Knitting Architecture: 20 Patterns Exploring Fo...

Knitting Architecture: 20 Patterns Exploring Fo...

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Study knitwear construction, form, function, and more with Knitting Architecture, a collection of 20 designs that celebrate architectural themes. The parallels between knitting a sweater and constructing a building seem obvious when considered. Sweaters suspend from yokes and shoulders; vertical planes are shaped to provide fit and allow movement; necklines, sleeves, and hems are adapted for specific purposes. Stitch patterns and textures elaborate design themes, and new and unusual materials can be used to striking effect.

Symmetries are prominent in textile arts including quilting,[60] knitting,[64] cross-stitch, crochet,[65] embroidery[66][67] and weaving,[68] where they may be purely decorative or may be marks of status.[69] Rotational symmetry is found in circular structures such as domes; these are sometimes elaborately decorated with symmetric patterns inside and out, as at the 1619 Sheikh Lotfollah Mosque in Isfahan.[70] Items of embroidery and lace work such as tablecloths and table mats, made using bobbins or by tatting, can have a wide variety of reflectional and rotational symmetries which are being explored mathematically.[71]

Mathematical objects including the Lorenz manifold and the hyperbolic plane have been crafted using fiber arts including crochet.[d][152] The American weaver Ada Dietz wrote a 1949 monograph Algebraic Expressions in Handwoven Textiles, defining weaving patterns based on the expansion of multivariate polynomials.[153] The mathematician Daina Taimiņa demonstrated features of the hyperbolic plane by crocheting in 2001.[154] This led Margaret and Christine Wertheim to crochet a coral reef, consisting of many marine animals such as nudibranchs whose shapes are based on hyperbolic planes.[155] The mathematician J. C. P. Miller used the Rule 90 cellular automaton to design tapestries depicting both trees and abstract patterns of triangles.[156] The \"mathekniticians\"[157] Pat Ashforth and Steve Plummer use knitted versions of mathematical objects such as hexaflexagons in their teaching, though their Menger sponge proved too troublesome to knit and was made of plastic canvas instead.[158][159] Their \"mathghans\" (Afghans for Schools) project introduced knitting into the British mathematics and technology curriculum.[160][161]

