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STUDIES IN CRAFT: FURNITURE DESIGN + FABRICATION COURSE SYLLABUS COURSE#: ARC 6912 SCHEDULE: Tu, P6/Th P5-6 SEMESTER: Fall, 2013 LOCATION: Fine Arts C 219

PROFESSOR: Stephen Belton OFFICE: ARC 238 E: [email protected] / T: 883.4454 OFFICE HOURS: Tu. 10-12

Studies in Craft: Furniture Design + Fabrication Seminar/Workshop UF|SoA ARC 6912 / Fall 2013 Location: Fine Arts C 219 Schedule: Tu P6 12:50a -1:40 p Th P5-6 11:45a -1:40p Professor: Stephen Belton Office: ARC 238 Office Hours: Tu 10a-12p Email: [email protected] Scope The design and fabrication of furniture represents the touchstone of our engagement with the material world, both as designers and users. Furniture maintains a critical link with architecture, both as bookending the smaller scale of form and space as it engages human occupation and use, and as a scaled distillation of the evolving interplay between form, materiality and fabrication. Within the Modernist movement furniture became a focused study by both architects and industrial designers between material form and the methods of industrial production. Today’s advancements in CAD/CAM design fabrication present new questions regarding the dialectic of human and machine, and in turn new challenges and new opportunities in the exploration of craft. The semester will begin by researching both historical and contemporary material and fabrication processes. From this collective research and discussions, students will work together to develop a line of inquiry regarding material form and process, leading to the design, prototyping, and finished fabrication of their furniture. Students will work in groups of two and three, combining methods of the hand, machine and computer to develop a family of furniture design pieces. Wood, because of its availability, rich tradition in both architecture and furniture, and responsiveness and mutability to numerous tools and techniques, will be the primary material vehicle for the investigations of the class. Nevertheless other materials may be combined as tectonics and compositional opportunities suggest. Objectives

• To develop the skill necessary to design and build full-scale constructions using both digital and hand manufacturing.

• To build a facility for iterative problem-solving to reach comprehensive design solutions.

• To understand and manipulate materials consistent with and expressive of their

essential characteristics.

• To learn techniques of craftsmanship through the study and presentation of precedent works, both historical and contemporary.



Five Dialectical Themes While not intended to be all-encompassing or exhaustive as to the scope of the course, the following five dialectical pairs will serve as frameworks for class discussions, presentations, and the understanding, critique and conceptual and design development of the furniture design work: Dialectic 1: Hand vs. Digital Craft/Design Dialectic 2: Structure vs. Surface Dialectic 3: Material Behavior vs. the Joint Dialectic 4: “Function” and Engagement with the Body – Ideal vs. Actual Dialectic 5: Designing vs. Making Schedule The semester is divided into five sections, each building upon the previous in scale and detail of the investigations:

Part 1: Material types and processes research (wks 1-4)

Part 2: Furniture concepts and material tests (wks 4-6) Part 3: Design development through prototype testing and mockups (wks 6-10)

Part 4: Final fabrication of furniture design (wks 10-14) Part 5: Documentation and Portfolio Submission (wks 16-17)

See the attached calendar for a complete schedule. Disclaimer: This syllabus represents the current plans and objectives of this course. As we go through the semester, those plans may need to change to enhance the class learning opportunity. Such changes, communicated clearly, are not unusual and should be expected. Website A website with the following address will be established for the seminar: furniturefab2013.wordpress.com The purpose of the website is two-fold. One it is intended to be an informal compliment to the specific and more rigorous presentations, allowing for immediate feedback and discussion among the participants about research, concepts, testing, techniques, and design decisions.



Secondly it will be a way to document process – and just as important, a mechanism by which to remember to document process (lots of photos!). Communications While the website will be used for informal discussion and feedback from both the professor and your colleagues, if you have immediate and direct questions, the preferred method of communication outside of class is by email or during office hours, Requirements The seminar is limited to 14 students. Strong 3d modeling skills are strongly recommended but not required. Fablab registration is required. In addition, students should expect to spend $300-$600 throughout the course on materials depending on their specific research and design proposal. UF Student Computing Requirement As per university computing requirements, all students are expected to have serviceable computers and software for use in studio. While CIRCA is available to meet most computing needs, downtime or issues with software/licenses may restrict your capability to produce during peak production times. Having your own computer will allow you to be more flexible and fluid with your incorporation of digital media into the design workflow. The following hardware recommendations are geared for the architectural computing environment: Suggested Hardware Recommendation:

