Introduction to Siteless & Cited.

 

ADZ4111 Artist Designer Maker Level 4 Autumn 2016
SITELESS / CITED
Image from ‘Siteless 1001 Building Forms’ by Francois Blanciak
Francois Blanciak’s book of 1001 building forms contains hand drawn proposals for building
architectures without any particular site or context. We will use these as an invitation to
reflect on such issues as the form, surface, geometry and composition of three dimensional
objects.
We will generate our own original ‘siteless’ forms through observation, drawing and making.
These will be exhibited as an exhibition of non objective sculptural forms.
We will also work on citing existing objects within new and original made outcomes and will
consider carefully the context in which these outcomes are intended to exist.
Artist Designer Maker Level 4 Autumn 2016 ADZ4111
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Outcomes:
1. Siteless
You are required to develop a ‘siteless’ version of a real world object through observation,
drawing, transformation and making. The context for this outcome is given – it is a group
exhibition of non objective 3D forms. The nature, materials, structure, size and surface of the
form (among various other things) are up to you.
< Deliverable > By 7th Nov a resolved outcome for our group ‘siteless’ exhibition
< Deliverable > By 5th December four A3 sheets; three showing high quality photographs of
the work from various angles and vantage points and one showing the drawing, material
experiments and visual studies which led to your outcome. Submitted into A3 group portfolio
folder for reference. Also posted onto your blog.
2. Workshop Outcomes
During your first term you will have the opportunity to complete a range of skills based workshop
inductions. It is vitally important that you attend all of these sessions to become familiar with the
various workshops and material areas available to you within CSAD. As evidence of this skills
acquisition you should produce the following:
< Deliverable > By 5th December. An example of a siteless artefact which evidences either
your CAD skills or your stitch skills (or both). Other materials may also be incorporated.
< Deliverable > By 5th December. Evidence of all other completed workshop inductions
(wood, metal, small metal, ceramics). The outcomes here will vary depending on the nature
of the particular workshop induction. Where possible these outcomes should reflect your
own aesthetic and contextual interests and / or your ‘siteless’ enquiry.
3. Cited – where is your making and where did it come from?
Objects exist in a context: – a place, a time, a use, a making process, a material, a value and
many other things besides all constitute the systems by which we come to understand
material objects.
Choose one object from any context as a point of departure to inform, inspire, influence and
motivate a new original made outcome of your choice.
What context will this new object exist in? What is it for? E.g domestic / public interior,
exterior space / public art, gallery based art, contemporary craft, decorative art, usable
design, conceptual provocation etc etc. What kind of maker are you?
< Deliverable > By December 5th (formative assessment) you need design / idea sheets and
maquettes / material experiments
< Deliverable > By 6th June 2017 (assessment date TBC) you need a fully resolved
outcome

Artist Designer Maker Level 4 Autumn 2016 ADZ4111
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Assessment Criteria
As always you will be assessed with equal weighting on your:
>>SKILLS (making skills, researching skills, thinking skills, visual communication skills etc)
>>CONTEXT (professional context, creative context)
>>IDEAS (the ideas that are underlying in your made work)
The learning outcomes below further show how these areas are considered.
At the conclusion of this module students will:
Skills:
• Demonstrate a curiosity to experiment across a wide range of materials which
explores and evaluates material properties and processes
• Make and present outcomes which are both intellectually and aesthetically informed
Context:
• To begin to critically understand the value of making as part of their own practice
• To be able to manipulate material and visual languages effectively in the production
of outcomes
Ideas:
• Generate new ideas which are grounded through the assimilation of design and craft
processes and knowledge
• Present and defend to peers the underpinning ideas and concepts in the making of
new artefacts
Recommended Reading List
USBOURNE, D. 2010. Objectivity: A Designers Book of Curious Tools. Thames and
Hudson.
ADAMSON, G. 2007. Thinking through Craft. New York, Berg Publishing.
CRAWFORD, M. 2009. The Case for Working with Your Hands:or why office work is bad for
us and fixing things feels good. London, Viking.
DORMER, P. (ed.) 1996. The Culture of Craft: Status and Future. Manchester, Manchester
University Press.
DORMER, P. 1994. The Art of the Maker: Skill and it’s meaning in art, craft and design.
London, Thames and Hudson.
FRAYLING, C. 2011. On Craftsmanship: Towards a New Bauhaus. London, Oberon
Artist Designer Maker Level 4 Autumn 2016 ADZ4111
4
GERSHENFELD, N. 2005. FAB:The Coming Revolution on Your Desktop- From Personal
Computers to Personal Fabrication. Cambridge, M.A. Basic Books.
HARROD, T. 1999. The Crafts in Britain in the 20th century. New Haven, Yale University
Press.
LEFTERI, C. 2007. Making It: Manufacturing Techniques for Product Design. London,
Laurence King.
SENNETT, R. 2008 The Craftsman. London, Allen Lane.
FURTHER READING
ADAMSON, G. (ed.) 2010. The Craft Reader. Oxford, Berg Publishing.
DORMER, P. 1990. The Meanings of Modern Design: Towards the twenty-first century.
London, Thames and Hudson. London
FRAYLING, C. (ed.) 1991. Beyond the Dovetail: Craft, Skill and Imagination. London, The
Crafts Council.
GREENHALGH, P. (ed.) 2002. The Persistence of Craft. London, A & C Black.
MACGREGOR, N. 2010. A History of the World in 100 Objects. London. Allen Lane.
MILLER, D. (ed.) 2005. Materiality. Durham and London, Duke University Press.
WALKER, S. 2006. Sustainable by Design: Explorations in theory and practice. London,
Earthscan.
Attendance
BA Maker is a programme driven by a strong studio culture. In addition to the formal
timetabled sessions you are expected to develop your work through your own self-directed
efforts, making full use of the studio and workshop facilities at CSAD. As well as being asked
to sign in for scheduled teaching sessions you should also sign in every time you are
working in the studio both as a record of your course engagement and as a safety
precaution. It is your responsibility to record your attendance. If you are absent for three
consecutive teaching sessions without arrangement you will receive an email asking for a
meeting to clarify your intentions regards continuing with your studies. Extended periods of
non attendance with no explanation or communication could result in you being withdrawn
from the programme.

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Author: lawrenceaaronmaker

Studying a BA Hons in Artist, Designer; Maker at Cardiff Metropolitan University.

1 thought on “Introduction to Siteless & Cited.”

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