10. Introduction to Theater Design and Technology. F,S Addresses imagination and creativity. Using the framework of theater production, students explore the process of translating a script into a performance. Topics include visual literacy, creative problem solving, establishing effective working teams, tear sheets, storyboarding, drawing, sound and color theory. This course is a prerequisite for all upper-division design courses. (General Education Code(s): IM, IH, A.) B. Baron, K. Edmunds 12. Stage Management. F Designed to acquaint students with the complexities of staging productions from the audition process to final performance. Directing, lighting, scenic production, sound, cueing, and personnel management are aspects that will be touched upon in class. Students are billed a materials fee. (Formerly Production Management.) (General Education Code(s): A.) The Staff 14. Drawing. * A fundamental course in drawing from still life, the figure, and in the landscape. The approach is from the tonal and volumetric aspects of the object. Color is introduced as the course progresses. Instruction fashioned to the individual needs of the student. The inexperienced are welcomed as well as the experienced. Students are billed a materials fee. (General Education Code(s): PR-C, A.) K. Edmunds 15. Special Topics in Textiles. * Introduces varied techniques in textile manipulation to create scenic and costume-design properties including drapery, upholstery, masks, bags, and millinery. Students learn basic sewing and surface-design methods, such as knitting, screen-printing, painting/dyeing, and distressing. Enrollment limited to 20. (General Education Code(s): PR-C, A.) B. Baron, The Staff 17. Costume Construction. W The process of interpreting a costume designer's sketch into a finished theatrical costume. Some techniques included are dyeing, fabric selection, draping, flat pattern drafting, pattern manipulation, adaptation, fitting, and alteration. Using various techniques, students make basic pattern pieces and learn to modify them to create costumes. Students are billed a materials fee. Enrollment limited to 20. (General Education Code(s): PR-C, A.) The Staff 18. Drafting for Theatrical Production. W An examination of the fundamentals of drafting scale drawings for production, including floor plans, elevations, sections, working drawings, dimensions, layout, and lettering. Students learn isometric drawing, perspective, and rendering techniques. Students are billed a materials fee. Enrollment limited to 20. (General Education Code(s): A.) K. Edmunds, The Staff 18C. Drafting-Computer Aided. * In-depth exploration of computer-aided drafting, specifically the programs Vectorworks, Spotlight, and Renderworks. Topics include: the user interface, ground plan, section and detail views, paper space vs. working space, tool palettes, USITT drafting standards, layers, line weights, objects, classes, library annotations, importing rasters, and 3D modeling. Students required to do weekly projects such as ground plans, lighting plots, perspectives, and detail drawings, as well as turn in a major final project, and complete a mid-term, final, and quizzes. Students are billed for a materials fee. Enrollment restricted to theater arts majors. Enrollment limited to 10. (General Education Code(s): A.) D. Cuthbert, The Staff 19. Design Studio: Lighting Studio A. S An introduction to the theory and practice of lighting design with attention to the practical skills and creative approaches to lighting performance pieces; the technical side of lighting design via demonstrations, lectures, and labs. Students complete projects evolving and executing concepts for lighting chosen pieces. Students are billed a materials fee. Prerequisite(s): course 10. (General Education Code(s): PR-C, IH, A.) D. Cuthbert 20. Introductory Studies in Acting. F,S Introduction to basic acting skills and the problems of performance. Concentrates on expanding the students' range of expression and ability to respond to and analyze dramatic text. Students with little or no experience are encouraged to attend. (General Education Code(s): IM, IH, A.) P. Gallagher, The Staff 21A. Acting Studio 1A: Psychological Realism. F,W Explores the fundamentals of the work of Konstantin Stanislavski as developed at the Moscow Art Theater to the works of his and our contemporary playwrights. Specifically, students apply those techniques of action, physical score, given circumstances, subtext, interior monologue, goals, and objectives, throughline, superobjective, and emotional recall to works of Henrik Ibsen, Anton Chekov, and appropriate American realists, such as Sam Shepard, August Wilson, etc. Enrollment by interview only: audition at first class meeting. Enrollment limited to 31. (General Education Code(s): A.) D. Scheie 21B. Acting Studio 1B, Actors' Physicality. * Uses a rigorous physical approach to acting (rather than the text-based approach of course 21A). Provides an \"outside-in\" starting point for theatrical creation and study, balancing and countering the \"inside-out\" approach of Stanislavski-based actor training. Emphasis on physical characterization, ensemble theater, mask work, and object performance. May involve practices, theories, and readings of Jerzy Grotowski, Eugenio Barba, Jacques Lecoq, and/or Tadashi Suzuki. Enrollment by interview only. Enrollment limited to 30. (General Education Code(s): A.) P. Gallagher 22. Indonesian Dance and Drama. F Students learn the basic movement repertoire of the specific characters of the Indonesian dance-drama/puppetry tradition over the quarter with explication of how these types operate in their own cultural context. The course culminates in an open showing of scene work. May be repeated for credit. (General Education Code(s): CC, A, E.) P. Gallagher 23. Voice for the Actor. F Students work on developing resonance, range and expressivity for stage performance via physical exercises and text explorations undertaken in small groups. Prerequisite(s): course 20. Audition required for acceptance into class. Enrollment limited to 20. (General Education Code(s): A.) The Staff 30. Introduction to Dance Theory and Technique. W,S Intensive instruction in developing the dancer's mind/body, with introduction to movement theory and practice. Students are billed a materials fee. (Formerly Introduction to Modern Dance Theory and Technique.) May be repeated for credit. (General Education Code(s): PR-C, IH, A.) E. Warburton, The Staff 31P. Postmodern Dance I. * Introduction to postmodern dance theory and technique. Focus on performance practices of historically significant postmodern dance choreographers in the U.S. and worldwide. Enrollment limited to 30. May be repeated for credit. (General Education Code(s): IM, A.) E. Warburton 33C. Dance Studio I. F Intensive instruction in developing the dancer's physical instrument. Intended for students who have a previous fundamental knowledge of the basics of classic dance, combined with movement theory. Students are billed a materials fee. Formerly Theater Arts 33, Advanced Introduction to Modern Dance. Prerequisite(s): course 30. Enrollment limited to 30. May be repeated for credit. (General Education Code(s): IH, A.) G. Casel 36. Introduction to Dance Composition. S Composing solo dances using a variety of approaches for developing movement combinations. Observation and recognition of personal movement patterns and discovering new sources for creative material. Students are billed a materials fee. May be repeated for credit. (General Education Code(s): PR-C, IH, A.) E. Warburton 37. African Dance. S A griot (musician-entertainer from western Afric