• Intel Core 2 Duo, or I series processor, at least 2.0 Ghz

• 4GB of RAM (64-bit)

• 250 Gigabyte Hard Drive with a speed of 7,200rpm

• Support for DirectX 11 and discrete graphics card, 256 mb graphics memory

• 100mbit or 1Gbit Ethernet Adapter for Broadband

• WiFi 802.11 b/g or n wireless networking on laptops

• 1440 x 900 or higher resolution monitor

Operating System: Windows 7 Professional / Ultimate 64 Bit

• Rhinoceros 4 SR8

• Adobe Creative Suite 5 (Photoshop, Illustrator, InDesign)

• Autodesk Autocad Studio Culture



Creative design is best achieved through collaboration, participation and discussions within the studio. I strongly encourage students to work together and discuss and exchange ideas about the coursework throughout the semester. Also in light of the shared work environment, it is expected that while the environment should be creative, enjoyable and fun, it should also reflect a respect for fellow students and their desire to work with regard to noise levels, noxious fumes, etc. The physical space is a further component of this environment that should be treated with respect. A specific point to this is a new official school-wide policy regarding the use of aerosol sprays: Spray Painting Policy, College of Design, Construction and Planning Spray painting, or the use of any other sort of aerosol spray, is not allowed in the Architecture Building, Rinker Hall and in Fine Arts C, except within the spray booth found in Room 211 of Fine Arts C. Students found in violation of this policy will be referred to the Dean of Students for disciplinary action. Attendance The siminar is organized around a mixture of presentations, group discussions, pin-ups, and group crits, and information accumulated, disseminated, and developed through this time is vital to the student's understanding of the design projects. Furthermore, because a large portion of the work is group-based, a student’s participation is vital to the success of the group projects and the seminar as a whole. Attendance is therefore mandatory, and absence or tardiness does not excuse a student from the work expected of them that day. Three absences - excused or otherwise - constitute grounds for a full letter reduction of the final grade; six absences constitute grounds for a failing grade in the class. Tardiness of more than 20 minutes will be counted as an absence. It is the student's responsibility to obtain information missed during that day from fellow students. In the case of an illness or family emergency, the student must present a valid excuse, such as a doctor's note. In the case of any unavoidable conflicts such as class trips, please see me in advance so we can make proper accommodations with the schedule. This seminar will make several, if infrequent trips for which all attempts will be made to notify you in advance for scheduling and coordination. Evaluation + Grading Grading will follow the course structure with the following weight: Research, concept presentation and material testing (through week 6) 30% Design Development, final furniture fabrication and portfolio documentation 50% The remaining 20% will be assessed according to participation, progress, effort and attitude. Please note that attendance will adversely affect one's grade, both in direct grade reduction and in missing work in the development of a project. Following the preliminary design presentation in week 6, an interim grade will be given. The final grade will be based on the following guidelines: A = Outstanding work. Execution of work is thoroughly complete and demonstrates a

superior level of achievement overall with a clear attention to detail in the production of the final work as well a, models and other forms of representation. The student is able to synthesize the course material with new concepts and ideas in a thoughtful



manner, and is able to communicate and articulate those ideas in an exemplary fashion.

B = High quality work. Student work demonstrates a high level of craft consistency and

thoroughness throughout drawing and modeling work. The student demonstrates a level of thoughtfulness in addressing concepts and ideas, and participates in group discussions. Work may demonstrate excellence but less consistently than an A student.

C = Satisfactory work. Student work addresses all of the project and assignment objectives

with few minor or major problems. Graphics and models are complete and satisfactory exhibiting minor problems in craft and detail.

D = Less than satisfactory work. Graphic and modeling work is substandard, incomplete in

significant ways and lacks craft and attention to detail. E = Unsatisfactory work. Work exhibits several major and minor problems with basic

conceptual premise lacking both intention and resolution. Physical representation in drawing and models is severely lacking and is weak in clarity, craft, and completeness.

