Project 2: Processional Form Handout and Rubric

Processional Form

• Project Begins:
  • M/W, Sept. 25th 
  • T/TH, Sept. 26th 
• Final Reviews:
  • Wed, Oct. 25th
  • Thurs, Oct. 26th 

Objective:

   In Project 2, students will collaborate, working within groups to design and construct a large-scale sculptural form leading up to a coordinated performance taking the project out into campus.  Themes explored within the project include color, form, volume, materiality, and movement.  Your group, along with your class peers, will perform your sculptures on-site together by leading the series of forms from location to location on a pre-planned route orchestrated by studio instructors.

   Integrating all group members' voices and evolving design work is an essential focus of the project.  Well-designed processional forms are dynamic, considering the potential and use of materials, creative constructions methods, and the inclusion of movement within and/or of the sculpture.  Groups will consider, solve, and understand how the processional form moves and how the movement impacts the design of the form and performance.

   Consider the many options of mobility and kinetic functions within the design.  Within your group, how will members work together to coordinate movement through indoor and outdoor spaces and on-sight performances.  With the processional form, you might consider wearing it, carrying it with poles, wheeling it around, or even fly it above.  All group members will play a part in bringing the processional form to life.

Project Size and Storage:

  The size of the processional form will be discussed by your studio instructor.  As a group project with a sculptural form that is meant to be performed at its completion, how does everyone in your group play a role in the performance.  Led in discussion with your studio instructor, your group will consider the role of each member in designing a sizable processional form with the participation and support of all involved in the project.  As you work toward the realization of the project, you will better understand this participation.  The success and creative potential of the performance relies on the participation and inclusion of all group members.

   To respect our studio and college spaces, project work is not allowed to be stored in the King Pavilion or the College of Design accept within college lockers.  This includes blocking hallways and doors during working sessions.  Consider the unique design challenges of large-scale objects that are designed well to fit in small spaces.  Consider a Jack in the Box toy or a camping tent.  Size of the project relates to storage restrictions.  The Lower King Pavilion studio classrooms are not approved to be used as storage spaces.  Don't leave out of the discussion the important consideration of storability of your project.  That is, the full-scale project must be designed to be stored in an approved location.  This may be inside a College of Design locker, a suitcase, or even a backpack!   Problem solving is an essential and fun element for design.  Get creative with the challenge of designing large with the limitations of storability.

Materials and Fabrication:

Cardboard, durable papers, wire, string, paint, and more! There are many considerations to the materials that can be used and integrated into the fabricated design of the Processional Form.  Consideration and implementation of materiality and fabrication of the project contributes to the success of the project outcome.  Your student instructor will establish "rules of the game" where they may require your group to use specific materials or you might only be allowed to use a few materials.  Consider challenges of using reclaimed and recycled materials, establishing goals to limit waste, and being mindful of end of life for the project.  End of life for the project means, what happens to it after the project is over.  Is it recyclable?  Does it end up in a landfill?  How are we creative in our use of materials to problem solve and create great work while also contributing to the well-being of our communities.

Collaboration is a Group Effort:

Productive collaborations are a central part of every design career; working with others is an exciting way to amplify your collective efforts and to see your ideas develop together.  Being reliable and responsible, and pulling your wait with your group is necessary to have a successful experience.  Communication is key.  Allow all to share thoughts and be heard within the design process.  It is expected that all group members are contributing to the project.  Though project 2 is a group project, grades are individual.  This is impacted in part by the evidence of contribution within the group and completion of individual components.  As part of the conclusion of the project, a confidential self and peer evaluation will be submitted to the studio instructor.

Project Learning Objectives

Upon completion of this module, you should be able to:

• MLO 2.1 From the series of color analysis studies, demonstrate an ability to record color use from direct influence of an assigned object(s). (CLO 1)
• MLO 2.2 From the series of color analysis studies, visually demonstrate compositional awareness through a range of compositional strategies. (CLO 1)
• MLO 2.3 Be able to show the merging of commonalities and influence in the final Ex. 2 concept from all group members from Ex. 1 by the evidence of ideational work produced. (CLO 2)
• MLO 2.4 Demonstrate the play and depth of ideational concept development revealed through the visual evidence of ideational strategies. (CLO 3)
• MLO 2.5 Present final processional form concept studies from each group member demonstrating spatial form objectives, imagined function of mobility, performative possibilities, and suggestion of size and storability of design. (CLO 3)
• MLO 2.6 Being influenced by Ex. 2's final concept design, demonstrate material awareness, craft, and durability through a collection of material and fabrication studies. (CLO 3, CLO 4)
• MLO 2.7 Build the final processional form concept as a maquette demonstrating spatial form objectives, function of mobility, performative intentions, and representation of size and function of storability within the design. (CLO 3, CLO 4)
• MLO 2.8 Build the final full-scale processional form demonstrating spatial form objectives, function of mobility, performative intentions, and success of storability within the design. (CLO 4)
• MLO 2.10 Demonstrate a sophistication of craft, durability, and design of material use and fabrication in the full-scale processional form. (CLO 5)
• MLO 2.11 Be able to curate documentation of the development and final product of the processional form both as an object artifact and in a processional performance. (CLO 5)
• MLO 2.12 Be able to communicate on how the group has engaged the spatial form objectives developed within the exercises within he project demonstrated through small group discussion desk-critiques, in-progress and final presentations. (CLO 2)

