.
Continue discussion on Invisible Cities (sections 1-4). Discuss parks from last class. In-class writing on "Invisible Cities": From memory, describe one of the cities Marco Polo discusses with Khan, and compare to a city you know.
Wed 11/7
Parks (continued): Meet at MCC, tour Cascade P-Patch and REI greenspaces
Fri 11/9
Class meeting at Federal Courthouse 2pm. Please remember -- no cameras, food, or drink. Also, you must present a picture I.D. (valid driver's license, state-issued identification, or passport)
Week 11:
PURCHASE COURSE READER FROM PERFECT COPY, BRING TO CLASS WED, 11/14. For Wednesday's class, please read excerpts (the first two articles) from Alain de Botton. Specifics are provided in a more recent post
Mon 11/12 NO CLASS, VETERAN'S DAY
Wed 11/14
Writings due, discuss Federal Courthouse, REI, CPC
Reading assignment (for Friday):
Pierce Lewis, "The Monument and the Bungalow", J.B. Jackson, from A Sense of Place, A Sense of Time, web-based research: Center for Land Use Interpretation, Seattle Parks & Recreation, REI, History Link, others.
Fri 11/16
Field work: Volunteer Park. For this trip, I'd like to try a different format: instead of me leading/framing the experience, I'd like YOU to design what we should be taking from this experience, and examining aspects of the park that interest you, and maybe all of us.
What I'm proposing is this:
We meet at Kerry Hall, and depart (as a group) from there. You (and from here on out, I'll be referring to a collective "you") decide how we get to the park-- bus? walking? carpool?
Bring enough money for bus fare, museum entrance, other costs?
Once we arrive there, my suggestion is we sculpt a scavenger hunt, of sorts, with everyone contributing some places we should see while we're there. In part, this is to frame some of the ways I'd like us to move through the city next semester, but it also reflects the breadth of experiences available at Volunteer Park. Haven't been to Volunteer Park before? An introduction is here.
Week 12:
Mon 11/19
Shared class with Kim Mackay's group-- my class shares drafts of their writings on Volunteer Park with Kim's class, who act as mentors to my group-- providing analysis and feedback on the writing. The suggestions from Kim's class will be utilized in the next version, due Monday 11/26. For this version (keeping in mind that we will continue to work with this paper), please also consider the writings from the Course Reader II, and look for ways to synthesize your views with the views of Pierce Lewis, J.B. Jackson, Nicholson Baker, and Alain de Botton. For example, how does your view of the urban park differ from Jackson's?
Wed 11/21 NO CLASS, THANKSGIVING
Fri 11/23 NO CLASS, THANKSGIVING
Week 13:
Mon, 11/26
DUE Draft #2/Synthesis paper on Volunteer Park/Course Reader II (parks). This writing should include your responses to writings by Alain de Botton, J.B. Jackson, and Peirce Lewis, all located in the course reader. Additionally, it may also discuss the film we viewed, and the Ponge poems we discussed.
Discussion and analysis of Synthesis paper (from Kim's class) IN-CLASS. Discuss peer feedback from last week.
Reading assignment in the Course Reader II: Nicholson Baker (excerpts from The Mezzanine) and Louise Mozingo, "Campus, Estate, Park: Lawn Culture Comes to the Corporation".
Wed, 11/28
Discuss final portfolio design (see recent post, handout in class), in-class writing samples.
Fri, 11/30
Class meeting at MCC: Office field work, 4th & Cherry.
And this is real ambitious, but Offices: 4th & Cherry, City Hall, MCC, others Libraries: SPL, Capitol Hill Branch, Braille Library, others Community-based initiatives (see Department of Neighborhoods), schedule final conferences
Week 14:
Mon, 12/3
DUE Writing on offices: Describe an office you've been to, synthesizing your memories with our experiences in the Columbia Tower and the writings on office spaces/culture from the Course Reader.