Letter Grade

A A- B+ B B- C+ C C- D+ D D- E

Numeric Grade

93-100

90-92

87-89

83-86

80-82

77-79

73-76

70-72

67-69

63-66

60-62

0-59

Quality Points

4.0 3.67 3.33 3.0 2.67 2.33 2.0 1.67 1.33 1.0 0.67 0.0

UF Grading Policy Information on UF's grading policy can be found at the following location: http://www.registrar.ufl.edu/catalog/policies/regulationgrades.html UF Policies: University Policy on Accommodating Students with Disabilities: Students requesting accommodation for disabilities must first register with the Dean of Students Office (http://www.dso.ufl.edu/drc/). The Dean of Students Office will provide documentation to the student who must then provide this documentation to the instructor when requesting accommodation. You must submit this documentation prior to submitting assignments or taking the quizzes or exams. Accommodations are not retroactive, therefore, students should contact the office as soon as possible in the term for which they are seeking accommodations. University Policy on Academic Misconduct: Academic honesty and integrity are fundamental values of the University community. Students should be sure that they understand the UF Student Honor Code at http://www.dso.ufl.edu/students.php. **Netiquette: Communication Courtesy: All members of the class are expected to follow rules of common courtesy in all email messages, threaded discussions and chats. [Describe what is expected and what will occur as a result of improper behavior – http://teach.ufl.edu/docs/NetiquetteGuideforOnlineCourses.pdf



Getting Help: For issues with technical difficulties for E-learning in Sakai, please contact the UF Help Desk at:

• [email protected] • (352) 392-HELP - select option 2 • https://lss.at.ufl.edu/help.shtml

** Any requests for make-ups due to technical issues MUST be accompanied by the ticket number received from LSS when the problem was reported to them. The ticket number will document the time and date of the problem. You MUST e-mail your instructor within 24 hours of the technical difficulty if you wish to request a make-up. Other resources are available at http://www.distance.ufl.edu/getting-help for:

• Counseling and Wellness resources • Disability resources • Resources for handling student concerns and complaints • Library Help Desk support

Should you have any complaints with your experience in this course please visit http://www.distance.ufl.edu/student-complaints to submit a complaint.



Bibliography Design Theory + History

§ Amery, Colin. 1991. Pioneers of modern furniture. London: Fischer Fine Art Ltd. in association with Lund Humphries.

§ Cranz, Galen. 1998. The chair: rethinking culture, body, and design. New York: W.W. Norton.

§ Greenberg, Cara. 1984. Mid-century modern: furniture of the 1950′s. New York: Harmony Books.

§ Sennett, Richard. 2008. The craftsman. New Haven: Yale University Press.

Design § Asensio, Paco, and Cristina Montes. 2002. Furniture design. New York, NY: TeNeues. § Bartolucci, Marisa, Cathy Lang Ho, Raul Cabra, and Dung Ngo. 2000. American

contemporary furniture. New York: Universe Pub. § Blaser, Werner, and Charles von Büren. 1992. Joint and connection: ideas in furniture

design and their background. Basel: Birkhäuser Verlag. § Byars, Mel. 1997. 50 tables: innovations in design and materials. Crans-Près-Celigny,

Switzerland: RotoVision SA. § Byars, Mel, and Cinzia Anguissola d’Altoè. 2006. New chairs: design, technology and

materials. London, United Kingdom: L. King. § Gehry, Frank O., and Ellen Davidson. 1992. Frank Gehry: new bentwood furniture

designs : [exhibition. Montreal: Museum of Decorative Arts. § Lovell, Sophie. 2009. Limited edition: prototypes, one-offs and design art furniture. Basel:

Birkhäuser. § Ngo, Dung, and Eric Pfeiffer. 2003. Bent ply: the art of plywood furniture. New York:

Princeton Architectural Press. § Ochsner, Jeffrey Karl. 2012. Furniture studio: materials, craft, and architecture. Seattle

[Wash.]: University of Washington Press. § Ramakers, Renny, and Gijs Bakker. 1998. Droog Design: spirit of the nineties. Rotterdam:

010 Publishers. § Rowlands, Penelope, Marisa Bartolucci, Raul Cabra, and Jean Prouvé. 2002. Jean

Prouvé. San Francisco: Chronicle Books. § Schmidt, Philip. 2012. Plydesign: 73 distinctive DIY Projects in Plywood (and other sheet

goods). North Adams, MA: Storey Pub. § Stuart, Christopher. 2011. DIY furniture: a step-by-step guide. London: Laurence King. § Webb, Michael, and Tim Street-Porter. 2007. Modernist paradise: Niemeyer house, Boyd

collection. New York: Rizzoli. § Williams, Gareth. 2006. The furniture machine: furniture since 1990. London: V&A.