Exercises

Navigating through the project in your group, you will explore each exercise in the following sequential order:

Ex. 1: Color Analyses

Begin project work on your own for Ex. 1.  From the study of an assigned object, or collection of objects, record the observations of shape, form, and color.  As directed by your studio instructor, engage your understanding of compositional awareness and strategies to record your findings.

Produce a series of color analysis studies exploring compositional strategies and color play from direct influence of the assigned recorded object(s).

Related Exercise MLOs

MLO 2.1 From the series of color analysis studies, demonstrate an ability to record color use from direct influence of an assigned object(s).

MLO 2.2 From the series of color analysis studies, visually demonstrate compositional awareness through a range of compositional strategies.

Ex. 2: Ideation

Working together as a group, share and discuss the Ex. 1 color analysis studies with the outcome to identify commonalities in color observation and familiarity in compositional strategies.  Pulling commonalities from each group member, narrow down the selection before moving forward.

Produce a specified range of spatial form concepts directly engaging the selected influential Ex. 1 analysis studies. Each group members analyses must be represented in the project design in some way. Focus on form, mass and volume, color play, and imagined material use and fabrication methods stemming from your group's ideational exploration and selected commonality influences from Ex. 1.  Imagine the function of mobility, performative possibilities as a processional object, and consider the project size and potential storability of the design.

The outcome of Ex. 2 is to present a roadmap of ideational concepts and, leading up to, a focus on concept studies illustrating the final processional form.  

Related Exercise MLOs

MLO 2.3 Be able to show the merging of commonalities and influence in the final Ex. 2 concept from all group members from Ex. 1 by the evidence of ideational work produced. 

MLO 2.4 Demonstrate the play and depth of ideational concept development revealed through the visual evidence of ideational strategies.

MLO 2.5 Present final processional form concept studies from each group member demonstrating spatial form objectives, imagined function of mobility, performative possibilities, and suggestion of size and storability of design.

Ex. 3: Prototype

Working from Ex. 2’s concept solution, produce a series of material and fabrication test studies and maquette studies with the outcome to better understand materiality and fabrication solutions and the emerging processional form concept as a three-dimensional object.  Continue to engage Ex. 2 objectives. 

The outcome of Ex. 3 is to have a final maquette sculptural form and a collection of material studies demonstrating materiality and fabrication methodologies.

Related Exercise MLOs

MLO 2.6 Being influenced by Ex. 2's final concept design, demonstrate material awareness, craft, and durability through a collection of material and fabrication studies.

MLO 2.7 Build the final processional form concept as a maquette demonstrating spatial form objectives, function of mobility, performative intentions, and representation of size and function of storability within the design.

Ex. 4: Fabrication and Performance

Working from Ex. 3’s final maquette solution and material studies, produce the sculptural form at full-size.

Problem solve and reiterate together as a collaborative group through the challenges working at full-scale.  As a processional form, the function of moving through spaces, mobility concerns within the design, and reliability of material use will present itself at this time.  Keep your design hat on and embrace failure as you work together to resolve design issues and find solutions.

The outcome of Ex. 4 is a full-scale Processional Form that will move in procession around campus during the last designated class session of Project 2.  Keep in check mobility, kinetic function, and how group members works together to parade the sculptural form during the procession.

High quality of craft and durability of the design are expected. 

Document the development of the project and curate a collection of final documentation of the processional form as prescribed by your studio instructor.

Related Exercise MLOs

MLO 2.8 Build the final full-scale processional form demonstrating spatial form objectives, function of mobility, performative intentions, and success of storability within the design.

MLO 2.10 Demonstrate a sophistication of craft, durability, and design of material use and fabrication in the full-scale processional form.

MLO 2.11 Be able to curate documentation of the development and final product of the processional form both as an object artifact and in a processional performance.