Reading assignment for Wednesday, "Generica" (course reader) , "Post-It City" (handout)
Wed 12/5
Portfolio workshop-- bring everything you've written to date, to be organized/assembled
Reading assignment for Friday,
Fri 12/7 To Be confirmed
class meets at MCC
Seattle Central Library, overview, introduction
Week 15:
Mon, 12/10
FINAL CONFERENCES, GROUP 1 (WE'LL CHOOSE IN CLASS)
PORTFOLIOS DUE, with self-reflective writing introduction
Course evaluation, discussion, overview of Proposed Land Use Action, proposals for Spring 08 projects, Post-portfolio writing project, begin conferences
Wed, 12/12
FINAL CONFERENCES, GROUP 1 (WE'LL CHOOSE IN CLASS)
PORTFOLIOS DUE, with self-reflective writing introduction
Course evaluation, discussion, overview of Proposed Land Use Action, proposals for Spring 08 projects, Post-portfolio writing project, begin conferences
Fri, 12/14 cluster meeting, view "The Cruise"
Tuesday, October 9, 2007
Support CPC
Keep Cascade People's Center open in 2008!
YOU ARE INVITED
to a community walk and rally to the Seattle City Council Public Hearings on
the Mayor's 2008 Proposed Budget.
Wednesday October 10th, 2007
330pm: Gathering outside Cascade People's Center
400pm: Begin walking downtown together with signs, flags, banners and CPC tshirts!
445pm: Arrive at City Hall
515pm: Head to the meeting, sign up to speak, make some noise!
It's essential that we continue to communicate with the City Council the
importance of Cascade People's Center and the work we do in this community.
It is possible that as a group we'll only have 5 minutes to speak, so if you're interested,
please call CPC and we'll put you on the list. Please check out the attached "fact sheet".
If you are unable to attend, but would still like to support our efforts, please see the
attached flyer with information about calling and emailing the City
Council prior to the meeting. We are asking for first, the City Council
to increase the Human Services Department's Budget to provide funding
for Cascade People's Center.
Feel free to join us at any point in the process. Many folks are meeting
us at 430/5pm downtown after work.
The address of the meeting:
City Hall, City Council Chambers, 2nd Floor
600 4th Avenue
Seattle, WA 98124
Please let me know if you have any questions!
Myla Becker
Program Manager
Cascade People's Center
309 Pontius Ave N
Seattle WA 98109
206.587.0320
Dandole poder a las familias y comunidades para que crezcan fuertes y
estables.
Empowering people to grow strong, sustainable families and communities.
Dia De Los Muertos
Sunday October 28th 2-6pm
Join us for a traditional Day of the Dead Celebration
Altars, Tapete, Music, Pande Muerto and Chocolate!
Please call 206.587.0320 for more information.
OMA/LMN A-OK
Here is the link to the Office for Metropolitan Architecture (OMA, with Rem Koolhaas) concept book that they assembled for the Seattle Public Library proposal. Hard copies are also available through the library. LMN is the architecture firm (based in Seattle) who worked to facilitate the project locally.
Wednesday, October 3, 2007
Sunday, September 30, 2007
Monday & Invisible Cities
Just a reminder to my class, but we will not be convening as an entire class on Monday, 10/1 or Wednesday, 10/3. I will be meeting with charrette groups to discuss progress and prepare materials for the presentations and casebooks. Remember, everything you will need to accomplish is laid out on the time line (see previous post). During these class days, I will be available in the library (schedule permitting) or in Nellie's cafe (more likely).
Also, as we discussed, our next text will be Italo Calvino's Invisible Cities. We'll begin working with this immediately after the charrette concludes. Used & new copies are available at numerous local and online retailers, please click on the link above for information.
And thanks again to everyone for all of your work on the projects, we're looking forward to the presentations on Friday.
Also, as we discussed, our next text will be Italo Calvino's Invisible Cities. We'll begin working with this immediately after the charrette concludes. Used & new copies are available at numerous local and online retailers, please click on the link above for information.
And thanks again to everyone for all of your work on the projects, we're looking forward to the presentations on Friday.
Wednesday, September 26, 2007
Charette Log (Marc's class, but pretty much the same text as Gabrielle and Kim)
Here's a guide/timeline for the components that you'll need to include in your Project Log, please let us know if anything requires more description/explanation. Also, you may want to print this list out, or better yet, use it on the blog (here's where I wish this was a wiki), possibly adding comments?