Technique + Process

§ Graubner, Wolfram. 1992. Encyclopedia of wood joints. Newtown, CT: Taunton Press. § Rogowski, Gary. 2002. The complete illustrated guide to joinery. Newtown, CT: Taunton

Press. § Schleining, Lon. 2010. Wood bending made simple. Newtown, CT: Taunton Press. § Seike, Kiyoshi. 1978. The art of Japanese joinery. New York [u.a.]: Weatherhill/Tankosha. § Thompson, Rob. 2007. Manufacturing processes for design professionals. New York:

Thames & Hudson. § Thompson, Rob, and Young Yun Kim. 2011. Product and furniture design. New York:

Thames & Hudson.

ARC 6912: STUDIES IN CRAFTFURNITURE DESIGN + FABRICATION SEMINAR/WORKSHOP

FALL 2013 CALENDARDRAFT 13.08.14

M T W TH F S Sw 8/19 8/20 8/21 8/22 8/23 8/24 8/25

INTRODUCTION

research assigned

First Day of Classes GROUP RESEARCH >>>

w 8/26 8/27 8/28 8/29 8/30 8/31 9/1

LECTURE: GROUP PRESENTATIONS 1

wood + wood products Wood Processes

w 9/2 9/3 9/4 9/5 9/6 9/7 9/8

HOLIDAY GROUP PRESENTATIONS 1

Labor Day SHOP ORIENTATION Wood Processes

w 9/9 9/10 9/11 9/12 9/13 9/14 9/15

FIELD TRIP - Griffis et. al.

IND. FURN. RES. PRESENT. PARTNERS CHOSEN

w 9/16 9/17 9/18 9/19 9/20 9/21 9/22

DESIGN PRESENTATION 1

MILL ORIENTATION 1 material tests + design

w 9/23 9/24 9/25 9/26 9/27 9/28 9/29

DESIGN PRESENTATION 2

MILL ORIENTATION 2 1/4 scake mockup

w 9/30 10/1 10/2 10/3 10/4 10/5 10/6

CNC MILL TESTS

w 10/7 10/8 10/9 10/10 10/11 10/12 10/13

w 10/14 10/15 10/16 10/17 10/18 10/19 10/20

FULL-SCALE MOCKUP 1

w 10/21 10/22 10/23 10/24 10/25 10/26 10/27

ORDER FINAL MATERIALS FULL-SCALE MOCKUP 2

FINAL ASSEMBLY >>>

w 10/28 10/29 10/30 10/31 11/1 11/2 11/3

FINAL MILLING (2ND)

w 11/4 11/5 11/6 11/7 11/8 11/9 11/10

HOLIDAY

FINAL MILLING (2ND) Homecoming

w 11/11 11/12 11/13 11/14 11/15 11/16 11/17

w 11/18 11/19 11/20 11/21 11/22 11/23 11/24

FINAL FABRICATION DUE

DISPLAY AND REVIEW

no class

w 11/25 11/26 11/27 11/28 11/29 11/30 12/1

HOLIDAY HOLIDAY HOLIDAY

no class Thanksgiving Break Thanksgiving Break Thanksgiving Break

w 12/2 12/3 12/4 12/5 12/6 12/7 12/8

G1/G3 FINAL REVIEWS Last Day OF Classes Reading days Reading days

no class

w 12/9 12/10 12/11 12/12 12/13 12/14 12/15

Exams Exams Exams Exams Exams

FINAL PORTFOLIO DUE

12/16 12/17 12/18 12/19 12/20 12/21 12/22

Grades Due

*Note: Instructor reserves the right to make changes to this syllabus and course schedule.

16

17

6

1

2

3

4

5MATERIAL TESTS + CONCEPT DEVELOPMENT >>>

PORTFOLIO DOCUMENTATION >>>

DESIGN DEVELOPMENT >>>

INDIVIDUAL RESEARCH >>>

7

8

9

10

11

12

13

14

15

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