Cornish Community Charrette Project Log
Project Title:
Group Members:
W 9/26
General goals:
1) understand presentation goals and possibilities,
2) understand case-book components,
3) decide on specific shape of project,
4) decide on specific research tasks needed thru 10/3,
5) decide on tasks to complete before 9/28,
6) meet in class today to schedule appointments for this Friday, 9/28 in Cornish Library MCC
Specific goals and group whereabouts:
F 9/28
General goals:
1) conduct interviews if needed,
2) gather research materials from the library or visit Seattle Public Library if needed,
3) site project location if needed,
4) begin physical design of project if needed,
5) decide on tasks to complete before 10/1,
5) meet with Marc for 15 minutes today in group
Specific goals and group whereabouts:
M 10/1
General goals:
1) write project description and rationale, using and revising language from earlier descriptions,
2) begin designing presentation materials,
3) decide on specific tasks to complete before 10/3
Specific goals and whereabouts:
W 10/3
General goals:
1) finish designing presentation materials,
2) define presentation roles and practice presentation,
3) decide on specific tasks to complete for 10/5
Specific goals and whereabouts:
F 10/5
Charrette presentations. Meet at MCC Room 603 Location to be confirmed.
Presentation checklist (10/5):
O Poster or other large-scale visual aid that contains 1) project title, 2) maps, diagrams, photos or other images that show project scope and why it is needed; 3) a brief description of project and why it is needed.
O Brochure, hand-out or other small-scale visual aid with these same components.
O Group symbolic map, if it is not included on one or the other of the visual aids.
O 1-2 page typed, group-authored project description (what it is) and rationale (why it is needed), along with a bibliography of sources consulted or references to related projects. Bibliographic citations should follow an MLA-format, with information and examples available on the Cornish Library website here
Case-book checklist (10/8):
O A copy of your group’s hot sheet.
O A copy of your group’s project description and rationale.
O A copy of your group symbolic map and the individual maps you created on 9/21.
O Copies of images, diagrams etc. from your group’s poster or brochure.
O Your MCC and Kerry accounts, and your initial write-up of the project from 9/17-24.
O A 2-3 page, typed, double-spaced reflection on the charrette process and your group’s project.
And, although it may be redundant after everything you produce, I'd like to also look at 10/8 as an in-class debriefing, framing the discussion as a look at what was successful with the charette as well as what difficulties you encountered during the process.
Cornish Community Charrette Project Log
Project Title:
Group Members:
W 9/26
General goals:
1) understand presentation goals and possibilities,
2) understand case-book components,
3) decide on specific shape of project,
4) decide on specific research tasks needed thru 10/3,
5) decide on tasks to complete before 9/28,
6) meet in class today to schedule appointments for this Friday, 9/28 in Cornish Library MCC
Specific goals and group whereabouts:
F 9/28
General goals:
1) conduct interviews if needed,
2) gather research materials from the library or visit Seattle Public Library if needed,
3) site project location if needed,
4) begin physical design of project if needed,
5) decide on tasks to complete before 10/1,
5) meet with Marc for 15 minutes today in group
Specific goals and group whereabouts:
M 10/1
General goals:
1) write project description and rationale, using and revising language from earlier descriptions,
2) begin designing presentation materials,
3) decide on specific tasks to complete before 10/3
Specific goals and whereabouts:
W 10/3
General goals:
1) finish designing presentation materials,
2) define presentation roles and practice presentation,
3) decide on specific tasks to complete for 10/5
Specific goals and whereabouts:
F 10/5
Charrette presentations. Meet at MCC Room 603 Location to be confirmed.
Presentation checklist (10/5):
O Poster or other large-scale visual aid that contains 1) project title, 2) maps, diagrams, photos or other images that show project scope and why it is needed; 3) a brief description of project and why it is needed.
O Brochure, hand-out or other small-scale visual aid with these same components.
O Group symbolic map, if it is not included on one or the other of the visual aids.
O 1-2 page typed, group-authored project description (what it is) and rationale (why it is needed), along with a bibliography of sources consulted or references to related projects. Bibliographic citations should follow an MLA-format, with information and examples available on the Cornish Library website here
Case-book checklist (10/8):
O A copy of your group’s hot sheet.
O A copy of your group’s project description and rationale.
O A copy of your group symbolic map and the individual maps you created on 9/21.
O Copies of images, diagrams etc. from your group’s poster or brochure.
O Your MCC and Kerry accounts, and your initial write-up of the project from 9/17-24.
O A 2-3 page, typed, double-spaced reflection on the charrette process and your group’s project.
And, although it may be redundant after everything you produce, I'd like to also look at 10/8 as an in-class debriefing, framing the discussion as a look at what was successful with the charette as well as what difficulties you encountered during the process.
Support Cascade People's Center
Hi everyone,
As you may know, we've been working with the Cascade People's Center for a few years now on collaborative projects with Integreated Studies. They 've been an amazing resource the faculty and students, and their place in the community is vital. We have a link to their website (on the right hand side of your screen), but this update from their director, Myla Becker is pressing:
From: Myla Becker [mailto:mbecker@lcsnw.org]
Sent: Tuesday, September 25, 2007 5:56 PM
Subject: FW: A Call to Action: Support your Center in the heart of our City!
Hey there Cascade People's Center Supporters,In the last few days, we recently found out that the City of Seattle has decided not to fund us starting in 2008 and that the Center will most likely be forcedd to close after December (unless we can lobby and fundraise like crazy!!).
CPC is a beloved space in the Cascade community providing free programs and space for thousands of people throughout Seattle . This tragic news is particularly sad when the Cascade neighborhood is quickly being gentrified and shaped without the voice of long time residents. Also, not to mention that the City is funding $50.5 million to the South Lake Union Streetcar (notoriously know as the SLUT...South Lake Union Trolley) that runs one mile along a route that many buses already run. Funding the Cascade People's Center is a drop in the bucket for the City of Seattle and to other SLU stakeholders. The Cascade People's Center is a truly a place for the people. Ten years ago, community members rallied to save the building from being torn down and to create a community center focused on family support and environmental sustainability, and also to create a p-patch and the Garden of Happiness . Today, we are stronger than ever with over 6,000 Center users and a over 70% of the work done by volunteers. We have an eco-renovation of our building in the works as well as a proposed community compost project, proposed farmer's market, and amazing youth and family programs already flourishing. With the Cascade neighborhood drastically changing among the South Lake Union development, the Center is a place of consistency and familiarity for thousands of low income and transitioning families who are being pushed out of their neighborhood.
Not only are we a family and community support center, but we also stand for social and environmental justice in a neighborhood where the underdogs are constantly being silenced. We need your help in being heard! In the next week we will be strategizing how to keep CPC alive through a community meeting (date TBA), petitioning, a protest at the City of Seattle Office (date TBA) and phoning City Reps and strategizing funding ideas. Please keep your eyes and ears open for upcoming dates and events that we will be organizing! Also, if you have any ideas or time to contribute in how we can keep your Center open, please let me know! As always, thanks so much for your support and involvement! Please spread the word like wildfire! Viva la CPC!!
As you may know, we've been working with the Cascade People's Center for a few years now on collaborative projects with Integreated Studies. They 've been an amazing resource the faculty and students, and their place in the community is vital. We have a link to their website (on the right hand side of your screen), but this update from their director, Myla Becker is pressing:
From: Myla Becker [mailto:mbecker@lcsnw.org]
Sent: Tuesday, September 25, 2007 5:56 PM
Subject: FW: A Call to Action: Support your Center in the heart of our City!
Hey there Cascade People's Center Supporters,In the last few days, we recently found out that the City of Seattle has decided not to fund us starting in 2008 and that the Center will most likely be forcedd to close after December (unless we can lobby and fundraise like crazy!!).
CPC is a beloved space in the Cascade community providing free programs and space for thousands of people throughout Seattle . This tragic news is particularly sad when the Cascade neighborhood is quickly being gentrified and shaped without the voice of long time residents. Also, not to mention that the City is funding $50.5 million to the South Lake Union Streetcar (notoriously know as the SLUT...South Lake Union Trolley) that runs one mile along a route that many buses already run. Funding the Cascade People's Center is a drop in the bucket for the City of Seattle and to other SLU stakeholders. The Cascade People's Center is a truly a place for the people. Ten years ago, community members rallied to save the building from being torn down and to create a community center focused on family support and environmental sustainability, and also to create a p-patch and the Garden of Happiness . Today, we are stronger than ever with over 6,000 Center users and a over 70% of the work done by volunteers. We have an eco-renovation of our building in the works as well as a proposed community compost project, proposed farmer's market, and amazing youth and family programs already flourishing. With the Cascade neighborhood drastically changing among the South Lake Union development, the Center is a place of consistency and familiarity for thousands of low income and transitioning families who are being pushed out of their neighborhood.
Not only are we a family and community support center, but we also stand for social and environmental justice in a neighborhood where the underdogs are constantly being silenced. We need your help in being heard! In the next week we will be strategizing how to keep CPC alive through a community meeting (date TBA), petitioning, a protest at the City of Seattle Office (date TBA) and phoning City Reps and strategizing funding ideas. Please keep your eyes and ears open for upcoming dates and events that we will be organizing! Also, if you have any ideas or time to contribute in how we can keep your Center open, please let me know! As always, thanks so much for your support and involvement! Please spread the word like wildfire! Viva la CPC!!
Monday, September 17, 2007
Wayfinding? Already?
We'll be spending an amazing amount of time with discussions, writings, and readings on navigational systems over the course of the year and given the field trip today, your recent charting of MCC, your upcoming analysis of Kerry Hall and all routes in between, I wanted to get the ball rolling sooner than later.
So, Here's a link to the article by Annabel Vaughn (writing on improvised signage at the Seattle Central Library) that I mentioned in class. Arcade Journal is also listed in the link list on the right hand of your screen, and the new issue (edited by Lead Pencil Studio) is a fantastic treatise on the overlapping roles of comics, drawing, and innovative architectural practices.
So, Here's a link to the article by Annabel Vaughn (writing on improvised signage at the Seattle Central Library) that I mentioned in class. Arcade Journal is also listed in the link list on the right hand of your screen, and the new issue (edited by Lead Pencil Studio) is a fantastic treatise on the overlapping roles of comics, drawing, and innovative architectural practices.
Monday, September 10, 2007
Think rich. Look poor.
Okay, I really enjoyed our discussion on the readings today, and realized that the prelude to it-- our conversation looking for boundaries in the arts--was, by it's very nature, somewhat off-putting and difficult.
The more I consider it (and a bumpy, crowded busride home gives me plenty of time to ruminate), we might want to revisit the topic-- not as a search for boundaries (at least not initially), but rather as identification of your fields (not disciplines, but hopefully something more mutable, as Patrick suggested today). In very concrete ways, it seems that identifying how you spend your time in your area of concentration may help us all understand how we spend our time in our area(s) of concentration. What is your diet like when you are involved in a project? What books do you have to read for your concentration? What types of media are essential? Do you need costumes or a uniform? Special shoes? How much time outside of the classroom do you work in your field? What does a peer group consist of for your projects? What tools are essential to your work? How do you practice? How is your process/product presented to a group, or is it?
Maybe by looking at this topic through everyday practices (and by this, I pretty much mean things you do everyday) we may be able to see (or find) the boundaries more naturally?
The more I consider it (and a bumpy, crowded busride home gives me plenty of time to ruminate), we might want to revisit the topic-- not as a search for boundaries (at least not initially), but rather as identification of your fields (not disciplines, but hopefully something more mutable, as Patrick suggested today). In very concrete ways, it seems that identifying how you spend your time in your area of concentration may help us all understand how we spend our time in our area(s) of concentration. What is your diet like when you are involved in a project? What books do you have to read for your concentration? What types of media are essential? Do you need costumes or a uniform? Special shoes? How much time outside of the classroom do you work in your field? What does a peer group consist of for your projects? What tools are essential to your work? How do you practice? How is your process/product presented to a group, or is it?
Maybe by looking at this topic through everyday practices (and by this, I pretty much mean things you do everyday) we may be able to see (or find) the boundaries more naturally?
Warhol archives
The Warhol archives are discussed more fully here, and The Warhol Musuem's online project space has this-- Mapping Pittsburgh: Art, Space, and Alternative Culture
Saturday, September 8, 2007
Missed opportunity, almost
Thinking about our cluster meeting yesterday, with a focus on interdisciplinary work, I just realized that we should have included some writings/research/overview of the work done by Bruce Mau Design and their Institute Without Boundaries.
Then I realized that the blog is awesome and I can just link to everything they've ever done.
Then I realized that the blog is awesome and I can just link to everything they've ever done.
John Cage reads Silence
Excerpts from John Cage's Silence (1969) appear in the City Cluster Reader, and the book is available in the Cornish Library (Call number is ML 60 C13 S5 1973, although Kim currently has it checked out).
UBUWEB (see link list, at right) has an amazing archive of his audio work, including interviews and this, where he reads from the book.
UBUWEB (see link list, at right) has an amazing archive of his audio work, including interviews and this, where he reads from the book.
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